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Spring 2009, University of Kansas, Tyler Selby
Citation preview
1Film Center
Tyler SelbyStudio 609Spring 2009
3Program: NY Film CenterSite: Dumbo, New YorkDocument: Design Process NarrativeStudio Critics: Robert Riccardi and Dominique DavisonUniversity of Kansas, Lawrence, KS
Tyler SelbyStudio 609Spring 2009
46 Reverberations
8 Introduction
11 LightEnergy
1. Concept Development 2. SpaceTime 3. Slumdog Millionaire 4. Beyond the Object
21 The Sandbox
1. Context Analysis 2. Existing Buildings 3. Analysis 4. Elements of Development 5. Ground Plane Manipulation 6. Park Developed
37 Generating Space
1. Spatial Awareness 2. Projected Porosity 3. Pure Generation of Space 4. Manipulation of Existing
49 ReCognition
1. Deja vu, Jamais vu 2. Molecular Gastronomy 3. 1 + 1 = 1
Contents
555 Design Drawings
1. Distributed Lobby 2. Floor Plans 3. Elevations & Section Drawings 4. HVAC System 5. Existing Floor plates
71 Threshold
1. Open Bay Plaza 2. Social Facade 3. Passive Facade 4. Multi-Layer Building Envelope 5. Screen Facade Panels 6. Facade Connection Detail
83 Theaters
1. Theater in Park 2. Theater Window 3. Theater Theater 4. The Perfect Theater95 Conclusion
6Reverberations
Past experience offering coordinates for present decisions
Future expectations influencing the current moment
Is a moment the action of one foot off the floor?
Or is it the brink of a scene cut in the theater?
The grass rolls along the outdoor theater.
The curve of your back an echo of the railroad track.
My eyes track rows of beams once separating
cargo from the freight on the left and that on the right.
Deja vu: the right side of my brain processes faster than the left.
The underground theater mimics its above ground counterpart -- devoid light.
If you draw the light patterns of the bay doors,
you will find my pattern -- the office, the editing room, my apartment -- my movement.
The movement of the sun from winter to summer
Enough to change heat into shadows.
Shadows run from the light creeping through the windows and doors.
In this shadow there are one thousand edits.
I edit from before and beyond
I analyze the lights illumination of this moment.
7The cinematic experience of ArchitectureBerlin Holocaust Memorial by Peter Eisenman
A simple, ordered system of square volumes creates the experience that has a disorienting and chaotic effect as users are forces to think about their movement though the circulation gird. Contrasting between logical order and perceived order to create an experience that is, more than concrete forms, a space for reflection of the Holocaust. The experience becomes the highest form of architecture.
8Process Narrative
The objective of this document is to provide a narrative of text, diagrams and images to communicate
the work completed during the Spring Studio 609 design studio. This work is focused on providing a
clear understanding of original concepts through the execution in the final design of the building. The
following will be achieved linearly starting with the broad topics and will progress towards the specific as
design decisions are explained.
Studio 609
The main objective for Studio 609 is the achievement of design from theoretical and philosophical
concepts into a final design that is executed to connect back into the reality of the physical
environment. The goal of the studio was to design a Film Center to be located along the Hudson River
bank in Brooklyn, New York.
Introduction
Objectives
9Time, Chaos, Order, Understanding, C
onnection, Direct C
onnections, Information in the Details, Specta
cle, L
ight,
Proj
ecti
on, P
ower
, E
nerg
y, E
xcite
men
t,
Exper
ience,
Design
11LightEnergySpaceTime
12
LightEnergy
Concept Development
1
The design concepts were developed from an ongoing study of time and space through lenses established
from the design studios objectives. This process began with viewing the film Slumdog Millionaire and
analyzing data collected from researching and visiting the site three weeks into the project.
This project explores the idea that the past and future form a collection of events that come together in
a single point defined as the moment. This moment creates an opportunity, independent of time, for
the interaction of the unlikely and the realization of the individual as well as the collective.
From a series of moments frozen in time the medium of film has the ability to capture an experience
with a focus that often surpasses that of any other. The captured experience is itself a moment in time,
only a snippet of the trillions of events that take place continuously as we exist in reality. The history of
the Fulton Ferry site emerged through moments of time captured on film and text found in newspapers
that remained through collections of fragments in historical archives.
13
Empire Building c.1900sDumbos past has always been in development with buildings no longer able to provide use, buildings were torn down with new buildings. Today, the long warehouses extending into the river no longer stand.
14
Development Process > > > > > >
11D 2D 3D TIME
XYZ XY Z 00:00 POINT
POINT LINES PLAN SECTION SPACE EXPERIENCE MOMENT
SITE EMERGENCE COLUMN GRID CIRCULATION DETAIL
The design process can be understood using a chart organized by dimensions of space. These
dimensions are measured using the well known coordinates of x, y, z and standard time. The methods
of analysis and representation developed in sync with these dimensions. The concepts developed the
entire design although each dimensional state is more visible in certain areas, as executed in the built
environment.
Projects begin at infinity, overflowing with every available possibility. Every dimension of the
site is analyzed using points of projection based on concepts developed from film analysis.
1 The moment, a balance between nothing and everything, provides opportunities created from the manipulation of x, y, z and t.
The moment is executed into every aspect of the building. The design is finished once the
balance between freedom and restriction is achieved to provide for the maximum opportunity.
LightEnergy
SpaceTime
2
15
1
Projected Lines
Final Design
Moment in Detail
16
The film Slumdog Millionaire uses an untraditional story-line that weaves between three characters
through three different stages of their lives. Each of these characters represents a moment in time: past,
present and future. Films usually show the development of a character over the course of the story
although the main character, Jamal, exists throughout the film in the same state of being; in the present.
The two supporting characters are the ones that develop, Latika is constantly trying to keep up with
events that have already taken place and Salim aggressively pursues the future in order to make it rich.
Illustrated in the image, the past exists as a ribbon that orbits around the present, varying in relative
distance. The straight lines (becoming blue when the line begins to interact with the present) speed into
the future, in the attempt to control the present by constantly running ahead. The present can only be
recognized because of these two forces that are illuminated by the present: the source of LightEnergy.
The time line measures changes and events relative to an established standard of time to help us
understand change between the past, present and future. The time line is powerful, being able to
represent everything between the singular and the infinite. In the moment, time is always the same,
existence is timeless. The physical state may change in appearance although the moment remains
inside, largely unaffected. Inside the moment, time disappears into a state of consciousness that is
completely connected to the present. These feelings exist eternally present although awareness through
a connection with physical reality is not automatically achieved. Once awareness is achieved, time and
space fade away becoming secondary as the experience of being in that moment synthesizes the senses
into a single feeling of being perfectly connected to the present. For the moment, the time line is but a
single point.
Time as a series of events Time as perceived by the Moment
LightEnergy
The MomentVisual interpretation of Slumdog Millionaireadobe illustrator, 3ds max, adobe photoshop
Assignment #1
18
LightEnergy
Beyond the Object
4
Film
Infrastructure
Cosmos
19
Film
The medium of film and the concept of the moment clearly demonstrates that creating an experience
is not fully reliant on purely an existence of physical reality. A sequence of events create an experience
that can be measured by time. Thus time can become a building element that can be manipulated
just like 3-D space. The element of time can be manipulated to create moments that are perceived
to be timeless. Moments of timelessness are achieved throughout the film Slumdog Millionaire as the
main character, Jamal ties different times in his life back to the same core feelings being represented
in different ways. Moments are created through design that focuses on the users experience, creating
feelings from events that are on the surface the same but originate and connect back to core concepts of
the Film Centers design.
Infrastructure
The flashiness and glamour of highly stylized spaces are not necessarily needed to create highly eventful
spaces. Many of the design decisions in the Film Center perform simple disturbances to the existing
infrastructure without having to add an additional layer of design on the surface. The physical object
does not necessarily directly represent the experience until the moment in time which activates the
object, creating an experience. These objects are sometimes unappealing and banal such as firework
shells, cellular film and the lattice of steel behind the advertisements in New Yorks Times Square.
Cosmos
Another way of looking at this is to think of mans interest in the stars. A night sky filled with tiny
points of light provides endless possibilities for interpretation. This situation enables each person to
reflect and create without being prescriptively informed on a single interpretation. A star gazer may
look up at the night sky and see a bear, or connect the dots differently and find a ladle. The film center
operates by providing an infrastructure like that of the cosmos, acting like a fun house mirror that
reflects their thoughts and feelings with small amounts of influence that slightly bends or distorts their
own perception of the buildings spacial environment.
21The Sandbox Analysis -------> Execution
22
The context of the Film Center includes a park along the Hudson river, two local streets, condominium
housing, a small cafe, the Galpagos performance space and the Tobacco Building, which consists only
of exterior brick walls with a panoramic view of lower Manhattan flanked by both the Manhattan and
Brooklyn Bridges.
The park offered visitors a path that followed the river and provided a wooden platform to view the
city. Visitors often came for this reason alone which provided a limited and overlooked experience of
the renewed energy that could be found in the Dumbo area. Also, because of the wall of unpunctured
brickwork formed by the Empire building, Dumbo itself was separated from the park with only two
small entrances.
The surrounding streets consist of a healthy mix between vehicular and pedestrian traffic. Several retail,
eating and entertainment businesses make up the Film Centers neighbors. The street to the east of the
site is open to vehicular traffic although is often mixed with pedestrians because the street is not used as
a main thoroughfare.
Site Conditions
Context Analysis
1
23
Water St.
New
Dock St.
Brooklyn Bridge
Manhattan Bridge
East River
Old
Doc
k St
.
Front St.
.tSniaM
Scale: 1=64
Water St.
New
Dock St.
Brooklyn Bridge
Manhattan Bridge
East River
Old
Doc
k St
.
Front St.
.tSniaM
Scale: 1=64Water St.
New
Dock St.
Brooklyn Bridge
Manhattan Bridge
East River
Old
Doc
k St
.
Front St.
.tSniaM
Scale: 1=64
1. Adjacent building use, Site access options2. Pedestrian and vehicular circulation3. Surface treatment open green space, water, streets, buildings, boardwalks
24
Existing Buildings
2
Footprint and existing bays
North facade elevation1/170 = 1
Research discoveries after the first design led to additional information allowing the existing firewall and interior
timber construction to become a part of the existing brick facade. This added an additional layer of information
that would begin to help influence and allow the design to connect to the existing warehouse.
Empire Building
Existing floor levels
Brick construction, timber inside, stone firewalls create bays, 4, 5 stories tall.
Bay 1Bay 2Bay 3Bay 4Bay 5Bay 6Bay 7
25
Timber PieceBay 3
Size Quantity (bay 3 only)
Total Linear Ft Use
Post 1x1x11 298 2,980 ft 4 Floors
Primary Beam 1x1.5x11.5 298 3,427 ft 3 Floors + Roof
Secondary Beam 4x12x18.75 3975 74,531 ft 3 Floors + Roof
Deck 4x14x11.5 5088 58,512 ft 3 Floors*The ground floor uses the ground instead of timber and the roof uses thinner decking.
Existing beams and deckIsometric View
One module in structural matrix Isometric View
Existing structural matrixIsometric View
Scale 1=8
26
Existing Buildings
The Tobacco Building is a remnant of a four story warehouse that previously had been used very
similarly to the Empire Building. In a state of disrepair, including a caved in roof, a decision had to be
made about the buildings future. The result is a two story perimeter of brick walls that provide for an
unprogrammed, unsheltered event space. This space is heavily used for a variety of activities, from yoga
to weddings. Users of the space choose to spend time inside the four remaining walls instead of locating
themselves in the park.
People are attracted to simplicity and tradition. The existing walls of the Tobacco Building have been
proven tried and true over a long time span through their many functions. The walls of the Tobacco
Building connect to the history, realness and truth (even if it may be fictitious truth) of the past that
people love. Although simple structurally, the walls serve as a memory for an earlier way of life. This
space can create as many possibilities as there are stars in the cosmos.
Understanding the history and use of the Tobacco Building influenced the design of the Film Center
in an attempt to provide a place that provided a maximum amount of opportunity. Inside, a confident
space restricts use just enough to create a comfortable environment to spend time in. Design influence
from the Tobacco Building include keeping each archway in the facade open for entry|exit and was
referenced when making a decision about the removal of an entire bay to create an open plaza.
Tobacco Building
Tobacco Building facade.
27
Facade
The historical warehouse had originally provided temporary rest as goods were unloaded from ships to
be distributed throughout the city. The seemingly solid building was actually punctured with openings
every 18 feet along the over 300 foot long building. When originally used as a warehouse, these
openings, repeated at every floor height, provided access to a series of cantilevered pulleys that provided
vertical movement for the goods on each side of the building.
Analysis
3
Study of Empire Building facade.1/256 = 1
A
D1
D1
D2
D2
B
C1
C1
C1
C1
B
C1
C1
C1
C1
B
C1
C1
C1
C1
A
B
E1
E2
E2
F1
F2
F2
A
F1
F2
F2
Empire Building c.1880sA space for goods to temporarily rest.
28
Development of Site
Manhattan
Usage analysis of the site reflected the sites well known observation edge that offers a view of lower
Manhattan from across the river. The existing boardwalk along the periphery of the park reinforced this
observation. The Film Center park held relatively successful outdoor film events during the summer,
considering its less than ideal situation. The site is now designed to be an extension of the new Film
Center by providing several connections to be made.
Rail Lines
When the Empire Building had been a fully operational warehouse in the past, typical movement of
goods occurred linearly from the river on the north to the street south of the warehouse. While this
was typical, for several decades rail lines were also located on the site, loading goods from the ships and
transporting them off site, possibly to other warehouses. Several rail lines were located in the park area
so that many trains could be loaded at once, although these lines converged into a single set of tracks
before leaving the site. This set of tracks converged at the parks entrance running along the north
facade of the Empire Building. It was possible that this small width of land existing between the water
cove and the north facade was an existing remnant of the converging lines.
Interpretation of rail linesCreating paths and a density map to manipulate the existing terrain.
Rail lines formerly located on siteBrooklyn Bridge looking toward Manhattan, 1933
4
Elements of Development
29
Development of Site
Existing boardwalk along edge of parking looking towards Brooklyn Bridge
Beyond Preservation
The Empire Building was the Butler Building of its time in the 1850s, originally built as
a work horse of use. The concept of USING a space instead of just existing inside a space
is important for understanding the projects attitude towards preservation and historical
perspective of the Empire Building. The visitors should never think about how the building
is making the event and experience; good design is invisible. Rather, the events and
experiences of the people should be in the foreground. Some visitors to the Film Center
may never even noticed the architecture, except to notice, through the experience, that it is
something special and different from their normal lives.
30
Reactivated Paths
The narrow strip of land is reactivated in the new design of the site to once again become the point
users would enter and exit the park at. The primary reason for visiting the park could remain the view
of Manhattans skyline, although opportunities now filled the space between the entrance point and
the rivers edge. The lines from the rail tracks became circulation paths that would begin between the
entrance and the waters edge. While following the curved paths users would begin interacting with the
Film Centers park elements. Following the time spent at the parks edge to view the city, the user would
again follow the curved path, funneling back to the entrance. Although exiting the park would not only
be one of several options once a user reached the area where the paths converged. The user could exit,
although the visitors interaction with Film Center elements in the park may have led them to other exit
points, located above. The single entry point becomes several exit points below and through the open
bay plaza, that influenced circulation to flow into the Film Centers interior spaces. This influence is
not meant to trick the user into something that does not exist, but rather to help foster a connection
that may have been made into a space that would allow for further interaction through discovery.
Development of Site
School of forms:diagram of an ideal architectural setting, in which an armchair cradles a ming-tang, a bright courtyard.
Interpretation of rail lines, creating paths and a density map to manipulate the existing terrain.
31
Shifted Grid
The established Cartesian grid provided a starting point that directly connected the Film Centers
interior ordering system. A new density map was overlaid with the existing topography resulting in
a new topography that would provide a sloped seating green space. This refocused the site to create
an inward focus towards the Film Center. Removing one bay in the warehouse to create an open
plaza enables the park to connect to the Film Center and Dumbo neighborhood. Underground, the
basement level continued into the site where the cafe and editing booths existed. The raised site could
provide for an underground parking structure to exist beneath.
Film in the Park
The screen facade unfolds, sliding along a rail system out into the park for the viewing of films from
the raised green deck. The hybrid design enables an active faade that can become a series of events,
creating an experience of movement and interaction to visitors. The viewing of the film not only
exposes the work through projection on the screen but also exposes the interior spaces to the workers
behind the curtain itself.
Development of Site
Concrete curtains fortified by a square meshKyushu Island, Japan.
Ground plane shiftedUsing internal grid to break up the smooth ground plane
The glass facade frees itself from the building Jewish Museum in Chicago Il.
Folded Plane FacadeThe final adaptation of the circulation plane that was previously folded in half now becomes the facade.
32
Project Site
Ground Plane Manipulation
5
Site Plan
33
Compression of the Film Center into three bays coincided with manipulation of the site. The fairly flat sites topography is manipulated to change the use, focus, access and spacial qualities of the site.
Before After
Manipulated Planes
34
gap between the two pieces are filled with an additional triangle of screen fabric that unrolls from adjacent beam
when deployed
boat dock
underground parking
internal column grid continues throughout
elevated seating
6
Park Developed
Ground Plane Manipulation
35
Final Site Plan
Water St.
Brooklyn Bridge
Manhattan Bridge
East River
Mai
nSt.
Scale: 1=64
37Generating SpaceProgramming Porosity
38
Initial Design Development
Spatial Awareness
1
The Film Center is composed of four discrete programs that traditionally operate independently to
support interest in Film. These spaces were initially organized into Event spaces, a Production &
Education Zone, and an Artist Living space. Social connections to the public use various methods
of distribution including theaters for viewing film. The Centers support for production of new work
includes a film production sound stage as well as the support services needed for operation. Educational
support spaces provide opportunity to learn, research, study and discuss the discipline. Artist
residences maintain a connection to the present with inhabitants that help make the building come alive
with energy as they connect to fellow artists and the wide range of opportunities in the center.
With these elements all located in the same shared space, the Film Center is able to provide the
maximum possible connections to the entire discipline of cinema. The center is focused on one major
discipline, although by including the entire range of program elements the center helps to foster interest
for users that may typically only be connected to a single aspect of cinema. The film patron could
expand their interest from the viewing of films to education and the process of making. The artists are
given a space to live and meet other artists visiting, allowing themselves to keep in direct proximity to
their work mentally and physically. The artist can also easily connect to the society in which inspiration
originally developed from and continue this connection throughout the process of film production and
the release of their work back into society. Together this creates a hub of activity that is alive throughout
every hour of the day.
39
Initial organization of programs spacial relationships
Auditorium125 seats
Auditorium300 seats
Production + Soundstage
Controlled Collection
Sound Rec
Director + Admin
Ag
ency
O
ffice
s
Staf
f
Media
Editing
Editing
Bookshop +
Video Rental
Living + Study
Kitchen
Laundry Room
Classrooms
ComputerLab
Conference Room Research +
Film + Video LIbrary Break
Area
Powershop
Lobby
Lobby
Lobby
EvEnt SpacES
artiSt Living
production & Education ZonE
Auditorium125 seats
Private Rooms
Private Rooms
Private Rooms
RR
RR
RR
Shipping +
Receiving
Tkts
40
Initial Design Development
Projected Porosity
2
The porosity of the existing brick building is visualized using lines that connect each opening to every
other opening that can be accessed using a straight line. This visualization shows every possible way a
user could move through the warehouse from one side of the building to the other. This demonstrates
that the Empire Building did very little in restricting movement from the street to the park and was
in fact a visual rather than a physical wall of separation between the two spaces. The openings in the
facade regularly spaced out although the levels of porosity varied throughout the building. The lines
also created a density field that helped to highlight areas with high levels of movement through the
building as well as pockets of space that were never activated during this vector analysis.
The density map influences the placement of spaces that match intended levels of activity and
interaction. The pockets of space with the lowest levels of density provide opportunities for secluded
spaces (such as editing booths) to be placed among or adjacent to areas of high activity while continuing
to maintain privacy.
The city enters the building and theater. Teatro Olimpico by Andrea Palladio
41
Hand drawn diagram of lines connecting openings in the brick facadesOverlaid in black ink plus final spaces created emphasized; areas untouched by projected lines
42
3. Colorfields based on density of linesadobe photoshop
2. Black and white conversionadobe photoshop
1. Original line drawingpen on trace
Projected Line Development
43
SiteLobby Access from
Park
Lobby Access from S
treet
Entr
y fo
r Pro
duct
ion
4. Convergence into straight line vectorsadobe illustrator
6. Spacial circulation from activation of facade with siteadobe illustrator
5. Final set of vector fields chosen to be used as lines and spaces adobe illustrator
Projected Line Development
44
Generation 1
A series of steps were performed to allow clarity to emerge to the limits of simplicity to avoid the loss
of the diagrams embedded information. The porosity analysis now represented lines and shapes that
would define unique spaces to be assigned to the entire program required for the Film Center.
The design of the art center emerged entirely from the existing built environment and could now begin
to be further refined through manipulation. The first design relied on an armature that extended
throughout the building. Additional space for circulation and program elements followed a warped
plane that used the resultant space between this armature and the exterior shell.
Initial Design Development
3
Pure Generation of Space
Vertical circulation uses long ramps that bridge the spaces on different floors while holding program elements such as rest rooms.
Longitudinal Section
Armature Warped Plane
At entrance, looking at central lobby space In gallery space, looking towards entry and theaters
45
Reserved for Retail Shopping/ Resturants
Production Studio
Sound Studio
ProductionStorage
Fabrication Shop
rewoT gniviL stsitrA
Shipping / Receiving
Editing Tower
Mai
n En
try fo
r The
ater
Ramp to Main Lobby
Entr
y fo
r Pro
duct
ion
Entr
y fo
r Pro
duct
ion
Entry for Artist
Entry from Park
Cafe
Ticket Booth
Video Rental
Alley Access
Stair
s fro
m Lo
bby
Ground Floor
Production Studio
300 Seat Theater
125 Seat
Theater125 Seat
Theater
Main Event Lobby
Open to Below
RestRooms
Conces
sions
Bar
Open
Exhibitio
n
Space
rewoT gniviL stsitrAEditing Tower
Lobb
y Access fro
m P
ark
Lobby A ccess from
Street1st Floor
Director and Admin
Ramp
Confrence Lab
Up to Learning Floor
Down to Exi
t or Product
ion Studio
Sta Oces
AgencyOces
Breakroom
rewoT gniviL stsitrAEditing Tower
2nd Floor
Classrooms
Film and Video Collection
Aud. Rooftop
rewoT gniviL stsitrAEditing Tower
Stairsto LL
Down to Exi
t, Oce Leve
l or Product
ion Studio
Resource and Film Video Lib
rary
Computer Lab
3rd Floor
1st Generation Floor plans
46
Manipulation of Existing
Generation 2
In order to create a higher density of interaction between program elements the Film Center was
condensed to use half of the volume used in the first design. The Film Center now would occupy the
three eastern-most warehouse bays instead of the entire seven available. The east end of the warehouse
was chosen because it provided a diversity of interaction between surrounding elements: the park, river,
adjacent cafe and live entertainment venue. Activity is also generated from the surrounding streets,
businesses and residences that attract a diversity of visitors and locals.
Two objects were extracted from the first design to be manipulated; the armature element and a warped
circulation plane. By folding these two objects upon themselves density and interaction increased. This
enabled elements that had previously been located at separate ends of the building (theatres in east half
originally, offices and learning spaces in west half of armature) to be located directly adjacent to and on
top of the other. The large central lobby of the first design became the folded joint, distributing lobby
space vertically throughout the Film Center.
Further Design Development
4
Folded spaces in raw form
47
1st Generation: Armature elementA purely generative form that creates a natural flow through building uses
2nd Generation: Armature element folded to provide new adjacenciesProviding fresh interaction of spaces while increasing building use density
7 Bays in Use
3 Bays in Use
49ReCognitionTurning spaces into a building
50
It is essential to create a building that people can recognize, navigate and understand on an intuitive
level. ReCognition is achieved by incorporating new and old elements to create a building. This allows
people to recognize the building because it uses existing structure from the warehouse but creates a
completely new film center experience. Two different phenomena of perception referenced to achieve
this connection to the past are dj vu and its inverse jamais vu.
A person experiencing deja vu feels as though what they are experiencing in the present has already
occurred in the past. Using dj vu, a visitor to the film center can be in a space in which they feel
like they have visited before, only it looks like nothing they have ever experienced. Through the brick
walls and timber beams the visitor connects to the past; however, the actual spaces created and the
programmed use had never existed inside the historic warehouse.
Jamais vu, the opposite of dj vu, creates the perception of the unknown in a known space, providing
an unrecognizable experience. A visitor to the outdoor theater may have used the park during the day
without recognizing it is the same piece of land when they revisit to watch a film that night.
Both of these perceptions allude to the theory of the polyphony of senses in which people remember
just as much through their bodies as through their brains. These memories strengthen a persons sense of
reality. Therefore, if a visitor recalls through the senses a familiar component of the building, he will be
able to connect it to a preestablished idea, thus aiding in the visitors understanding.
Further Conceptual Development
Deja vu, Jamias vu
1
51
Further Conceptual Development
Molecular Gastronomy
2
The task of architecture is to design for the whole human experience; the
body and the mind as a totality of senses and existence.
Pallasmaa, The Eyes of the Skin
The Cyber Egg
Key ingredients:Carrot, coconut milk, cauliflower, agar
Method:Spoon dollops of carrot-cardamom puree mixed with sodium alginate
into calcium chloride so their surfaces form a skin. Mix the coconut milk with
agar, a powerful thickening agent, and let it harden in a ring- shaped dish.
Marcels tip:I prefer agar to gelatin for this sort of dish because its easier to use and
can be heated without melting.
Mixing ingredients Finished egg
52
Incorporating elements of the existing warehouse into the design process led to the positioning of
the Film Centers floor planes. At this point in the design process the spaces have been generated, the
program adjacencies have been worked out and the interior volume has been fixed. The original design
had generated spaces from an analysis of the shell without recognizing the existing internal order that
already had established floor and column positions. The folded design of the Film Center required
floor planes to become ramps to another floor plane.
The existing warehouse offers order with a brick exterior shell and a finite matrix of timber framework
on the interior. The exterior shell provides a rhythm of openings along an unwavering facade. The
timber matrix offers points of interaction. The 3D point matrix enables location nodes to provide
decisions for manipulating the floor planes by moving points attached to the floor plans from one
node in the matrix to another node. This modification rule would be used directly for all of the
existing framework of timber columns, beams and decking. The pervious folded design reincorporated
itself into the internal structural order using this rule for modification of the timber framework to be
reconfigured; enabling much of the existing floors to be used in the design of the Film Center.
Some interior spaces would not require any additional building material to realize the contemporary spaces.
Further Design Development
1 + 1 = 1
3
Shifted floor planes create the Film Centers spacesStudy ModelScale: 1/32 = 1
53
Existing structural matrixIsometric View
Existing column grid providing support for ground floor Plan View
Existing design folded spaces3d Perspective
Mech Space
Open Lobbyand Display Space
W RR
M RR
Concessions
Freight Elevator
Shipping/ ReceivingProduction and Soundstage
Production Shop
Theater Lobby
Up to Fl 2
Up to Theaters
Up
to
Fl 4
Ticket Salesand Video Rental delivered by Vending Machines
Floor 0Ground Level
Scale 1/128 = 1
Column Grid
55Design DrawingsPlans + Sections
56
Spaces in Motion
Interior organization of spaces for the four major components of the Film Center are inter woven
through a high dynamic range of connectedness between the extremes of keeping components distinctly
separate and the neutralization of unique components into an unrecognizable puree of uneventful
sameness.
Meaning, individual experiences are possible from a mixture of circulation options that transgress
through interdepartmental spaces. Each purposeful visit to the Film Center provides opportunity for
the interaction with other functions of the building.
Motion in Spaces
The concept of centrality in relation to the Moment is not the creation of a single central lobby. The
central lobby traditionally distributes users into spaces surrounding the lobby. The typical central lobby
only allows adjacent spaces to connect via the shared lobby. Connection to other spaces in the building
should not only happen through the shared lobby space but also through independent connections to
adjacent spaces. Non-central lobby and circulation space dissolves into spaces shared by many, if not
all the different building occupants. EnergyVectors are powered by and encourage increased movement
through spaces on the path less traveled from one point in the building to another. Introspective
spaces could benefit by becoming more social with EnergyVectors.
Vertical Motion
Floor levels are pushed and pulled vertically at points located in the structural matrix creating ramps
that provide circulation and interaction between the floor levels. Floor levels connect vertically
throughout different areas of the building; connecting spaces with similar or connected uses to provide
building occupants convenience when these spaces are used in conjunction with or in a series of tasks.
Design Drawings
1
Distributed lobby
57
Never directly intended, central circulation spaces subtly reveal themselves by stacking each of the individual floors circulation diagrams into a single plane.
Only circulation lines shown
Circulation diagram with stacked floor planes shown(white space is location of walls at floor cut)
Floor 0Ground LevelScale 1:500
Floor 0Ground LevelScale 1:500
Theater 1
Apt 2
Production
Apt 3/ Roof
Agency Offi ce
Production
Production
Prod
uction
Co
mp
uter Lab
Theater 2
Classroom
Production
Conference
Room
Theater 2
Theater 2 Mail Room
Apt 5
Floor 2Lobby for Theater 1Scale 1:500
Theater 2160 Seats
Theater 1389 Seats
Floor 3Production Support and Agency SpacesScale 1:500
160 Seats
Theater 1389 Seats
Floor 4Learning, Research, O ce and Artists SpacesScale 1:500
Theater 1389 Seats
Floor 5Artists Living and CourtyardScale 1:500
Apartments / Condos / Lofts
Open Metal Grate Bridge
FilmProduction
Film Resources
Film Residents
Film Viewing
Floor 0Ground LevelScale 1:500
Floor 0Ground LevelScale 1:500
Theater 1
Apt 2
Production
Apt 3/ Roof
Agency Offi ce
Production
Production
Prod
uction
Co
mp
uter Lab
Theater 2
Classroom
Production
Conference
Room
Theater 2
Theater 2 Mail Room
Apt 5
Floor 2Lobby for Theater 1Scale 1:500
Floor 3Production Support and Agency SpacesScale 1:500
Floor 4Learning, Research, O ce and Artists SpacesScale 1:500
Floor 5Artists Living and CourtyardScale 1:500
58
Grounds Floor
The ground floor provides access to main production and theater spaces at several points around the
facade. Production space is located on the ground floor to enable for easy movement of sets in and out
of the building. The ground floor provides three options for access to production spaces; from Water
Street, a private south entrance enables direct access, from the open lobby space there is an entrance for
everyone and large bay doors provide access to the power shop and the alley for deliveries.
Second Floor
The second floor is largely removed to create an open ground floor, enabling the theaters and
production space to become armatures inside the exiting matrix of columns and beams. The only
remaining floor space provides an elevated waiting space for the largest theater.
Design Drawings
Floor Plans
2
Interior view towards production, wrapped in by a single surface that is lifted to reveal interior production area.3d Perspective
59
Water St.
New
Dock St.
Brooklyn Bridge
Manhattan Bridge
East River
Front St.
Mai
nSt.
Scale: 1=64
Theater 2160 Seats
Theater 1389 Seats
Mech Space
Open Lobbyand Display Space
W RR
M RR
Concessions
Freight Elevator
Shipping/ ReceivingProduction and Soundstage
Production Shop
Theater Lobby
Up to Fl 2
Up to Theaters
Up
to
Fl 4
Ticket Salesand Video Rental delivered by Vending Machines
Ground FloorProduction , Shipping/ Receiving,
Gallery and Theater access
Floor 2Lobby for Theater 1
502510
502510
Third Floor
This partial floor provides support space that wraps around the production stage. This could be used for
a variety of activities that are in need to provide direct support during production. The floor also houses
the agency offices in a more secluded area that is not intertwined as much with the public accessible
areas. This floor does provide connection from the ground floor to the artists area and also a ramp up to
the fourth floor.
Fourth Floor
This floor holds many spaces tied to the research and education of film This is laid out using the
existing column structure to create a modular space that can adapt when needs change. The walls for
each of these spaces would also be modular so actual construction would not be needed to convert an
open conference space to a heavily controlled film storage space.
This floor also contains the social living areas for the resident artists. Their space contains a large space
to watch films, living, studying and eating spaces. The artists private space overlooks this space from a
lofted position on floor five.
60
Modular Units Provide for continuous adjusting and rearranging of work spaces.Open, Opaque Walls and Glass Panels combine to create the spaces
Design Drawings
61
Theater 1389 Seats
Artists Kitchen and Group Living Area
Classroom
Computer Lab
Film Collection
Meeting Room
Sta Rooms
OcesDirector and Admin
Film Library andResource Center
Mail Room
Break Room
Artists Private Exhibition/ Theater Space
Open
Metal
Grate
Bridg
e
W RR
M RR
Up to Artists Living
to Artists Living
Agency Offices
Dow
n to
The
ater
s and
Lob
by
Theater 1389 Seats
Floor 3Production Support and Agency
Offices
Floor 4Learning, Research, Office and Artists Spaces
502510
502510
62
Floor Five
A good space for an artists living space requires the option for these people to have a bit of privacy from
the everyday event. In the Film Center, resident artists are given privacy including an outdoor space
of their own on the fourth floor by using exterior walls of the Empire Building to provide enclosure
around the rooftop of the 300 seat theater. As mentioned during the Tobacco Building analysis, these
simple walls contribute by make connections to societys love of the past without the input of additional
energy or materials.
Entry to the private rooms penetrate through each floor to provide access to the social living spaces.
Folding doors provide access to the rooftop courtyard.
Design Drawings
63
Apt 1
Outdoor Rooftop Deck
Apt 3 Apt 5Apt 2 Apt 4 Apt 6
Floor 5Artists Living and Courtyard
Roof
502510
502510
64
Nor
th E
leva
tion
Scal
e 1=
16
Elev
atio
ns a
nd S
ectio
n D
raw
ings
3
65
Nor
th S
ectio
nFa
cing
Sou
thSc
ale 1
=16
Ap
t. 1
Ap
t. 2
Ag
ency
Offi
ces
Lib
rary
Thea
ter
Lob
by
Stre
etO
pen
Bay
Pla
za
Do
wn
to T
heat
er
Unu
sed
Em
pire
Bay
sG
alle
ry S
pac
e
Ap
t. 3
Ap
t. 4
Ap
t. 5
Ap
t. 6
Ap
t. 7
Stai
rs to
art
ists
livi
ng s
pac
e
66
East
Elev
atio
nSc
ale 1
=32
Thea
ter
Win
do
w
Gal
apag
os
Do
or
Do
or
Do
or
Wat
er S
tree
t
Elev
atio
ns a
nd S
ectio
n D
raw
ings
67
Ro
oft
op
Dec
kA
rtis
ts A
par
tmen
ts
Gro
up L
ivin
g/
Din
ing
Sp
ace
Thea
ter
2
Thea
ter
1
Ship
pin
g/
Rec
eivi
ng
Build
ing
Sect
ion
Faci
ng W
est
Scal
e 1=
32
Gal
apag
os
68
X-R
ay V
iew
Sec
tion
Faci
ng N
orth
Scal
e 1=
32
4
1
1
1
6
3
2
5
6. Th
eate
rs
self
cont
aine
d, lo
w v
oc a
ir ha
ndlin
g op
tion
for t
heat
ers
4. P
rodu
ctio
n St
udio
m
ulti-
poin
t ent
ry, l
ow v
elocit
y ai
r han
dled
thro
ugh
singl
e pr
oduc
tion
wal
l and
ceili
ng
3. P
rivat
e Sp
aces
in
divi
dual
uni
ts fo
r art
ists
priv
ate
room
s, ed
iting
bay
s
2. R
oof C
oolin
g
boi
lers,
gene
rato
rs
1. O
pen
Floo
rs
1, 3
, 4: a
ir ha
ndlin
g fo
r adj
acen
t flo
ors
5. B
asem
ent
w
ater
tank
s, ele
ctrici
ty, te
lecom
, pu
mps
, spr
inkl
ers
Elev
atio
n an
d Se
ctio
n D
raw
ings
3
HVA
C Sy
stem
in Se
ction
69
mo
veab
le s
cree
n fa
cad
e
fixed
cur
tain
wal
l gla
zing
en
velo
pe
inte
rnal
flo
or,
bea
m a
nd
po
st c
ons
truc
tion
usin
g
exis
ting
tim
ber
Build
ing
Sect
ion
Faci
ng N
orth
Scal
e 1=
32
In li
ght
gre
y b
ehin
d s
ectio
n, t
he e
xist
ing
flo
or
pla
nes
dem
ons
trat
e ho
w m
uch
the
inte
rnal
str
uctu
re h
as b
een
man
ipul
ated
to
cre
ate
the
des
ign
of t
he F
ilm C
ente
r
Pro
duc
tion
Pow
er S
hop
Thea
ter
Lob
by
Thea
ter
Win
do
w
Thea
ter
Co
nfer
ence
Ro
om
Co
nfer
ence
Ro
om
Ap
t. 7
Ap
t. 6
Op
en B
ay P
laza
Unu
sed
Em
pire
Bay
s
Ap
t. 5
Ap
t. 4
Ap
t. 3
Ap
t. 2
Ap
t. 1
Elev
atio
n an
d Se
ctio
n D
raw
ings
4
Exist
ing F
loor P
lates
show
n in G
rey
Inside
I begin
from the South, Water
Street to the park, only
a line across the open bay stands
between A and B, changing spacial qualities
synchronizes with the undulating
screen, increases, decreases, increases
to opacity forming the Film Centers layered mask
to the plaza, I view myself travel alongside
a surface of steel, small fingerprints fight the mirror finish,
wonder teases the hidden production stage
reflecting from the inside, back on the chosen
society that gathers today in this space.
71ThresholdPlaza|Facade|Film Center
72
The Open Bay PlazaI begin from the South, Water Street to the park,
only a line across the open bay stands between A and B, changing spacial qualities synchronizes with the undulating screen,
increases, decreases, increases, to opacity forming the Film Centers layered mask to the plaza, I view myself travel alongside a surface of steel,
small fingerprints fight the mirror finish, wonder teases the hidden production stage reflecting from the inside,
back on the chosen society that gathers today in this space.
Threshold
Open Bay Plaza
1
73
Open Bay PlazaLooking North through the bay towards the park and Manhattan 3d Perspective
74
Facade Development
Open Bay Plaza allows for better access to park with the park + film center + street coming together to
create a social space. Following the removal of bay 4 to create an open plaza space a new facade needed
to contain the Film Centers now exposed west elevation. The plaza provides a way for the public
space to become Film Center space as the facade begins to hold the space to the building, facilitating
interaction between the Film Center and the surrounding environment.
Several spacial studies were performed in section to finalize the vertical relationships between floor
levels and how the floor levels would shift vertically to achieve the connection between levels. The
surface created a connected plane between the floor levels. The plane would no longer be used for
actual circulation space although the facade allowed the ground floor to visually connect with the floors
above as the facades angle cantilevered over the space below. This narrow space created a straight path
through the Film Center from the street to the park. The narrow space also create a cavernous space
that would penetrate the roof line to allow daylight to find its way in to the central areas that were
farthest removed from openings in the facade like the perimeter spaces.
Activated Facade
After several design studies, the fluid plane that had inspired the facade became simplified into
triangular planes, each remaining unique panels, but allowing for actual construction of the facade to be
more plausible. The narrow access space created by the facade became a plaza by taking out the adjacent
by in the Empire Building. This allowed the angled facade to really expose the guts of the Film Centers
internal spaces and further connect to the surrounding context. The facade next stage of development
would increase activity by creating a truly active facade. The facade would become mobile, allowing the
angled plane to move out into the park to flatten out and create a screen to project and view films from.
Threshold
2
Social Facade
75
Design Studies
The circulation plane that had been folded would be represented in the final design as the building facade for the East side of the Film Center.
76
2.
3.
Passive Energy PropertiesWall Section DiagramScale 1 = 4
Passive Energy Properties
1. The gap between the facade and interior glass envelope create a double skinned facade. A natural
chiminey effect keeps air constantly circulating vertically so the interior and exterior temperature
difference is less than the actual temperature in the surrounding environment.
2. The sloped angle of the east facade acts like a roof overhang to provide protection from the sun
during summer months. The suns lower angle in the winter enables the sun to reach the interior spaces
to help with day lighting and heating.
3. During the winter months this plaza would be shaded throughout most of the day. The slopped
facade redirects the sun and warmth to the public plaza below to create a more enjoyable space year
round.
Threshold
3
Passive Facade
1.
77
Multi-Layer Building EnvelopeWall Section DetailScale 1 = 4
Multi-Layer Building Envelope
Threshold
4
Multi-Layer Building Envelope
1. Screen Facade
2. Curtain Wall
3. Existing Timber
4. Production Wrap3 421
weather envelope
vertical steel I beam for curtain wall6 in
glazing
78
Sliding out, the curtain facade reveals itself: a screen for viewing film in the park. The panels, created
as independent pieces, link together along adjacent hinged spines to create a train of panels. Exceeding
in flexibility, single points of contact glide along an overhead rail. The surface, a perforated screen
interwoven with elastic material, ensures a taut surface at all times. Beyond the surface, the gap between
exterior screens inter-connect with the surrounding environment. Steel members form an infrastructure
to hold-in-place the bolt-in-place speaker systems, PV panels and LED Video panels available.
Design Details
Screen Facade Panels
5
Theater 1389 Seats
West ElevationScale 1=16
West Elevation with Lower Level SectionScale 1 = 64
79
A1 A2 A3 A4 B1 B2 B3 B4 B5 B6
A1 A2 A3 A4 B1 B2 B3 B4 B5 B6
A1 A2 A3 A4 B1 B2 B3 B4 B5 B6
Screen ArmaturePanel Assembly
Scale 1= 48
Screen Surface
Steel Frame
Screen Surface + Steel Frame
80
screen clamp
screen facadewraps around structure so
no frame is visible
screen fastenerplaced over the surface to keep the
screen in place 4x
Design Details
6
Screen Connection DetailScale 1 = 1
Facade Connection Detail
Electrodynamic Levitation
The facade is held at a pivot point that enables the piece to move freely in any direction needed up to a
point. The rail is activated using electricity to power a magnetic field to elevate the panels when moving
back and forth between the park and the building. This movement would be relatively easy once
levitation begins because the whole structure would actually be frictionless sitting on a pillow of air.
81
overhead support supports facadealso provides a track for movement
connections to building to support rail and facade
electromagnet to provide levitation for facade movementalso uses attractive properties to lock pivot in place
transparent pv panel and/orled system inside structure
main horizontal steel box beam
vertical metal structure
cross bracing steel structure
secondary cross bracing steel ties
iron ball joint
Top Connection DetailScale 1 = 4
82
8383
Theaters 1. Theater in Park 2. Theater Window 3. The Perfect Theater 4. Theater Theater
84
85
Film Center
1
Theater in Park
86
Film Center
2
Exposed Theater389 seats
The theater provides a window to the street whenever a film is not being shown. This mirrored effect
creates a duality of scenes and audiences opposite each side of the glass. Inside, visitors waiting for the
feature film can watch the live action taking place in StreetLife. People in the street and across the street
can take part in the live cinema. The public becomes the film as they also become an audience viewing
those waiting for the film to begin. During the film the connection is severed, the screen, black out
curtains and speakers slide in place to enclose the theater. The exterior wall can remain dark or it can be
lit with LEDs to provide a large video board for the public gathering space to use.
The large window broadcasts, from inside the brick facade, a film center teeming with activity.East Facade with street, Theater Window in blackPhoto + 3d Composite in adobe photoshop
Section view of theater open to streetScale: 1/8 = 1
Study model to test how design fit in the surrounding spaces and parkScale: 1/32 = 1
87
glass wall uses fl uid connection to connect to wall notch provides com-plex connection to be hidden
curtain storage
screen storage reelscreen runs along tracks at the top and bottom of the screen
5/8 in double glass unit 6 ft x 9 ft units throughout
vertical steel columns to support heavy acoustic dampening glass
double glass unit with .5 laminated glass 6 in of air space to meet acoustic require-ments
interior acoustic curtain also serves to black-out theater, blocking out natural light
theater screen for fi lm projection
speaker enclosure
Plan DetailTheater 2 OnDisplay
Scale 1=8
Wall Detail in Plan ViewScale 1=12
with Brick Facadeview from apartment across street
without Brick Facadeview from apartment across street
88
Film Center
3
The Perfect Theater160 seats
Theater 2 and 3160 Seats, 4 handicapScale 1 = 10
projection room
Mechanical SystemsTheater HVAC
low velocity, high volume fan
chiller / heating element
chiller / heating elements can be individually controlled to recondition the return are to the desired temperature.
sound isolated enclosure
air supply located under each chair
return air
conditioned air
Two smaller theatres create perfect spaces for viewing film. Each theater provides optimally aligned
seating matched with a screen in the correct proportion for the eyes to best view film all inside a well
insulated truss box structure integrated with a low velocity HVAC system. The two smaller theatres are
the same in almost every way, including the stairs that provide access to the theaters entrance. Location
differs, one being on the ground level oriented east in bay 1, while the other is located in the lower level
under the plaza oriented north.
Construction is exactly the same for each, including the same finish materials and artificial lighting.
Visually each of these theatres look completely different and would not be immediately perceived to be
the same theater inside. The above ground theater is positioned as an object forced between two floor
planes, the underground theater is largely built in to the earth with only a single side exposing itself to
the subterranean vault of stairs leading down. This conflict between similarity and difference help create
an experience, for visitors unaware, that is similar to experiencing deja vu and jamais vu.
Theater 2Elevation Facing SouthGround Floor, Bay 1
Theater 3Elevation facing EastBasement, Open Plaza Bay
Film Center
4
89
self contained hvac system
projection roomspeakers behind the screen
Theater 2 and 3160 Seats, 4 handicapScale 1= 8
curved screen to counter lens distortion
Mechanical SystemsTheater HVAC
Theater 2 and 3160 Seats, 4 handicapScale 1 = 24
HVAC + Structure
Theater Theater160 seats
91Conclusiontell them what you just told them
92
92
Conclusion
As the semester and project progressed focus was readjusted several times. Focus for this project began
with creating powerful concepts that were connected to qualities of perception in respect to time and
space. Concepts were then applied to the project through the analysis of film and the long history of
the Dumbo site. This generated form and spaces that would become as much a part of the existing
then something completely new by interacting and engaging the site and context. This culminated with
a design that is focused on the creation of an experience that creates Architecture for society to USE.
Finally, it became clear that while experience is important, representation of ideas followed through in
the execution of concepts to the details were required to achieve success with the design becoming a part
of the built environment.
The creation of a process narrative to document design decision from an entire semester of work is
difficult. Heavy amounts of editing often condensed a week or more worth of work into a single image
or line of text. An enormous amount of data was generated during the semester including over 15,000
files using 105 gb of space.
The study of film led to an investigation into the nature of time. Time is the ordering system that
experience is created from a series of events. Slumdog Millionaire introduced the Moment, in which
time stood still, creating a situation where the past, present and future were all collapsed into a single
point. Behind the single point lies is experience, using a physical object gives life to the moment. For
example the cinematic story requires the simple medium of film to be projected. These objects were
often not representative of the incredible experience performed. Experience in the Film Center would
be achieved by not big flashy design but by creating an infrastructure where opportunities for making,
viewing and learning about film would occur.
The project site, located between the Manhattan and Brooklyn bridges in Dumbo, would provide
the setting to tell the story of development for the design of the Film Center as well as the adjacent
93
park. Many hours would be dedicated to learning about this historic site with a clear emphasis on the
organization system of the openings in the brick facade that occurred regularly thoughout the Empire
Building. Historical rail lines would provide inspiration for readapting the park to a place to watch
film. Refocusing the park inwards towards the Film Center created a space of its own instead of being
completely dedicated towards the view of lower Manhattan.
Creating a Film Center again, looked towards the site and the existing buildings for clues on how best
to use the huge, empty warehouse. Lines were drawn between openings in the brick facade enabling
a density map to make visible the porosity that existed between the brick facades heavy walls. Spaces
were created and spaces for the Film Center was generated for the first time out of a set of lines that
had been created by adapting the projected line drawing. Occupying the entire Empire Building, the
major armature that contained many of the Film Centers spaces was folded in half. This created new
opportunities for interesting adjacencies to be created in the three eastern bays of the warehouse.
Now that spaces were created, it was time to create a building that would be comfortable existing inside
a structural frame matrix that divided the interior spaces into cubes of space between timber beams
and columns. The perceptual phenomenon of Deja vu and Jamais vu helped to explain a method of
integrating the new and the old into spaces that tricked the memories, a priori of what a film center
and an abandoned warehouse could achieve. Senses come into play anytime perception is discussed,
so a quick study into creating eggs out of different (never considered egg like) ingredients to produce
something that is only an egg on the surface visually.
Time is to be thought of as an physical element that could be manipulated and changed at will. The
recognition of the Film Center into the existing warehouse created a rule based system for manipulation
that resulted in a design fusion where neither of the previous components could be separated back into
old and new elements.
Final floor plans, elevations and sections emerged that provided opportunities for users of the center
to be successful in highly connected spaces for interacting with the wide range of activities in the film
discipline. A system of lobbys distributed throughout the building created many central spaces instead
of only one main lobby. Many of the spaces became more social by creating circulation spaces to exist
through areas instead of running parallel to action in a separate corridor. It was easy to see in section
that, although the design had been based on the existing floor level locations, the design of the Film
94
Center had created a truly new and unique environment to house the programmed spaces.
The threshold between the surrounding environment and the interior spaces had always been important
for the design of the Film Center. The opening of the fourth bay, adjacent to the Film Centers three
bays, created a new path for interaction between the street and park. The plaza would be connected
through a similar public type of space like the street and park. Perceived to be public space without
a connection to the Film Center the design goal after is meant to dissolve the spaces between the
plaza and the Film Centers interior spaces. Inside the plaza, the angled facade invited people inside
to become further interested in what the film center had to over. The plaza helped provide an open
invitation into the building by creating a series of small subtle thresholds that transition between the
open public spaces to the core of the film center.
The facade created a new face for the Film Center to call entirely its own. The undulating, angled
surface provided further interaction between interior, exterior and park spaces. The facade would prove
to not only engage relationships with society but also towards a sustainable environment with many
passive energy properties that control sun light as well as adjacent air temperature in the multi- layered
building envelope. The facades mobility is created using movement out into the park along a rail,
unfolding, to provide a screen for the projection of films. An electrodynamic levitation system would
attempt to tackle the problem of guiding such a huge surface between the plaza and park locations.
The theatres are the location where film is experienced. The theater, more often than not, is a perfect
box secluded from the world in a highly regular layout of ticket offices, concessions and banks of
theatres to receive the dose of cinema. Theatres in the Film Center offer a variety of spaces for viewing
film. The theater in the park offers a social experience that connects to the environment, under the
moonlight were dreams originally played out among the stars. The largest indoor theater is exposed
to the street with a large window that is located behind a deployable screen and blackout curtain that
move out of the way before and after films to create a double viewing/ watching situation of interaction
to occur between those seated before a film and those in the street playing out their day. The final two
theaters create experiences of deja vu and jamais vu to force the viewer to further explore their sensual
perceptions that are in conflict with on another.
95
96
Narrative Design Process - Reorder- postlee postRobert new order3-postMom DONE 1-45Narrative Design Process - Reorder- postlee postRobert new order3-postMom DONE 46-96.pdf
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