1New Orleans

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North by Northwest, 1959

New OrleansInstitute for Film

missionNOLAprecedentprogramschematic design"&7')*,&/"#'!"#$!$%$&'()*'+,-

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The mission of The New Orleans Institute for Film (a fictitious organization), is that it be a non-profit organization dedicated exclusively to supporting independent documentary- and independent-film art-ists, creating an indigenous entertainment industry. NO Center serves as a support facility and research center. It provides an ideal site for students and faculty to explore film and other media and plays a vital role in fostering serious interdisciplin-ary film scholarship. The Center supports classroom teaching, curricular film screen-ing, and individual research in dedicated screening room and media classrooms, and through the development of its archi-val film collection. In addition to provid-ing curricular support, NO Center hosts an array of public events, programming, archival film screenings, conferences and symposia, workshops and programs with visiting artists and film scholars.

NO Center also sees part of its mission as collecting and preserving the audio-visualheritage of New Orleans and making it available to as many users as pos-sible. The Institutes collections forms an important part of the New Orleans cultural heritage. The archive is a unique source of information for research, not only for students and academics, but also for jour-nalists, international production companies and broadcasting organizations. New material is added to the collection on a daily basis. Digitalization is an essential part of this preservation, both for efficient

long-term management and for making the collection accessible.

The institute intends to help artists create new works through the use of new and evolving technologies while also creating a place for a diverse group of artists to meet. The program is intended to create a hybrid program, where different situ-ations and events sponsor unexpected meetings and create a synergy that keeps this place socially and economically vital. It is a non-profit media arts collaborative organization. Its goals are to create an environment that supports the creation and dissemination of independent media that promotes democracy, community participation, cultural preservation, access and lifelong learning to a diverse commu-nity of artists and audiences; create an environment where artists can make work inspired and achieved by electronic media; to create a responsive public context for the appreciation of new work by presenting and disseminating the finished works; and to bring together in-novative practitioners from all branches of the art collaborating in the use of electronic media. It is the belief that independent media has the capacity to give voice to underrepresented communi-ties and individuals, and to broaden the way people see themselves and others. The Forum assists with commissions and residencies, production services, educa-tion and information programs, and the presentation and distribution of work.

give

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Lower Garden District, New Orleans

stud

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History repeatedly points to the importance of great storytelling in chronicling and in-

fluencing human affairs. Even today, a powerful, authentic narrative can foster trust and

respect between disparate cultures and mitigate the social and psychological impact of

cultural prejudice. In recent times, no medium has been as effective at communicat-

ing the range and diversity of the worlds cultures as the cinematic arts. But this vital

contribution to cultural diversity has been threatened by shifting economic conditions in

the areas of film financing and distribution, a situation largely prompted by the interna-

tional success of the American film industry. [...] Ironically, it is the United States, and

especially its youth, that suffers disproportionately from this lack of exposure to other

cultures. [...] A comprehensive effort to give value to stories from every corner of the

world plays a vital role in promoting tolerance in all areas of human behavior.

- Global Film Initialtive http://www.globalfilm.org/about.html

Down by Law, 1986

7The Third Man, 1949

She was never able, after her education in the movies, to look at a face and not

assign it some category in the scale of absolute beauty, and the scale was one she

absorbed in full from the silver screen. There at last were the darkened woods, the

lonely roads, the river banks, the gentle knowing eyes. There the flawed became

whole, the blind sighted and the lame and halt threw away their crutches. There death

was dead, and people made every gesture in a cloud of music. There the black-and-

white images came together making a magnificent whole -- all projected through the

ray of light from above and behind.

- Toni Morrison, The Bluest Eye

8misso

in

We have lived in the age of film. Holly-

wood has always been a given for us, yet

it seeks always to renew its novelty, its

initial draw. Films constant rebirth hasnt

slowed in the past few decades, so much

so that the media for which it was named

is becoming less and less an integral

part of the craft. As film, like other fields

is changing to a digital profession its

becoming not only more fantastic and

explosive, but also more accessible and

affordable to produce. Children can cre-

ate their first films on their parents com-

puter in an afternoon. Films, once viewed

on an evening out in suits and gowns

at a large cinema can now be rented

with the click of a button on Netflix and

viewed by the individual on his or her

nearest i-device.

But what does this mean for the craft of

film? Will we suffer an influx of mediocre,

but easy to produce material? But per-

haps its a pendulum swing back to the

dilemas of the first filmmakers. With so

many new creative mediums, the explora-

tion is only about to begin.

One of the beautiful Things about the first

films, however, were also their limitations.

Not only technologically, but politically,

films of the early 20th century were

bounded and thus forced to invoke the

imagination. Perhaps some of our films

have lost these characteritics, which begs

the questions: Which is more powerful,

the implication of an event or its full

rendering?

Roman Holiday,1953 +,-

9Such are the questions and concerns

which a film insitute in new Orleans could

explore; a center for film to become again

a gathering event. The center would be a

school as well as community archive. The

school would function on a monthly basis.

In this way, film classes could be more

affordable for students, who wouldnt have

to commit to a full year of study. At the

end of each month, a small film festival

would occur, open to the local com-

munity, during where the students would

showcase their months work.

The films would be short and stress would

be given plot, dialogue, and the frame.

The school would be completely digital,

however CGI and special effects would

be untaught. The school would pose a

challenge to its students to invoke the

school The Philedelphia Story, 1940 imagination of the viewer through the set-

tings and surroundings they find through

their lens, not their computer.

Hopefully, by limiting the school to the

digital realm, the school will remain af-

fordable for the students. Allowing them

the opportunity to think more freely of

their craft. They would also have oppor-

tunities to travel or work between courses.

The center would also function as an

archiving site; changing films into digital

formats so as to preserve them. While the

center serves as a model and promoter of

the digital media, it would also stress the

importance of film as a storytelling

device, one which explores the human

condition and concerns itself with the

events and issues of the present.

10misso

in

Films viewed on an

evening out...

10

The Haunting, 1963

opposite page: Town Theatre,Los Angeles, 1926

Signs, 2002

Which is more powerful, the implication of an event or its full rendering?

The classic horror film, the Haunting, creates tension and suspense through the viewers experience of empathy. We empathize with the terror of the charac-ters. Yet, one never sees the ghost creat-ing the terror. Signs begins in much the same way, M. Knight Shyamalan creates suspense through the implication. But in the end the build up to the fully rendered alien seems anti-climatic.

Films viewed on an

evening out...

12

NO

LA new

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ans,

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13NO

LA

ClimateCultureDemographicsWarehouse DistrictSiteMateriality

14NO

LA

New Orleansmonthly temperature,precipitation, wind direction, sun angle, and heating/cooling days

15

New Orleans temperatures reamain close to the comfort zone throughout most of the year. However, humitidy is also quite high, requiring energy effecient cooling systems in order to reduce building costs.

recommendations from Climate Consultant:

screened porches and patios can provide comfort cooling by ventilation and prevent insect problems.

high mass interior surfaces like stone, brick, tile, or slate, feel naturally cool on hot days and can reduce day to night temperature swings

raising the indoor comfort temperature limit will reduce air conditioning energy consumption

use light colored building materials and cool roofs (with high emissivity) to mini-mize conducted heat gain.

climatescreened portches

and patios

thermal mass

raised indoor comfort temperatures

light colored materials

16NO

LA

17

culturemusic

-%#!0!/"#';)0from social clubs to funeral marches life is celebrated through music, food, and friends...and exhibited on parade or a second line

the french past is prevelent in the old city quarter, from the architecture to the street names, one cant easily forget the citys roots.

cafes can be found throughout the city, another aspect of the street culture in new orleans

rebuilding most devestated com-munities with help from organiza-$!)"#',!#'!"'$2&',#'/(;%&"$'neighborhoods provide a sence of 0)--%"!$A'/"C'$*/C!$!)"'$!&C'>/0

18NO

LA

0

20

30%

Educational attainm entbachelors degree or higher for the population 25 years and older

New Orleans Metro

1720

23

United States

16

20

24

28

19801 9902 0002 008

23n.s.

10

Sources: US Census Bureau, Decennial Census & Am erican Comm unity Survey 2008

19

0

10

20

30

40

Registered arts and culture nonpro t organizationsper 100,000 population, Orleans Parish

071990 2000 04

United States

Orleans Parish

9

6

14

10

18

11 13

30200481 organizations461,915 population

200786 organizations288,113 population

50 per 100,000 population200676 organizations208,548 population

Sources: National Center for Charitable Statistics and Census Bureau Population Estimates Program

Regional export jobs for the 10 largest export specializationsNew Orleans 10-parish region

10

20

30

40

Tourism

Oil & Gas

Shipping

0

50 thousand jobs

1980 1990 2000 0904Source: Mo ody's Econom y.com Database (U.S. Bureau of Labor Statistics: CES, QCEW )

demographics

20NO

LA

major streets

institutions art galleries, museums, restaurants

vegetation

21

relationships of the site to larger landmarks, major streets, and the river

warehouse district

22NO

LA

23

site materiality

24

prec

eden

t

25

Old Father Studios - KU Film StudiesHochschule der Medien

Art House - LTLLa Halle du Robin - AP5 Architects

26prec

eden

t

upper left:classroom space

upper right:relationship of production studio toteaching space

center right:production space

center left:screening room

lower left:editing room

lower right:film storage

old father studios

27

We see film and media as ways of ordering, clarifying, and understanding human

experience. We are humanists, sharing the general goal of discovering and putting into

communicable form hypotheses about human beings and the world as they interact

with it.

- KU Film & Media Studies

Old Father Studios is the facility of the Film School at the University of Kansas. Unfortunately, the school has long out-grown its facilities and is struggling to fit into inflexible spaces. Editing rooms are ideally reserved for one editing group at a time, but due to facility issues, two and in some cases three editing stations occupy one space. Classroom space is also highly valued, but no enclose classrooms exists at Old Father. Classes are held incon-veniently either in a convergent space behind a makeshift wall and ramp or in the production stage facility. Flexibility for growth as well as specific ideals of task lighting and acoustics were helpful lessons from our visit.

programatic precedent

studio spaceHochschule der Medien

28prec

eden

t

Art House is a retrofit project in Austin, Texas. The building, designed by L.T.L uti-

lizes program in order to assign multiple funcitons for a single space. For exampe;

the screen of the movie theater becomes a projection out towards the city, a film

billboard. The roof terrace also allows views of the city while functioning as another

screeing space

longitudinal section

section at the central stair

Art House - by L.T.L.

29

street entrance andfacade

lobby and central stair

roof terrace

architectural precedent Art House - by L.T.L.

30prec

eden

t

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31program

CATEGORY A: PUBLIC SPACES !"#$%&'(")*%%+,-.&&/0+1"23'4/"567"%+"89:'';':$.&"/?"@ABB"3C".3"D&.(/=*&:/0E The public face of the center for the person coming in for the first time. Should facilitate public outreach function of the center. Highly visible from both inside and outside, includes Office for Theater !"F.CG,F*CC//""2P,J"QABB"3C"I*I.&E" CATEGORY B: PRIVATE SPACES !"6&.(R"6*S".&&"I=/.I/0"3D.(/?"ABB"3CE"*0"HABB"3C"library for film and video !"Y>D&*+//")*$9M/1"2HABB"3C"I*I.&E""Private space for employees; include shower and locker rooms !"D3I/0"T"7/&';/0+"U0/."!"Y&/;.I*0"["3"!"F'0($&.I'*9_"

32prog

ram

&*%%+,(.C/,%**R3I*0/"

4,000 sf

library

2,000 sf

movie theater

2,500 sf

production studio I

2,500 sf

/:'I'9M"0**>3"HH"XHAB"/.(=

1,650 sf

production studio II

1,500 sfterrace

5.000 sf

public spaces private spaces

*CC'(/3_"e"XH@A"/.(= 750 sf

33

classrooms, W"X"ABB"3C"

1,500 sf

archiving room

250 sf

actu

al....

3(0//9'9M,conference room

1,500 sf

workroom

1,250 sf

shop yard

5.000 sf

admnistration

34prog

ram

conditioned space 19,400 sf

grossing factor 1.25

>/(=Z,('0(Z,3/0;'(/3"""A_BBB"3C 24,400 sf

P

x

gross sqft 30,500 sf

GSF

SF Cost

City Cost Factor

Weighted SF Cost

Size Modifier

Adjusted Unit Cost

Use

Escalation

Unadjusted Construction Estimate

A. Adjusted building costs

B. Fixed Equipment

C. Site Development

sub total

escalation

D. Total Construction (direct)

E. Site Aquisition

F. Movable Equipment

G. Professional Fees

H. Contingencies

I. Administrative

30,000

$118.00

1.37

$161.66

.90

$144.90

$145.00

eb

$3,540,000

$4,350,000

$435,000

$652,500

$5,437,500

$326,250

$5,763,750

$500,000

$576,375

$345,825

$576,375

$57,637

median GSF cost (Means 2007)

New Orleans (Means 2010)

1.37 x $118.00

30,0000/33,400 (Means 2007)

$161.66 x .90

4% per year x 1.5 years

30,000 x $145.00

10% of building cost

15% of buildng cost

A+B+C

subtotal x 6%

subtotal + escalation

variable upon market

10% of construction cost

6% of construciton cost

10% of construciton cost

1% of construction cost

add D+E+F+G+H+I

cost estimate EF=G5H=F6I

35

0.00

1.00

2.00

3.00

4.00

5.00

6.00

7.00

8.00

9.00

10.00

11.00

12.00

13.00

14.00

15.00

16.00

17.00

18.00

19.00

20.00

21.00

22.00

23.00

timeMon. Fri.

users public spaces private spaces

shop

yard

arch

iving

roo

m

clas

sroo

ms

prod

uctio

n stud

io

editing

roo

ms

offic

esscreen

ing/

conferen

ce roo

m

workroom

time-usecu

stod

ial staff

stud

ents

teac

hing

and

adm

in. staff

even

t pa

tron

cafe p

atron

cafe staff

lobb

y/ca

fe/b

ookstore

mov

ie the

ater

terra

ce

library

conditioned space 19,400 sf

grossing factor 1.25

>/(=Z,('0(Z,3/0;'(/3"""A_BBB"3C

median GSF cost (Means 2007)

New Orleans (Means 2010)

1.37 x $118.00

30,0000/33,400 (Means 2007)

$161.66 x .90

4% per year x 1.5 years

30,000 x $145.00

10% of building cost

15% of buildng cost

A+B+C

subtotal x 6%

subtotal + escalation

variable upon market

10% of construction cost

6% of construciton cost

10% of construciton cost

1% of construction cost

add D+E+F+G+H+I

cost estimate EF=G5H=F6I

36prog

ram

needs...

... connection to street level

... acoustic separation

... daylight

lobby/cafe/bookstore

libraryproduction studio

production studio

shop yard

movie theater

editing rooms

offices

editing rooms

lobby/cafe/bookstore

library

classrooms

37

shop yard

st. joseph street

cafe

library

a.r.studio I

studio IItschoupitoulas

north diamond

street connection

first floor

38prog

ram

shop yard

shop yard

shop yard

cafe

library

a.r.studio I

studio II

studio II

studio I

screenin

g

wk roomcafe

theater

classroom

terrace

first floor

second floor

third floor

daylight

39

shop yard

cafe

library

a.r.studio I

studio II

business occupancy

accoustic and fire separation

assembly occupancy

supp

ort

supp

ort

accoustic separation

40

sche

mat

ic d

esig

n

41shcem

atic design

+'*#$'1!"J%1schematic design reviewrevised schematic review

K&>*%/*A'6HK&>*%/*A'4H

L/*02'6H

42sc

hematic d

esign

Schematic design began after the analysis of our site in the Warehouse district and a trip to New Orleans. My first steps were to cluster programmatic spaces into private, public, and institutional masses and fit these within the given site and context. The basic guiding principles included a desire to engage the sites northwest corner, maintain a connection between the production studios and shop yard on the first floor, and to offer an occupiable roof space within the sites roofscape. Another early strategy was the idea of the building creating both an interior and exterior fixed corridor be-tween two streets and a flexible function within the studios to absorb the streets causing the building to become more permeable. A driving force of the project from these first weeks was the idea of film as media historically evoked through implicative methods of storytelling as opposed to the explicit visual communication found in contemporary film. This idea trans-lated to the programing of the spaces as views and glimpses of activity were either denied, displayed, or revealed and concealed subtly. After the first February 18th pin-up, I preceded to continue to develop in

smaller clusters the programmatic swaths of the project. Initial feedback from the first pin-up was to draw more informa-tion and architecture from the context of the site as well as to allow more views between the areas of production and ar-eas open to the public. Plan and section development occurred through an itera-tive process until our review on February 28th. At the February 28th review, ideas of improving the massing of the roof led to a more contained form and section. Ideas of connecting views from within the building to specific buildings around the site were suggested. For the March 18th jury, I further de-veloped the project resulting in a fairly finalized plan and sections, but with ques-tions and ideas of facade and materiality. Consequently much of the feedback I re-ceived was directed toward the materiality and placement of the facade elements. It was suggested to use the materials in a simpler way to articulate the broader stroke of the buildings masses. Another comment suggested to capitalize on the voyeuristic qualities of cinema and open up views from one space through another.

43

44sc

hematic d

esign

A

B

C

C

1

2

3

4

5

5

5

6

6

7

4 1

8

2

3

4

5

5

5

6

6

7

4

6

5

6

5

1

2

3 3

3

4

5

6

67

41 1

2

1

iteration

first level second level third level fourth level

2

3

4

5

45

sche

me

deve

lopm

ent

fourth level

46sc

hematic d

esign

47

(&>*%/*A'4H

48sc

hematic d

esign

production productionproductionproductionproductionproduction

production

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section B_B

sections at 1/16 = 1

section A_A

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learninglearninglearninglearninglearninglearninglearninglearninglearning

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learninglearninglearninglearninglearninglearninglearninglearninglearning

yardyardyard

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lobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbycafecafecafecafecafe

screeningscreening admin.

librarylibrarylibrarylibrarylibrarylibrary

49

gallery

(.C/,%**R3I*0/,&*%%+(.C/,%**R3I*0/,&*%%+

librarylibrarylibrary

first floorD&.93".I"H,Hef"g"Hh

archiving room

production studio

production studio

storage

storage

B

B

A

storage

mech.

mech.

A

movie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theater

terrace

classroom

classroom

editingroom

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editingeditingeditingeditingeditingeditingeditingeditingeditingroomroomroomroom

lounge

second floor

(.C/,"&*%%+,"%**R3I*0/

screening room

admin.

workroom

mech.

mech.

jan. closet

third floor

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fourth floor

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covercover2Grace studio catalog