NY Film Center.process book

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


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.


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


2nd Floor

Classrooms

Film and Video Collection

Aud. Rooftop


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


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



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

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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

8383

Theaters 1. Theater in Park 2. Theater Window 3. The Perfect Theater 4. Theater Theater

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.

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

Documents

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