AMMPAS Thesis Book

ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER

THE ACADEMY MUSEUM OF MOTION PICTURE ARTS + SCIENCES

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TITLE PAGE AMMPAS: THE ACADEMY MUSEUM OF MOTION PICTURE ARTS & SCIENCES BY ALEXANDER SCHWEITZER

Master of Architecture School of Architecture, Art and Historic Preservation Roger Williams University May 2015

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SIGNATURE PAGE AMMPAS: THE ACADEMY MUSEUM OF MOTION PICTURE ARTS AND SCIENCES

Submitted in Fulfillment of the requirements for the Master of Architecture degree:

X / date

ALEXANDER SCHWEITZER Master of Architecture X

/ date

ANDREW COHEN Thesis Advisor X

STEPHEN WHITE

/ date

Dean / School of Architecture, Art and Historic Preservation

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DEDICATION / ACKNOWLEGE THROUGH THE MANY MOVIES WATCHED, CONVERSATIONS HAD AND THOUGHTS PROVOKED THE PROCESSES AND OUTCOMES OF THE CONTENT IN THIS BOOK AND IN MY BRAIN WOULD NOT BE THE SAME WITHOUT THE FOLLOWING LIST OF INDIVIDUALS: Luis E. Carranza Robert Eisinger Greg Laramie Michele Meskill Peter J. Romains Ellen Hassett Andrew Kotleski Amanda O’Malley Brad Shapiro Matt Eckel Jessie Palmer Andres Daza David E. Sánchez Maxx Kaplan Colby Karambelas Samantha Amoroso Jason Waisnor Neal Schweitzer Susan Schweitzer Robyn Schweitzer Jake Schweitzer (additionally all faculty, family, and friends who believe they should have been included)

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“CINEMA IS A SPECIFICITY OF VISION, IT’S AN APPROACH IN WHICH EVERYTHING MATTERS. IT’S THE POLAR OPPOSITE OF GENERIC OR ARBITRARY AND THE RESULT IS AS UNIQUE AS A SIGNATURE OR A FINGERPRINT. IT ISN’T MADE BY A COMMITTEE, AND IT ISN’T MADE BY A COMPANY, AND IT ISN’T MADE BY THE AUDIENCE. IT MEANS THAT IF THIS FILMMAKER DIDN’T DO IT, IT EITHER WOULDN’T EXIST AT ALL, OR IT WOULDN’T EXIST IN ANYTHING LIKE THIS FORM” S 8

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TABLE OF CONTENTS 10 ABSTRACT

134 PRECEDENT ANALYSIS

12 PROLOGUE

158 CONCEPTUAL FRAMEWORK

16 PROBLEM STATEMENT

188 DESIGN SOLUTIONS

20 PROJECT STATEMENT

226 FROM MAY TO JUNE

26 THE ACADEMY

236 FINAL PRESENTATION

38 THE OSCARS

310 CONCLUSION

50 THEMES / ARCH. INTENTIONS

314 BIBLIOGRAPHY

60 USERS / CLIENTS

322 FILMOGRAPHY

66 PROGRAM OUTLINE

328 CITATIONS / SOURCES

74 SITE IDENTIFICATION

336 GRAPHIC DESIGN

114 REGULATORY ENVI. REPORT

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ABSTRACT

abstract: “the summary of the contents of a book”.

Equally as interesting are the other definitions: “existing in thought or as an idea but not having a physical concrete existence” AND “consider (something) theoretically or separately from something else” in terms of this book (the thesis), it is the theoretical design for a Museum that does not exist, a Museum celebrating the artists of Cinema (movies & films) - the Directors, Cinematographers, Screenwriters, Costume Designers and more. Through manny unsuccessful attempts the only client who has a history as long as hollywood itself is - The Academy of Motion Picture Arts and Sciences (AMPAS).

Therefore we have the client (AMPAS/cinema) and we have the program (Museum/architecture), then what remains is the abstract: What is a Cinematic Architecture?

So sit back, pop some popcorn - and enjoy the show.

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“I THINK I’M NOT SO MUCH A FAN OF SCIENCE FICTION AS I AM A FAN OF CINEMA THAT CREATES WORLDS, THAT CREATES AN ENTIRE ALTERNATE UNIVERSE THAT YOU COULD ESCAPE INTO FOR A COUPLE OF HOURS.”

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PROLOGUE THE SEVEN ARTS

“When I was growing up in early 1950s South London, there was a children’s encyclopedia on our shelves that included a section on “the seven arts.” Not the nine Muses, but the seven arts. These arts were Literature, Music, Opera, Dance, Drama, Visual Art – and Film, which was described as THE art form of the twentieth century, an art form that had its origins as an end-of-pier sort of entertainment but that through a mixture of technological change, fashion, industrial organization, and human creativity had long since matured into the seventh art. The nameless encyclopedist predicted that before long film history – like art history – would surely enter the hallowed portals of mainstream culture through museums, exhibitions, scholarly publications based on primary, secondary, and tertiary sources, and the kinds of critical seriousness that were routinely applied to the other six arts.

The celebrated opening words of Ernst Gombrich’s The Story of Art are: “There really is no such thing as Art. There are only the artists… Art with a capital A has come to be something of a bogey and a fetish.” By the same token,

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this book isn’t about “Cinema” or “Film” in the abstract. It is about filmmakers and films, and their still underrated importance in all our lives.” – Sir Christopher Frayling, Movies from the silent classics of the silver screen to the digital and 3-D Era

CINEMA PAST PRESENT AND FUTURE “In the ‘90s, newly accessible video technology gave adventurous filmmakers (such as Lars von Trier and his colleagues in the filmmaking movement Dogme 95) an unprecedented wedge for questioning the form of motion pictures…

Quentin Tarantino’s recent observation that digital projection is the “death of cinema” identifies this fork in the road: For a century, movies have been defined by the physical medium (even Dogme 95 insisted on 35mm film as the presentation format).

This is a future in which the theater becomes what Tarantino pinpointed as “television in public.

Once movies can no longer be defined by technology, you unmask powerful

fundamentals—the timelessness, the otherworldliness, the shared experience of these narratives.

We moan about intrusive moviegoers, but most of us feel a pang of disappointment when we find ourselves in an empty theater.

The experience must distinguish itself in other ways. And it will.

The public will lay down their money to those studios, theaters and film- makers who value the theatrical experience and create a new distinction from home entertainment that will enthrall—just as movies fought back with widescreen and multitrack sound when television first nipped at its heels. …innovation, experimentation and expense...

The theaters of the future will be bigger and more beautiful than ever before. They will employ expensive presentation formats that cannot be accessed or reproduced in the home …the cinema of the future will depend not just on grander presentation, but on the emergence of filmmakers inventive enough to command the focused attention of a crowd for hours.” - Christopher Nolan, Films of the Future Will Still Draw People to Theatres

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“SADLY, SOME PEOPLE THINK OF GOOD CINEMATOGRAPHY AS A BEAUTIFUL SUNSET OR A SPECTACULAR VISTA. I BELIEVE WE AFFECT THE AUDIENCE IN A MUCH MORE SUBTLE WAY. WE’RE MANIPULATING THEM EMOTIONALLY WITH LIGHT, DARKNESS, COLORS, CONTRAST AND COMPOSITION. I KNOW THE DOGME 95 THEORIES, BUT I BELIEVE ACTORS RESPOND TO LIGHT. JUST LOOK AT A REMBRANDT OR CARAVEGGIO PAINTING OR ANY OF THE DUTCH MASTERS, AND TELL ME LIGHT ISN’T IMPORTANT. THE PICTURES HAVE TO BE TRUE TO THE NARRATIVE, BUT I LIKE TO TEST THE BOUNDARIES AND SEE HOW FAR I CAN GO.” W

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PROBLEM STATEMENT EXPERIENCE

Architecture and Film share one specific overlap - Experience.

Architecture is a Spatial Experience: it is procession, shelter, physical, environmental, and encompassing.

Film is a Cinematic Experience: it is escaping, storytelling, intimate, technical, layered, and visual.

Architecture plays a role in every Film, it is the physical, and spatial environment of the film. It is the production design, the lighting, the mood, it is even in some films the main character.

Like Architecture, Films are made of many different layers or artists, technicians, specialists, people from many fields working together to create a final product: the experience.

From Screenplays, Production Designers, Costume Designers, Actors, Composers and more all contribute an artistic layer of the final cinematic experience.

Through the lenses of the separate components that make up a Film, one can still have a similar cinematic experience.

Weather its reading a screenplay, or flipping through sketches from

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a costume designer, it begins to create a new perspective of the film. Individually they create a new perspective on a film, but if one were to experience all the layers of a film architecturally, the resultant is a Spatial Experience of the Cinematic Experience. A Museum.

MUSEUM

A museum is a very tricky architectural typology. It has the power to transform cities, or create controversies. There are no set or defined rules to design a museum because a museum is so individually specific to its content and client. No two are really the same. And the biggest problem is that the architecture has the power to distract the user the museum’s content. A museum should have an architecturally rich experience but only by providing the ultimate desired showcase/presentation of the content. Since museums showcase the past, in the present and preserve it for the future, they need to be resilient. It has to architecturally disappear from the art while simultaneously becoming a symbol for the collection as a whole.

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“YOU MUST TRAIN YOUR INTUITION YOU MUST TRUST THE SMALL VOICE INSIDE YOU WHICH TELLS YOU EXACTLY WHAT TO SAY, WHAT TO DECIDE.”

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PROJECT STATEMENT Since its inception in 1927, The Academy of Motion Picture Arts and Sciences (AMPAS, and from here on out will be referee to as the Academy) is the world’s most preeminent organization in regards to cinema. The Academy Museum of Motion Picture Arts and Sciences (AMMPAS) will celebrate the true nature of the Academy; the past, present and future advancements in every layer of technical and artistic craft in film.

The Museum will stand as the architectural representation of what the Academy is above all, not a red-carpet celebrity obsessed materialistic representation of fame - rather the artists, technicians, and achievements made in films history in addition to the presence the Academy has on inspiring and educating young filmmakers. The goal being the experiential essence and representation of The Academy.

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THE ACADEMY’S MUSEUM OF MOTION PICTURES

In as early as 2011, the Academy privately contacted an estimated 32 architects, all were asked to present not a design, but a point of view. The Priztker (Architecture) Prize winning architect, Christian De Portzamparc was chosen because “this is a man who unequivocally loves film, and has said many times that film has shaped his outlook on life”.

Unfortunately for Portzamparc, the Academy swiftly and quietly made a deal with the Los Angeles County Museum of Art (LACMA) and fellow Priztker Prize winning Architect Renzo Piano. At the 86th Academy Awards in 2014, the designs for the Academy Museum of Motion Pictures designed by Renzo Piano were televised. Renzo Piano’s museum will begin construction in the late summer of 2015.

This thesis will not be the microscopic examination and criticism of Renzo Piano’s design. From here on out it is assumed that Piano’s design was never chosen by the Academy.

Therefore the question remains unanswered: What is the Academy Museum of Motion Pictures Arts and Sciences?

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“OSCAR AND I HAVE SOMETHING IN COMMON. OSCAR FIRST CAME TO HOLLYWOOD SCENE IN 1928. SO DID I. WE’RE BOTH A LITTLE WEATHER-BEATEN, BUT WE’RE STILL HERE AND PLAN TO BE AROUND FOR A WHOLE LOT LONGER.”

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T H E ACADEMY

The Academy is most notoriously known for their Academy Awards Ceremony, otherwise known as the Oscars, which honors the people responsible for every layer of craft and skill that goes into making a film.

Of the thousands of films that are produced both domestically and internationally, a small percentage are nominated and even fewer win. The films are voted on by the members of the Academy who range from all walks of the same categories they vote on, from directors, actors, costume designers etc.

These ceremonies all began in 1929 where the academy only consisted of 300 or so members who gave out 15 Oscars (awards) at a private banquet at the Roosevelt Hotel, located on Hollywood Boulevard and North Orange Drive in Los Angeles, California. 87 years later, the academy, the nominees, and the way in which the ceremony is broadcasted has grown consistently to become one of the most anticipated and watched programs on Television.

Since the inception of the Academy, the Oscars are only

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part of a whole that is larger than most red carpet viewers understand. The Academy has an increasingly large library and archive that is housed at two separate facilities in Los Angeles including over 10 million photographs, 165 thousand films and video assets, 80 thousand screen plays, 50 thousand posters, 20 thousand production and costume design drawings, and 1,400 special collections.

Beyond their historical and conservational facilities, the Academy has numerous educational outreach programs to teach children, students, and more the technical, experiential, and beauty of films

and filmmaking. They also have separate divisions focusing on the future of film that explores numerous technological advancements in the preservation of film. And finally, there are the special events and exhibits that the Academy has held or contributed to showcasing various subjects of their archive from Costume Design to Film Posters.

In the past 10 years the Academy’s biggest issue has been its own growth. The archive and library have needed to be moved twice in the past 50 years to new buildings. The Awards have never been viewed so broadly. The general public is

increasingly more interested in the Academy films. Oscar season (the fall months from October to December when the most films nominated for academy awards typically hit theatres) have increased with nominees being released in late August to early September. When a $232 Million dollar budget movie like Avatar (2009) receives as many nominations as a $15 Million dollar movie like The Hurt Locker (2009) that level of scale and attention deserves acknowledgement. Another level of the Academy’s influence on the general public is that in the past two decades, the Academy has brought more and more attention

to smaller independent movies, therefore recognizing the work of artists that would never before gotten such attention if it were not for the acclaimed academy appraisal.

So much more than an awards show, the academy has one of the largest collections of films and cinema related artifacts, it had numerous educational and special event programs, and is at the forefront of the preservation and research in film technologies.

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HISTORY EARLY 1927 – Dinner of MGM’s Studio Chief Louis B. Mayer with Conrad Nagel (actor), Fred Niblo (director), and Fred Beetson (producer) discussed creating an organization to benefit the entire film industry.

JAN 11TH 1927 – 36 people met at the Los Angeles Ambassador Hotel. Proposal to found the “International (later dropped) Academy of Motion Picture Arts and Sciences” Soon after: Douglas Fairbanks was named the first President.

MAY 11TH 1927 – Non Profit organization. First official banquet. Of the 300 attending, 230 joined the Academy for $100. First Honorary Award given to Thomas Edison. Initial 5 Branches were Producers, Actors, Directors, Writers, and Technicians.

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MEMBERS EARLY 1927 – Dinner of

the first 4 members, discussed creating the organization.

JAN 11TH 1927 – 36 people met at the Los Angeles Ambassador Hotel.

JAN 11TH 1927 - At the first Academy Awards Ceremony they initially started at approx.

230 members.

2014 - Approx. composed of over 6,ooo members inside the film industry.

JUN 26TH 2015 - the Academy invites 322 members including: Actors (25), Casting Directors (10), Cinematographers (11), Costume Designers (3), Designers (16), Directors (26), Documentary (21), Executives (12), Film Editors (25), Makeup Artists and Hairstylists (10), Members-at-Large (15), Music (19), Producers (12), Public Relations (19), Short Films and Feature Animation (26), Sound (26), Visual Effects (23), Writers (21), Associates (9)

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ARCHIVE

So much more than the red carpet and the awards, one of the largest parts of the Academy, is their archive and library. The entire permanent collection is comprised of 10 million photographs, 165 thousand films and video assets, 80 thousand screen plays, 50 thousand posters, 20 thousand production and costume design drawings, and 1,400 special collections. “Dedicated to the preservation, restoration, documentation, exhibition and study of motion pictures, the Academy Film Archive is home to one of the most diverse and extensive motion picture collections in the world, including the personal collections of such filmmakers as Alfred Hitchcock, Cecil B. DeMille, George Stevens, Fred Zinnemann, Sam Peckinpah and Jim Jarmusch.

The Academy of Motion Picture Arts & Sciences was founded in 1927 and began acquiring film material in 1929. The Academy Film Archive, established in 1991, holds over 175,000 items, including all of the Academy Award-winning films in the Best Picture category, all the Oscar-winning documentaries and many Oscar-nominated films in all categories.� - oscrs.

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MARGARET HERRICK LIBRARY

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“The Margaret Herrick Library is a world-renowned, noncirculating reference and research collection devoted to the history and development of the motion picture as an art form and an industry. Established in 1928 and now located in Beverly Hills, the library is open to the public and used year-round by students, scholars, historians and industry professionals.� - oscars. org The collections include: Books and Pamphlets, Core Collection Files, Graphic Arts Collection, Oscars and Academy History, Periodicals, Photographs, Scripts, and Special Collections.

Many of their collection can be found on their Digital Collections and were used as reference and research in the book.

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SCIENCE TECHNOLOGY

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The Academy, is also the forerunner in discovering new preservation technologies for most recent transfer of shooting movies digitally.

1926. Movie production, postproduction and exhibition are all moving – or have already moved – away from the methods and processes which predominated for the past 100 years. While these shifts hold great promise, they also underscore the need to ensure that technology enhances rather than dominates the art form.

In response to these developments, the Science and Technology Council was created by the Academy’s Board of Governors in 2003. The Council’s activities are focused on three main areas: Industry-Wide Projects And Collaboration The Council’s Technology and Research Initiatives Subcommittee serves as a primary forum for problemsolving, discussion and research regarding important technological issues facing the film industry.

History

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The Council’s Technology History Subcommittee seeks to chronicle the development and implementation of motion picture science and technology through the collection of key artifacts, records and information.

Public Outreach And Education The Council’s Public Programs and Education Subcommittee produces informative and entertaining programs to teach industry professionals and the general public about the ways in which technology serves the art of motion pictures.

Through the work of the Council’s Advanced Technology Programs Subcommittee, the Academy serves as a primary forum for the discussion and research of important technological issues facing the industry. Several projects are currently underway that tap the knowledge and experience of leading technology and process experts, from both inside and outside the industry, in the fields of color science, imaging science, large-scale data storage systems and other core areas.

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EDUCATION

The Academy seeks to further the understanding and appreciation of motion pictures and the production process for people of all ages. A diverse array of programs for students, teachers, filmmakers, scholars, institutions, and the public provide unique opportunities for enrichment and engagement with cinema and its artists.

Visual Literacy Throughout the year, the Academy hosts nearly 1000 middle and high school students from the Los Angeles Unified School District who participate in a unique visual literacy program. These events include feature-film screenings, group discussions, film analyses, and filmmaker visits.

Utilizing common core principles, the program is designed to help students become aware of media messages encountered daily, improve analytical skills to evaluate those messages, and encourage provocative and thoughtful interaction with the media.

Past films used in discussion:Across the Universe (2007), The Blind Side (2009), Bring It On (2000), Crash (2004), Fruitvale Station (2013), Juno (2007), Mean Girls (2004),

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Napoleon Dynamite (2004), Remember the Titans (2000), Rent (2005), The Spectacular Now (2013) Visiting Artists The Academy Member Engagement program facilitates practical educational opportunities for learning institutions, festivals, conferences, and other filmrelated events. Students and faculty are provided direct contact with the Academy’s working filmmakers, creating a meaningful connection between the worlds of academia and practice at the industry’s highest levels.

Past Academy Member

Participants: Michael Giacchino (Composer, Emory University) Teacher’s Guide Series The Academy produces a series of guides for middle and high school teachers to facilitate the classroom exploration of the art and science of motion pictures.

The activities are designed to tap students’ interest in film and the excitement of the Academy Awards to teach common corerelated principles such as critical thinking, creative writing, and visual literacy.

Grants The Educational Grants Program provides support to institutions and other nonprofit organizations that help aspiring filmmakers

gain the skills and knowledge they need to make theatrical motion pictures.

In 2013 the program distributed $325,000 to 27 film-related nonprofit organizations.

The Academy’s Educational Grants Committee believes that industry internships are an important gateway for dedicated and talented students who have a drive to realize their dreams.

These internships should create pathways for students by providing an educational environment that creates opportunities, provides exposure and encourages mentorship, regardless of the students’ financial means. To this end,

the Internship Grants Program provides assistance to qualified but financially challenged students who might not otherwise be able to participate in a motion picture industry internship.

In 2013, the program distributed $175,000 to 22 institutions.

The Film Festival Grants program has awarded over $5.7 million to film festivals since 1999. Grants totaling $450,000 were granted to 30 U.S. film festivals in 2011.

While the grants are awarded for a variety of programs, film festivals are encouraged to submit proposals that make festival events more accessible to the general public, provide

greater access to minority and less visible filmmakers, and help strengthen the connection between the filmmaker and the public.

Academy Film Scholars To stimulate and support new and significant works of film scholarship, the Academy Film Scholars program awards grants of $25,000 to two individuals each year.

Established scholars, writers and historians are awarded grants to research topics that may include cultural, educational, historical, theoretical or scientific aspects of theatrical motion pictures.

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“CHECK OUT THE GLAMOUR, THE GLITTER, PEOPLE TWEETING ON THE TWITTER AND NO ONE’S DRUNK AND BITTER YET ‘CUZ NO ONE HAS LOST. LOOK AT THE DIAMONDS, THE DRESSES, PEOPLE GOING TO EXCESSES, THE STRESS IS ON AND EVERYBODY’S FINGERS ARE CROSSED. I KNOW THE CAMERA’S ON AND WE’RE BEHAVING OUR BEST. YET, I SECRETLY HOPE SOMEONE PULLS A KANYE WEST. BUT WE ARE HERE TONIGHT, WITH OUR XANAX AND DIOR, THANK YOU LISTS AND PUBLICISTS WHO FOUGHT THE OSCAR WAR. TONIGHT WE TOAST WHAT WE LOVE MOST AND I AM THRILLED TO BE YOUR HOST.” N

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T H OSCARS

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The double edged sword of the award ceremony is that it celebrates and gives attention to movies no one would have heard about while simultaneously focuses most of the attention on the ‘celebrity’ of the event and not the artistry of the films themselves.

HISTORY

May 16th 1929 – First Awards Ceremony.

First Academy Committee was Awards of Merit. Awards were presented in 12 Categories. Black Tie Dinner in the Blossom Room at the Hollywood Roosevelt Hotel located on the corner of Hollywood Boulevard and North Orange Drive. To Honor Achievements between August1st 1927 and July 31st 1928. 270 people attended the event. The tickets were $5 per person. Recipients of the Awards were announced 3 months prior to the event. First Award presented to actor Emil Jennings (for his roles in The Last Command (1928) and The Way of All Flesh (1927)) before the ceremony because he was unable to attend the event. A total of 15 awards were given out that night.

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The award of best picture went to Wings (1927). The ceremony was only 15 minutes long.

April 3rd 1930 – Second Academy Awards Ceremony.

Was the first Awards Ceremony to be Broadcasted over the radio.

The winners were only disclosed to the newspapers at 11PM at the night of the awards. Black tie dinner at the Ambassador Hotel located on Wilshire Boulevard.

March 19, 1953 – 25th Academy Awards. First Televised Award Ceremony.

The ceremony was 1 hour and 53 min long and was viewed by 40 million people. Hosted by Bob Hope, Conrad Nagel at the Pantages Theatre located at the corner of Hollywood Boulevard and Argyle Avenue. Best picture

award went to The Greatest Show on Earth (1952) April 18th 1966 – 38th Academy Awards. First Televised Oscars in Color. The event was hosted

by Bob Hope at the Santa Monica Civic Auditorium located on 185 Main Street in Santa Monica, California. That night the Best Picture winner was The Sound of Music (1965) April 10th 1968 – 40th Academy Awards. Last show to be broadcast on the radio. The event was hosted by Bob Hope at the Santa Monica Civic Auditorium located on 185 Main Street in Santa Monica, California. That night the Best Picture winner was In the Heat of the Night (1967) March 24th 2002 – 74th

Academy Awards. First show to be located at the Kodak Theatre, now called the Dolby Theatre (intermediately named Hollywood and Highland Center) situated at 6801 Hollywood Boulevard. The theatre is now referred to the Home of the Oscars, and has been used for the event ever since. Whoopi Goldberg hosted the 4 Hour and 23 min long event that was watched by 40.53 million viewers. The winner of Best Picture that year was A Beautiful Mind (2001).

N O M I N E E HIERARCHY

At the beginning in 1929 there were only 12 categories: Outstanding Picture, Unique and Artistic Production, Best Director (Comedy Picture), Best Director (Dramatic Picture), Best Actor in a Leading Role, Best Actress in a Leading Role, Best Writing (Original Story), Best Writing (Adapted Story), Best Cinematography, Best Art Direction, Best Engineering Effects, and Best Writing (Title Writing).

1,853 – The number of categories from 1929 – 2011 2,894 – The number of Oscar Statues awarded from 1929 – 2011

Today there are now 24 categories: Actor in a Leading Role, Actor in a Supporting Role, Actress in a Leading Role, Actress in a Supporting Role, Writing (Adapted Screenplay), Animated Feature, Short Film (Animated), Short Film (Live Action), Production Design, Cinematography, Costume Design, Director, Documentary (Feature), Documentary (Short Subject), Film Editing, Foreign Language Film, Makeup and Hairstyling, Music (Original Score), Writing (Original Screenplay), Music (Original Song), Best Picture, Sound Editing, Sound Mixing, Visual Effects.

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VENUES 1929: Hollywood Roosevelt

Hotel (7000 Hollywood Boulevard) 1930–1943: Alternated between the Ambassador Hotel (3400 Wilshire Boulevard) and the Biltmore Hotel (506 South Grand Avenue) 1944–1946: Grauman’s Chinese Theatre (6925 Hollywood Boulevard) 1947–1948: Shrine Auditorium (665 West Jefferson Boulevard) 1949: Academy Award Theater (location somewhere in Hollywood) 1950–1960: Pantages Theatre (6233 Hollywood Boulevard) 1961–1968: Santa Monica Civic Auditorium (1855 Main St, Santa Monica) 1969–1987: Dorothy Chandler Pavilion (135 North Grand Avenue) 1988–2001: Alternated between the Dorothy Chandler Pavilion and the Shrine Auditorium 2002 – PRESENT: Dolby Theatre (6801 Hollywood Boulevard)

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RED CARPET

The earliest reference to what we now know as the Red Carpet was in 458 B.C. in Aeschyules’ play Agamemnon it is described: “Clytaemnestra turns to the women attending on her who, on her orders, begin to spread out at Agamemnon’s feet the tapestries they have brought out from the house, making a path from the chariot to the palace doors. The tapestries are all a deep redpurple, the colour of blood” Obviously since then it has grown into the paparazzi friendly, Valentino studded, celebrity frenzied blood bath we see on TV and the magazines. Specifically the Oscars Red Carpet is one of the most famous, with it’s incredibly large broadcast and it’s star studded cast. In 2015 on the Oscars red carpet, one would find a collective of $7.5 million dollars worth of Harry Winston diamonds worn by Nicole Kidman alone, 6,000 Pearls on Lupita Nyong’o’s Calvin Klein Dress, and apparently it took 25 people to craft Lady GaGa’s gown.

In 2014, Vogue Magazine wrote an article on the history of the red carpet where it quotes Joan Rivers saying “The truth of the red carpet today is that it is one big P.R. party and the goal is

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to get noticed… How do you do that? By either winning the Academy Award or you look or act so different that people talk about you the next day.

That’s who gets on the cover of magazines and that’s who is smart.”

All-in-all I have no problem with people dressing nicely, and I have no problem with people wanting to experience or vicariously experience high fashion. My problem with the red carpet is it’s relationship and it’s association with the Oscars and how I think it has clouded the fundamental importance of what the Academy stands for.

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TELEVISION

The Oscars was first Televised in 1953 (the 25th Academy Awards), which received an estimated 40 million viewers.

NBC has telecasted the Oscars from 1953-1960 and 1971-1975.

ABC telecasted the Oscars from 1962 – 1970. Since 1976 ABC has telecasted the Awards show, and has a contract with the Academy to televise the show until 2020.

In 2014 – The most watched television event was Superbowl XLVIII which had 167 million views. The 86th Academy Awards took in 43.74 million viewers making it the most watched awards show on television. Compared to the Grammy Awards with 28.4 million and the 71st Annual Golden Globes received only 19.3 million.

In 2013 – During the Superbowl XLVII, a 30 second commercial cost an estimated $3.7 million.

In perspective the Academy Awards has become the next big advertising spot. During the Telecast of the 85th Academy Awards, a 30 second commercial cost an estimated $1.65 million to $1.8 million.

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THE ODDS

The average number of crew credits in the top 1,000 films between 1994 and 2013 was 588. Each working on a specific part of a film that creates the whole. From Costume Designers, Composers, Key Grips, Second-Unit Directors, Cinematographers, and so much more. The Academy is composed of over 6,ooo members inside the film industry who vote on the best of the best in their opinion of the past years films.

In his article, Just How Predictable Are the Oscars, in 2005, Iain Parode created a complex equation that when used on “186 of the 268 Best Picture, Director, Actor and Actress Oscar winners from 1938 - 2004 were correctly identified, corresponding to an overall prediction accuracy of 69%�

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THE OSCAR

Official Name: Academy Award® of Merit Height: 13½ inches Weight: 8½ pounds Number of Awards Presented: 2,947 First Recipient: Emil Jannings, named Best Actor for his performances in “The Last Command” and “The Way of All Flesh” in 1929 Design: A stylized figure of a knight holding a crusader’s sword standing on a reel of film with five spokes signifying the five original branches of the Academy (actors, directors, producers, technicians and writers). No model was used during the design process.

Designer: Cedric Gibbons, chief art director at Metro-Goldwyn-Mayer Sculptor: Los Angeles artist George Stanley Manufacturer: R. S. Owens & Company in Chicago Manufacturing Time: 3–4 weeks for 50 statuettes

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“I WILL NOT BE A COMMON MAN BECAUSE IT IS MY RIGHT TO BE AN UNCOMMON MAN. I WILL STIR THE SMOOTH SANDS OF MONOTONY.”

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THEMES C O N C E P T U A L JUSTIFICATION The use of in depth contextual and historical research should penetrate all levels of the design.

From the site plan to the material of the walls.

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LET THERE BE LIGHT

With no particular percentage, each space that is occupied by the public should have natural light.

NOT A VACATION

Without a doubt there must and will be multiple on-site visits to the chosen or potential site

locations.

follow building code regulations.

FUTURE TECH

GRASS

BY THE BOOK

OPTIMIZATION

New and inventive technology should be researched and used and will be adapted to create something new and unique to this thesis.

All site design and massing will

The use of sustainable processes and design should be conscious as well as a landscape element should be implemented in the design.

The performance of the building

should be considered in its mechelec equipment, usage, design, and technology.

BEAUTY

The use of graphic representation will present a clear and visually pleasing and legible continuity. (everything is a graphic design assignment.)

S K I L L E CALCULATIONS

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In designing spaces for the realm of film and theatre, acoustical design must be precise and calculated for performance.

EQUALITY

Will follow requirements.

all

SECTIONAL ENERGY

The dynamic opposite of a ‘pancaking’ allows for both hierarchy and complex interior.

ADA

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CINEMATIC TECHNOLOGY Dolby Atmos

“In the cinema, at home, and on the go, Dolby Atmos transports you from an ordinary moment into an extraordinary experience with breathtaking, moving audio that flows all around you.”

Since 2012, Dolby Atmos is the leading provider of cinematic audio technology both on the scale of a Movie Theatre and as intimate as a Home Theatre System. Essentially what the Atmos does is create an Atmosphere of sounds by being able to place sound-objects anywhere in space to create the full effect of a sound in realistic space.

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IMAX

It is going to the theatre to forget you’re at the movies. Sitting there, without the slightest doubt, convinced you’re someplace else. Going, in the space of minutes, to a place that’s frightening, intense, heart-rending, altogether magical – a place you’ve never been before.

There’s a complex web of high technology and architecture that makes an IMAX movie real – and it’s largely stuff that IMAX invented. We had to, because we are committed to pushing the boundaries and doing things no one in cinema has ever done before.

The IMAX Technology and Experience is one of the most immersive theatre experiences out there. It is not just the size of the screen, or the thudding bass, it is the entire package that makes it unique and visceral. Using this technology as a standard for the theatre experience is a necessity.

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Brown Innovations Sound Zones

The most difficult part of having a media museum is the audio problems. Playing multiple sounds can be very disorienting and distracting. But new technologies such as the ones from Brown Innovations create zones and invisible barriers to concentrate sounds on a single and specific locations.

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Christie Displays

Christie is a leading provider of high-performance projection displays and visualization solutions for professional markets. Consistently setting the standards by being the first to market some of the world’s most advanced projectors and complete system displays, Christie is recognized as one of the most innovative visual technology companies in the world.

For customizable specific visual displays, it is up to the technology and specifications to create crisp, large, and stunning images. Focusing on Environmental Consciousness and Seamlessness in the visual format. (Partners with Dolby)

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THE THEORY OF EVERYTHING

Will my project be a museum or a theatre?

Will my project be a museum for the Academy Awards? What would it mean to be a Museum for the Academy Awards verses just a museum of film? Does this mean it can house the Oscars?

Does the museum have to double as a theatre and how many screens would that theatre have?

Does the architecture want to be literal or abstract (example being do I need to have a red carpet or could the floor just be red? Or even no red at all?)

What does the site have to do with the museum?

How can the building respond to the public, or does it even have to?

If this is urban does what does that mean for the program (example being the MoMA has a residential tower)

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INTENTIONS

Within the larger question of my thesis: What is the Academy Museum of Motion Pictures?

There are numerous questions and intentions I wish to explore: Can the architecture go beyond and attempt to resolve what architecture critic Christian Hawthorne stated as the “cultural estrangement that has long existed between Los Angeles

and the movie business”? To that extent he means the architecture of the movie business has typically been the large and architecturally bland sound stages existing in the 1920s, and the frequency to which now movies are no longer shot in Los Angeles. So, how does a building respond to this?

Should the building be conscious of its place in cinema? In other words how self-conscious is the building in the use of architecture in films. Some examples being the architecture of the imaginary such as Blade Runner (1982) or Metropolis (1927). Or is it more subliminal like the references films always seem to make of how the villain is always in the super modern house as explained in the documentary Los Angeles Plays Itself (2003) Questions of engaging the public are crucial to the museum, is this a place that has one really awesome IMAX theatre? Is this somewhere the Academy Awards Ceremony will call home? How many theaters will there be?

Then there is the programmatic aspect of the project, one could say the use of the program used/ required of Piano should be used, and I agree. But, I feel it should be scrutinized, the question of What is this museum? Should be

answered programmatically.

As for the site at the LACMA West which includes the May Co Building (1939) and the land adjacent to it, which the Academy has already acquired and is leasing for the next 108 years. In that realm of reality, does one design the museum using the existing LACMA campus plan? Or does one use the 2023 LACMA campus plan by the recently commissioned Peter Zumthor? Then how does one respond to one plan or the next. Or does one consider the arrangement that the Academy has with LACMA is non existent and therefore calls for a new site to be chosen - and if so how does one go about choosing such a location?

Ultimately the thesis will be the aesthetic, creative, technical, functional, and exploratory answers to how these films and their archive are presented, how one experience’s the culture, history, and future of the Academy, and What is the Academy Museum of Motion Pictures?

(There are these questions now and they will only increase from here on out)

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“SOME PICTURES PLAY WONDERFULLY TO A ROOM OF EIGHT PEOPLE. I DON’T GO FOR THAT. I GO FOR THE MASSES. I GO FOR THE END EFFECT”

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USERS CLIENTS

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The project has the intention to grasp the attention of all the and everyone who has enjoyed a movie at one point in their lives.

Including in this group are all who watch the Oscars on their televisions at home, or read about the “Awards Season� online or in print. But at the same time the users have a certain universality to it because it is for the public.

The museum should be for the film buff and their family, for kids and their parents and all of the above. Interestingly enough there are tons of genres and sub genres of movies and looking at the wide history of cinema, the museum should be able to spark an interest in most people, weather its nostalgia or a modern appeal towards movies.

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NARRATIVE

Written: October, 2014 The screen turns black. The credits roll. This tells everyone it’s over, time to check your phones and get back to real life, but you’re not in a Movie Theatre, well I mean you are in a theater that just played a movie, but you remember you’re in a Museum. On the way out you check to see if anyone liked that cool photo you took of the building, obviously showing off where you are and what you are doing… 30 likes, not bad.

Finally you glance up and check the map in your back pocket, Hmmm… what to do next? Well there is a hands on show about editing in 15 min, you could make that, or even closer, is the featured second temporary exhibition. You thought the first one was cool, with the projectors, and the detailed installation, might as well see if the second one peeks your interest.

While walking over to the exhibition you look around, there is gold, and red and white, so much movement that you just stop and walk over to the railing.

Looking up, down, left and right, you look at all the people around you and think, WOW, I guess everyone loves movies, as much as I do. You see a couple walking

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through a gallery. He is oblivious while she is pointing to the dress not even you know what from.

To your left there’s a kid just in Awe of the to scale beautifully polished iron-man suit. Behind him his parents are admiring and reminiscing of the hand panted posters from their favorite sci-fi movies.

You look up and continue to your destination. Passing walls of moving images and sounds.

But they are familiar and you follow them as they distract

you. Behind the wall there is a mixture of screens and glass dividers, traveling in the hallway as you pass each screen or photograph you hear the sounds from those images. Swords clashing, symphonies playing, lasers blasting, oceans breaking, this you now realize is the Sound Mixing Gallery. At the end of the hall your met with another completely different space. In front of you is a circular room of people wearing these weird helmets. As you put one on, it

feels so foreign and unusually familiar. The image materializes as the text rolls: “Avatar (2009) Directed by James Cameron.

Won 3 Oscars including Best Achievement in Special Effects by Joe Letteri, Stephen Rosenbaum, Richard Baneham, Andrew R. Jones. Simulation beginning in 3…2…1…”

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“I ALWAYS SAY WHEN YOU WRITE A BOOK, YOU’RE A ‘ONE-MAN BAND.’ WHEREAS, WHEN YOU FINISH A SCREENPLAY, IT’S JUST A SKETCH.”

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PROGRAM

For the starting point of understanding both the scale and complexity of the museum, the 300,000 sqft program composed for The Academy Museum of Motion Pictures by Renzo Piano will be referenced, scrutinized, criticized pulled a part and reassembled to properly fit the AMMPAS. The entirety of The Academy Museum of Motion Pictures: Project Update - Winter 2014 will be available in the appendix of this document for reference.

THE BIG PICTURE

The Academy Museum of Motion Picture Arts and Sciences (AMMPAS)

300,000 SQFT OF WHAT? P E R M A N E N T EXHIBITIONS In the forefront of the museum will feature the History of The Academy Exhibit which will showcase in a chronological timeline of major events in the Academy since its inception in 1928 in parallel to the history of both the world and in cinema.

Other permanent exhibitions will be set up as static and interactive mediums that the user learns the process and layers of filmmaking

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through hands on exhibits. These will feature: Sound Editing Booth, Sound Mixing Stage, Green Screen Recording Area, Cinematography Camera Lens/ Angles/etc, Music Score Library, and more.

The static and less physically interactive exhibitions will include the Costume Design Exhibit, the Production Design Exhibit, and the Movie Poster Exhibit.

Most importantly, each exhibit will simultaneously feature multiple artifacts and documents that are necessary for the explanation or presentation of the Permanent Exhibits, for example in order to explain the Costume Design and Production Design exhibits, the screenplay, scenes form the film, behind the scenes photography and other documents will be showcased.

T E M P O R A R Y EXHIBITIONS (3 SPACES, 1 LARGE, 1 MEDIUM, 1 SMALL) These special exhibits will feature three hierarchically sized gallery spaces. The smallest will be a special selection of some of the most celebrated pieces in the academy’s permanent collection which will be rotated out or feature newly acquired additions

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The other two Temporary exhibits (Large and Medium) will feature artists that have been inspired by the Academy, ie.

Photography, Digital Media, Painting, Sculpture, Installations, anything… and it will be featured for six months or so.

1,000 SEAT PREMIERE THEATRE

The Premiere Theatre will be one of the largest programmatic pieces of the museum and will celebrate and feature the highest quality cinematic experience.

During the day the Theatre will have two screenings from the Academy’s collection every day. At night the theatre is open to the public and will screen a select movie from the Academy’s collection every night. For special events that the Academy has, this will be their main theatre, used for Large Lectures, Select Screenings for Members, among others. On the night of the Oscars, the museum members have the opportunity to watch the Oscars live from inside the theatre.

3X – 100 SEAT EA. THEATRES Separate from the free floating screening areas throughout

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the museum, the three select theatres will act as more personalized screening events, both used for screening select movies, documentaries, shorts, whichever, lecture series etc.

Each theatre will screen a separate film so the majority of the museum goers have the opportunity to see a screening they would be most interested in.

EDUCATION CENTER FOR MEDIA LITERACY PROGRAM As the forefront of the Academy’s Educational Programs, the Media Literacy Program will be housed inside the museum and will feature state of the art education equipment for students and teachers. The educational center will also house the administrative program needed for the on staff faculty. The size of this program will increase the Medea Literacy Program to a larger number of students than ever before.

D E M O N S T R AT I O N STAGE The Demonstration Stage is an internal Greek-Amphitheaterlike environment used for the explanation of equipment, technology, film theory, and more for the museum. On a daily basis the Stage will be used to present the work the academy

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“THE MAKING GALLERY”

OF…

Similar to the Demonstration Stage and the Permanent Gallery, The Making Of… Gallery as described by Stephen Spielberg, is a space that is set up as a film set to represent the way a scene is shot in the movies. It will have directors chairs, full lighting, camera men, props, and actors, fully positioned the way they would need to be to shoot a scene. Walking around the set will be trained experts that can explain all the pieces to the museum goer. They will learn about grips, stunt men, production design, and the like.

All choreographed the way a real scene would be shot. The stage would be set up to represent one of the more famous scenes in Motion Picture history and will have the verticality to alternate the movies and sets every six months or so.

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SPECIAL EVENT SPACE & GARDEN FOR 1,000 As a public courtyard, the Special Event Space is a garden that bleeds out from one of the galleries. This space would be used for special academy events, meetings, and openings.

A C A D E RESTAURANT

DIGITAL LIBRARY ARCHIVE

&

Mainly featuring the vast amounts of screenplays the Academy has in their permanent collection, the Digital Library has lounge spaces for museum users to search for their favorite.

The Digital Archive will feature award winning speeches from the past awards ceremonies, and the trailers from all previous nominees to add another layer of inspiration for someone to go out and get a movie they saw in the museum.

M

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The Academy Restaurant on the rooftop of the museum will feature both internal and external seating with one of the best views of Hollywood Boulevard, The Hollywood Sign in Lost Angeles. Open both at night and during the day for lunch, it exists as another unique experience at the museum. Specifically at night the Restaurant is open to the public and acts autonomously from the museum.

MUSEUM STORE

Similar to most Museum Stores, it will feature, books, photos, posters, and niche gifts that have to do or are related to the Academy. Additionally it will have a video camera component that will sell both new and vintage Super 8 cameras that most of the Directors we know today were inspired by.

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“I REMEMBER AS A KID HAVING A BALLOON AND ACCIDENTALLY LETTING THE STRING GO AND WATCHING IT JUST FLOAT OFF AND INTO THE SKY UNTIL IT DISAPPEARED. AND THERE’S SOMETHING ABOUT THAT, EVEN, THAT FEELS VERY MUCH LIKE WHAT LIFE IS, YOU KNOW, THAT IT’S FLEETING, AND IT’S TEMPORAL.”

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SITE LOS ANGELES, CALIFORNIA

The Academy of Motion Picture Arts and Sciences was proudly born and raised in Los Angeles.

The motion picture industry, the Academy and Los Angeles County have grown along side each other over time.

Los Angeles and Hollywood have been synonymous with the Motion Picture Industry. Its locations, landscape, and city have provided the setting for countless movies– Los Angeles is the Entertainment Capital of the World. In perspective 1 of 6 people living in Los Angeles County are working in ‘the industry’. Based on the Population of the Combined Statistical Area of 18.3 millions people in Los Angeles County… means that roughly 2.9 million people are in ‘the industry’.

As far as the Academy is concerned in recent years, “The eligible timeframe for the 87th Academy awards is a required Los Angeles County qualifying run must begin between January 1st 2014 and midnight of December 31st 2014.” (there are some but few exceptions to this rule) and if I’m not mistaken

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that means that even Foreign Language Films have to be screened in LA. With al of this in mind there in an undeniable amount of evidence and justification that the Academy’s first museum has to be built in Los Angeles County.

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Analysis Physical location 34° 3′ 0″ N, 118° 15′ 0″ W By the Numbers Area City = 503 sq mi (1,302 km2) Land = 469 sq mi (1,214 km2) Water = 34 sq mi (88 km2) 6.7% Elevation 305ft (93 m) Population (est. 2014) City = 3,884,307 Rank = 2nd U.S. , 48th World Density = 8,282/sq mi (3,198/ km2) Urban = 12,150,996 Metro = 13,131,431 CSA (Combined Statistical Area) = 18,351,929

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Climatic data Average Annual Temperature Downtown = 66°F (75°F day, 57°F night) Coldest Month = January. Day (59-75°F) Night (45-55°F) Warmest Month = August. Day (79-90°F) Night (64° F) Over 3,000 Total Sunshine Hours per year (7 avg in December, 12 in July) Average Annual Sea Temp = 63°F Average Annual Precipitation Downtown = 15.14 in.

Bimodal rainfall = short string of dry years (7-8 in) then one or two wet years.

Most Snowfall Ever (downtown): 2in in 1932 Highest Recorded Temp = 113 F (9/27/2010) Lowest Recorded Temp = 24 F (12/22/1944)

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Smog The Los Angeles Basin and the San Fernando Valley are susceptible to atmospheric inversion, which hold in the exhausts from cars, planes, trains, ships, manufacturing, and others.

Smog Season = May to October The Clean Air Act among others will help clear the air and reduce Smog with the introduction of electric and hybrid cars (among other things).

In 2007 the American Lung Association ranked LA as the most polluted in the country w/ short term particle pollution and year round particle pollution. (they are getting better.)

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Earthquakes LA is located on the Pacific Ring of Fire 10,000 Earthquakes annually, most are too small to be felt.

Biggest Fault = San Andreas Fault (b/w Pacific Plate and N. American Plate) Major Earthquakes 1994 Northridge Earthquake 1987 Whittier Narrows Earthquake 1971 San Fernando Earthquake 1933 Long Beach Earthquake

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Topography Both Flat and Hilly Highest Elevation: 5,074 ft of Mount Lukens (NE end of San Fernando Valley) Los Angeles River = 51 miles of Concrete by the Army Corps of Engineers as Flood Control.

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Native Plants California Poppy, Matilija Poppy, Toyon, Coast Live Oak, and Giant Wildrye.

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Population Most Populous City in California.

Second Most Populous City in US (1st = NYC) Los Angeles has 841 Museums and Galleries making it the City with the most Museums per capita in the Nation.

Demonym = Angeleno LA houses people form 140 Countries Speaking 224 different languages.

Largest Population increase in LA’s History from 1920 to 1930 was 114.4% (from 576,673 to 1,238,048) – might that have anything to do with “Hollywood”?

Second Largest population of Jews in US (est 621,000)

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Economy International Trade, Entertainment (tv, motion pictures, video games, recorded music), Aerospace, Technology, Petroleum, Fashion, Apparel, and Tourism.

Largest Manufacturing Center in Western US Ports of LA and Long Beach = 5th Busiest in world Port = Most Significant in Western Hem. And vital to trade in Pacific Rim. LA-Long Beach-Santa Ana Metropolitan Statistical Area (MSA) has a Gross Metropolitan Product (GMP) of $735.7 billion (2010) = 3rd Largest Economic Center in World behind Greater Tokyo Area (2nd) and New York – Newark – Bridgeport (1st) Culture LA = Creative Capitol of the World 1 of 6 work in the “industry” “there are more artists, writers, filmmakers, actors, dancers and musicians living and working in Los Angeles than any other city at any time in the history of civilization.” – USC Stevens Institute for Innovation

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER History Founded: September 4th 1781 Incorporated: April 4th 1850 Los Angeles Affiliations Spanish Empire = 1781 – 1821 First Mexican Empire = 1821 – 1823 United Mexican States = 1823 – 1848 *California Republic = 1846 United States = 1848-present Government Type: Mayor-Council BodyL Los Angeles City Council Mayor: Eric Garcetti City Attorney: Mike Feuer City Controller: Ron Galperin

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HOLLYWOOD AND HOLLYWOOD BOULEVARD TIMELINE

Hollywood coined by H.J. Whitley (father of Hollywood) Originally names “Figwood” due to its large amount of Fig Trees.

1887 Harvey H. Wilcox filed a deed and map of property he sold to the LA County Records Office officially named “Hollywood, California”) Although there are rumors to its origin, it is believed the name Hollywood originally came from Daeida Wilcox (wife) 1870 Small Community 1900 LA Population = 102,479 1902 Hollywood Hotel opened.

Owned By H.J. Whitley. To become internationally known, and was the center of the civic and social life and home of the stars for many years.

1903 Became a municipality 1910 Officially merged into the City of Los Angeles to secure adequate water supply and access to LA sewer system.

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G.W. Griffith fist to direct a movie in Hollywood: In Old California (1910) Prospect Avenue.

Became Hollywood Boulevard 1912 Major Motion Picture Companies set up production in/near Los Angeles. Because: Filmmakers moved west, outside of patens jurisdiction of showing films. The new location had both

ideal weather and quick access to various settings.

Los Angeles became the capitol of the film industry.

The 4 Major Film Companies: Paramount, Warner Brothers, RKO, and Columbia 1920s Hollywood becomes the 5th Largest Industry in the nation.

Hollywood represented the extravagant lifestyle that people

strived to have and has since become a major center for film study in the United States.

1960 Hollywood Walk of Fame: as a tribute to artists and other significant contributors to the entertainment industry.

1985 The Hollywood Boulevard Commercial and Entertainment District was listed in the National

Register of Historical Places 1999 LA County Metro Rail Red Line Subway opened at Western Avenue, Vine Street and Highland Avenue 2001 The Dolby Theatre opened, home to the Oscars, at Hollywood & Highland Center Mall, where the historic Hollywood Hotel once stood.

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DEMOGRAPHICS

The 2000 U.S. census counted 77,818 residents in the 3.51-square-mile Hollywood neighborhood—an average of 22,193 people per square mile, the seventh-densest neighborhood in all of Los Angeles County. In 2008 the city estimated that the population had increased to 85,489. The median age for residents was 31, about the city’s average.

Hollywood was said to be “highly diverse” when compared to the city at large. The ethnic breakdown in 2000 was: Latino or Hispanic, 42.2%, NonHispanic Whites, 41%; Asian, 7.1%; blacks, 5.2%, and others, 4.5%. Mexico (21.3%) and Guatemala (13%) were the most common places of birth for the 53.8% of the residents who were born abroad, a figure that was considered high for the city as a whole.

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SITE OPTIONS

The two options that presented themselves as potential site options were the site that the Academy has already chosen at the LACMA Campus, or another site that was explored through researching both the history of the Academy, of Los Angeles, and of the Movie Industry as a whole.

OPTION 1: LACMA

34° 3′ 46.42″ N, 118° 21′ 28.21″ W Established 1961 LACMA Area 1.1 Million sqft Elevation 180 ft Visitors 914,000 (2010) 1,200,000 (2011) Travel 20min from Downtown LA (without traffic) Brief “Since its inception in 1965, the Los Angeles County Museum of Art (LACMA) has been devoted to collecting works of art that span both history and geography, in addition to representing Los Angeles’s uniquely diverse population. Today LACMA is the largest art museum in the western United States, with a collection that includes over 120,000

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objects dating from antiquity to the present, encompassing the geographic world and nearly the entire history of art. Among the museum’s strengths are its holdings of Asian art, Latin American art, ranging from pre-Columbian masterpieces to works by leading modern and contemporary artists; and Islamic art, of which LACMA hosts one of the most significant collections in the world. A museum of international stature as well as a vital part of Southern California, LACMA shares its vast collections through exhibitions, public programs,

and research facilities that attract over a million visitors annually, in addition to serving millions through digital initiatives, such as online collections, scholarly catalogues, and interactive engagement at lacma.org.

Situated in Hancock Park on over 20 acres in the heart of Los Angeles, LACMA is located between the ocean and downtown.” - LACMA

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Mission Statement “To serve the public through the collection, conservation, exhibition, and interpretation of significant works of art from a broad range of cultures and historical periods, and through the translation of these collections into meaningful educational, aesthetic, intellectual, and cultural experiences for the widest array of audiences.� LACMA Architecture 1939 - May Co. Building by Albert C. Martin Sir. 1965 - Hammer Building, Ahmanson Building and Bing Center by William Pereira 1986 - Art of the Americas Building by Hardy Holzman Pfeiffer Associates 1977 - Page Museum at the La Brea Tar Pits by Willis Fagan and Frank Thornton 1988 - Pavilion for Japanese Art

by Bruce Goff 2008 - Broad Contemporary Art Museum by Renzo Piano 2010 - Resnick Pavilion by Renzo Piano

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The Academy, Renzo and LACMA The stars aligned for the Academy. After their first two stabs at an Academy Museum with the help of architect Christian Portzampark, they scrapped the whole thing for numerous shadowed reasons.

One reason in partial was finding a location for the museum. In 2012 the lease for LACMA’s May Co. Building (and adjacent lot) was renewed for 55-years. In October 1st 2014 the Academy paid LACMA 36.1 million in full for not only that lease, but it is automatically renewed for another 55 years.

It should be highly noted that in 2008 and 2010, Renzo Piano built 2 new adjacent galleries for LACMA, and therefore it should not come at a surprise when Portzamparc was mysteriously shunned out of the Academy’s design initiative for the newly selected LACMA site and architect.

Many critics have commented on the fact that the Academy’s Museum will mainly be in the gutted interior of the May Co. Building and the attached theatre designed by Piano is foreign and abrasive at best. I tend to agree and therefore considering the real life logistics and problems

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER of the situation, it was extremely tempting to use the exact guide lines, site included for my design.

Site Option 1.A Area 137,500 sqft (incl. May Co. Building)

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER LACMA 2023 Since 2011 LACMA has been in talks with architect Peter Zumthor for the new 400,000 sqft gallery space. Although it has gone through much scrutiny and now on its third major redesign, the Zumthor addition will completely change the LACMA experience and landscape. This is not the only addition that will be taking place in the coming years. KPF is currently building the Petersen Automotive Museum that will be situated across the street from the May Co. building by 2015.

Next to that, the LA Metro will be extending their Purple Line to the LACMA Campus by 2023.

There have also been rumors of a Frank Gehry High Rise Residential project in the works.

All-In-All if this option would be considered, it would situation the design in constant competitive comparisons with some of the worlds leading architects. More challenging, yes. But at what cost to the overall design and conceptual fruition of the thesis?

Site Option 1.B Area 215,780 sqft (incl. May Co. Building)

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OPTION 2: H O L L Y W O O D BOULEVARD

There is not a single street that is more important to both the Movie Industry and the Academy than Hollywood Boulevard.

From the beginnings of the Industry, to hosting countless Oscar Ceremonies, even the Walk of Fame‌ Hollywood Boulevard has grown, sculpted and influenced cinema and the Academy. Therefore it was difficult, but necessary to pull my focus off of Piano and LACMA and focus on a site that has more meaning. Not only does the walk of fame get millions of visitors a year (equal to the visitors of LACMA) but more importantly it ties multiple tourist, and historical locations together to create a singular experience. The Boulevard has destinations such as the Chinese Theatre, the Dolby Theatre, the Mall, Restaurants, Clubs, Hotels, etc. With the exclusion of Madam Tusades and the incredibly small Hollywood Museum, the boulevard really lacks a Museum.

To top it all off the Boulevard lacks a few things, the first being open space - which makes it incredibly difficult to locate an open lot hat could hold a

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300,000 soft museum. The other problem that the Boulevard has is on a larger - master plan scale, it really has no significant public and grand event at the east end of the Walk of Fame.

If one were to start at the West end of the Walk, they begin with the Dolby Theatre, the Chinese Theatre, among other things.

Progressively as they walk further the buildings get shorter, more ruined down, and at the end there is a car dealer ship and a never-ending view of two to three story buildings. Thankfully one block before the Walk Ends, on the South side of the street is an 175,000 sqft parking lot located at 6200 Hollywood Boulevard.

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6200 HOLLYWOOD BOULEVARD 34° 6′ 4.95″ N, 118° 19′ 28.23″ W Elevation 380 ft Area 160,000 sqft Parking Spaces 601

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Architecture 1 - Site Option 2 (6200 Hollywood Boulevard) 2 - W Hotel 3 - Eastown L.A. Residential Apartments (New)

4 - Capitol Records Building 5 - Eastown L.A. Residential Apartments (Future) 6 - Columbia Square (Future) 7 - The Los Angeles Film School 8 - Cinerama Dome

9 - Sunset Gower Studios 10 - Emerson L.A. 11 - Sunset Bronson Studios 12 - Hollywood Freeway (101) 13 - The Egyptian Theatre 14 - The Hollywood Museum

15 - Dolby Theatre 16 - Chinese Theatre 17 - Madame Tussades 18 - Hollywood High School 19 - Freeman House 20 - Yamashiro Hollywood

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Justifications Perfectly situated on Hollywood Boulevard.

Literally on the Walk of Fame Begging/End of the walk of fame (depending where you start) Adjacent to the Hollywood and Vine Metro (1 of only 2 stops on H.Blv.) 12 min walk from Pickford Center for Motion Picture Study 18 min walk from Dolby Theatre Surrounded by New Construction Large Site area to allow public connections Large height restriction for vertical design options On a path filled with Academy and Movie History Across from the New W-Hotel Visual of historic Capitol Records Building Visual of infamous Hollywood Sign

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THESIS RESEARCH VACATION

Over the winter-break between Thesis Prep and Thesis Design Studio, I few out to California to research and document my site, and Los Angeles County as a Whole. The following is a log containing highlights and notes from what I refer to as my Thesis Research Vacation.

Day 00 – January 6th 2015 Jet Blue Flight 223 Leaving JFK at 9:40am Arrived LAX at 12:59 pm Rented a Red Chevy Impala from EZ-Rental Drove to Manhattan Beach Area to Eat at a Pub Checked in at the Marriott Residence Inn 1700 North Sepulveda Boulevard. Manhattan Beach, California, 90266 USA Stayed in Room 109 – a Studio setting w/ Kitchen Day 01 – January 7th 2015 Drove to the Temecula Wine Country 1.5 Hours South of Manhattan Beach 1st Winery: Miramonte Winery 33410 Rancho California Road, Temecula, CA 92591 2nd Winery: Mount Palomar Winery 33820 Rancho California Road, Temecula, CA 92591

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3rd Winery: Hart Winery PO Box 956, 41300 Avenida Biona, Temecula, CA 92593 Drove to the Salk Institute for Biological Studies Designed By Louis Kahn from 1959 - 1966 10010 North Torrey Pines Road, La Jolla, CA 92037 2.5 Hours South of Manhattan Beach Drove to the Museum of Contemporary Art San Diego Designed By Irving Gill in 1916 Designed/Renovated By Robert Venturi in 1996 700 Prospect Street, La Jolla, CA 92037 At Dinner at Il Fornaio 1800 Rosecrans Avenue, Manhattan Beach, CA 90266 With fellow RWU Alum Colby & Maxx Day 02 – January 8th 2015 Drove to the Barnsdall Art Park 40 Minutes from Manhattan Beach Visited the Hollyhock House Designed By Frank Lloyd Wright in 1921 4800 Hollywood Boulevard, Los Angeles, CA 90027 Drove to 6200 Hollywood Boulevard – The Thesis Site Parked in the Lot of the Thesis Site for $10 Photographed 360 Views of the inside looking out and the

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER outside looking in of the Site including a 1.5 block radius.

Noting the following Buildings W Hotel 6250 Hollywood Boulevard, Los Angeles, CA 90028 Hollywood Le Bon Hotel 1610 Argyle Avenue, Los Angeles CA 90028 Outlaw Sound 1608 Argyle Avenue, Los Angeles, CA 90028 Tru Hospitality Group 1600 Argyle Avenue, Los Angeles, CA 90028 Hollywood Tans 1607 North El Centro Avenue, Los Angeles, CA 90028 El Centro 1611 North El Centro Avenue, Los Angeles, CA 90028 Ward Agency 1617 North El Centro Avenue, Los Angeles, CA 90028 Sound Masters 1617 North El Centro Avenue, Los Angeles, CA 90028 LA Fitness TBD, North El Centro Avenue, Los Angeles, CA 90028 Nonstop Printing 6140 Hollywood Boulevard, Los Angeles, CA 90028 The Fonda Theatre 6126 Hollywood Boulevard, Los Angeles, CA 90028 Eastown Apartments 6201 Hollywood Boulevard, Los

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Angeles, CA 90028 Continued to walk to the W Hotel Entrance of Subway station of Vine & Hollywood Boulevard Note: The most empty subway station I have ever experienced at approx 11am Walked North to the Capitol Records Building Designed By Welton Becket in 1956 1750 Vine Street, Los Angeles, CA 90028 Continued to walk along the Hollywood Walk of Fame traversing Hollywood Boulevard Note: The general barren and openness of the street with the various person at every block trying to sell a Hollywood Heights Tour. With restaurants, bars, clubs, and clichĂŠ tourist stores populating both sides of the street.

2 Potential Banksy Murals at the Superclub Los Angeles 6675 Hollywood Boulevard, Los Angeles CA 90028 Progressively started to get more populated when heading toward the Dolby Theatre after the Metro Station Hollywood & Highland Station (Red Line) Note: Another surprisingly vacant subway station. With a movie related theme.

The crowds begin from the

Dolby Theatre to the TCL Chinese Theatre Dolby Theatre Designed By David Rockwell in 2001 6801 Hollywood Boulevard, Hollywood, CA 90028 Capacity: 3,401 Home of the Academy Award Ceremony TCL Chinese Theatre Designed by Raymond M. Kennedy in 1927 Note: There was a red carpet event being set up for that evening Ate lunch across the street at 25 Degrees at the Hollywood Roosevelt Hotel Hollywood Roosevelt Hotel Designed By Fisher, Lake & Traver in 1927 7000 Hollywood Boulevard, Los Angeles, CA 90028 Madame Tussauds Wax Museum Designed by Roto Architects in 2006 6933 Hollywood Boulevard, Hollywood, CA 90028 El Capitan Theatre 6838 Hollywood Boulevard, Los Angles, CA 90028 Grauman’s Egyptian Theatre 6712 Hollywood Boulevard, Los Angeles, CA 90028 Then Walked All the Way back down Hollywood Boulevard to the Thesis Site and Went South

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER towards Sunset Boulevard.

Hollywood Palladium Designed By Gordon Kaufmann in 1940 6215 Sunset Boulevard, Los Angeles, CA 90028 Columbia Square (currently under construction) Approx. 6130 Sunset Boulevard, Los Angeles, CA 90028 Emerson College Designed By Morphosis in 2014 5960 Sunset Boulevard, Los Angeles, CA 90028 The Los Angeles Film School 6363 Sunset Boulevard, Hollywood, CA 90028 Cinerama Dome 6360 Sunset Boulevard, Hollywood, CA 90028 Pickford Center for Motion Picture Study 1313 Vine Street, Los Angeles, CA 90028 Day 03 – January 9th 2015 Arcana: Books on the Arts 8675 West Washington Boulevard, Culver City, CA 90232 Los Angeles County Museum of Art Including: X X X 5905 Wilshire Boulevard, Los Angeles, CA 90036 Ate Lunch at The Counter 5779 Wilshire Boulevard, Los Angeles, CA 90036 May Company Building

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Currently Housing the Hollywood Costume Museum Designed By Albert C. Martin, Sr. and Samuel Marx in 1939 6065 Wilshire Boulevard, Los Angeles CA 90036 Renzo Museum (1) Others…

Peterson Automotive Museum (under construction) Designed By KPF in 2015 6060 Wilshire Boulevard, Los Angeles, CA 90036 Pavilion for Japanese Art Designed By Bruce Goff in 1978 Creative Arts Agency Building (Now Sony Music) Designed By I.M. Pei in 1983 9830 Wilshire Boulevard, Beverly Hills, CA 90212 Hammer Museum Building Designed by Edward Larrabee Barnes in 1990 Café, Courtyard & Bridge Designed By Michael Matzan Architecture 2003-Present 10899 Wilshire Boulevard, Los Angeles California, 90024 Urban Light Designed By Chris Burden in 2008 LACMA Day 04 – January 10th 2015 The Griffith Observatory Designed By John C. Austin and Frederick M. Ashley in 1933 2800 East Observatory Road, Los Angeles, CA 90027

The Getty Center Designed By Richard Meier in 1997 1200 Getty Center Drive, Los Angeles, CA 90049 Day 05 – January 11th 2015 Walt Disney Concert Hall Designed By Frank Gehry in 2003 111 South Grand Avenue, Los Angeles, CA 90012 The Broad Museum (under construction) Designed By Diller Scofidio + Renfro in 2015 XX South Grand Street Avenue, Los Angeles, CA 90012 The Museum of Contemporary

Art Designed By Arata Sozaki in 1986 250 South Grand Avenue, Los Angeles, CA 90012 Ramón C. Cortines School of Visual and Performing Arts Designed By Coop Himmelb(l) au and HMC Architects in 2008 450 North Grand Avenue, Los Angeles California 90012 Cathedral of Our Lady of Angels Designed By Rafael Moneo in 2002 555 West Temple Street, Los Angeles, CA 90012 Bradbury Building Designed By Sumner Hunt and George Wyman in 1894 304 South Broadway Street, Los Angeles, CA 90013 Ate Lunch at The Bunker Hill Bar & Grill 601 West 5th Street, Los Angeles, CA 90017 New Acura Commercial Shoot South Grand Avenue, Los Angeles California, 90012 Day 06 – January 12th 2015 Checked Out of Hotel & Returned Car Jet Blue Flight 324 Left LAX at 12:45 PM Arrived JFK at 9:02PM

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“IT’S HARD WORK MAKING MOVIES. IT’S LIKE BEING A DOCTOR: YOU WORK LONG HOURS, VERY HARD HOURS, AND IT’S EMOTIONAL, TENSE WORK. IF YOU DON’T REALLY LOVE IT, THEN IT AIN’T WORTH IT.”

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R E G U L AT O R Y ENVIORNMENT S U M M A R Y REPORT A wordy documentation and analysis of the regulatory environment in which AMMPAS will be placed: Including zoning regulations, historic district stipulations, environmental or coastal zone limitations, building code analysis, handicap access requirements, etc.

ZIMAS REPORT ANALYSIS

ZIMAS.lacity.org is a web-site that is presented as a public service that provides Internet accessibility to information provided by the City of Los Angeles, Department of City Planning and to other City, State, and Federal information.

The following is information extracted from the use of the website from the scale of LA County to the exact parcels being used for the AMMPAS Site. For ease of reference, the specific addressed used for the following information is: 6200 W Hollywood Boulevard, Los Angeles, CA 90028

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ADDRESS/LEGAL

Site Address: 6200 W Hollywood Boulevard Zip Code: 90028 Pin Number: 148-5A 189 130 Lot/Parcel Area: 7,574.6 sqft Thomas Brothers Grid: Page 582 - Grid F4 Assessor Parcel No. (APN): 5546028002 Tract: Hollywood Block: 10 Lot: 1 Map Sheet: 148-5A.189

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JURISDICTIONAL

Community Plan Area: Hollywood Area Planning Commission: Central Neighborhood Council: Central Hollywood Council District: CD 13 - Mitch O’Farrell Census Tract #: 1910.00 LADBS District Office: Los Angeles Metro

PLANNING & ZONING

Zoning: [T][Q] C4-2D-SN Zoning Information (ZI): ZI1352 Hollywood Redevelopment Project Zoning Information (ZI): ZI2277 Hollywood Redevelopment Project Zoning Information (ZI): ZI2331 Hollywood (CRA Area) Zoning Information (ZI): ZI2441 Alquist-Priolo Earthquake Fault Zone General Plan Land Use: Regional Central Commercial

ASSESSOR

Assessor Parcel No. (APN): 5546028002 Use Code:l 100v - Commercial (Vacant Land) Assessed Land Val.: $3,357,658

SEISMIC HAZARDS

Nearest Fault: 2,559 ft Nearest Fault Name: Hollywood Fault Region: Transverse Ranges and Los Angeles Basin Fault Type: B Slip Rate (mm/year): 1.0 Slip Geometry: Left Lateral -

Reverse - Oblique Slip Type: Poorly Constrained Maximum Magnitude: 6.4 (May cause a lot of damage in very populated areas. 100 Estimated Number Each Year - geo.mtu. edu) Alquist-Priolo Fault Zone: Yes

E C O N O M I C DEVELOPMENT AREAS

Business Improvement District: Hollywood Entertainment District Promise Zone: Yes Revitalization Zone: Central

City

PUBLIC SAFETY

Police Bureau: West Police Division/Station: Hollywood (1358 N. Wilcox Ave) Police Reporting District: 647 Fire Division: 3 Fire Battalion: 5 Fire District / Fire Station: 27 (1327 North Cole Ave.)

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BUILDING CODE

Official Site Zoning: “C4” Commercial Zone = Any use permitted in the C2 Zone, provided that all regulations and limitations of said C2 Commercial Zone are compiled with…

SUMMARY OF “C2” COMMERCIAL ZONE

Zone C-2: Neighborhood Business Permitted Uses: Zone C-1 uses, rentals, outdoor advertising, tailor shops (22.28.130) Minimum Required Area: No minimum required area. But see 21.24.240 of L.A. County Code - Subdivisions Maximum Height Limit: 35 feet, or as provided in community standards district (22.28.170) Minimum Required Parking: General commercial - 1 parking space for each 250 sq. ft. of floor space Non-medical office uses - 1 parking space for each 400 sq. ft. of floor space. See applicable use- Part 11, Chapter 22.52 Eating/drinking establishments - 1 parking space for each 3 persons, based on occupant load determined by Public Works

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Department ( minimum of 10 parking spaces) Building Setback: No building setback required Maximum Lot Coverage:90% of net area of lot 10% of net area must be open and landscaped (22.28.170) Outside Display: Limited to a few uses (22.28.170) Outside Storage: Not permitted (22.28.170) Zone C-3: Unlimited Commercial Permitted Uses:

Zone C-2 uses, secondhand stores (22.28.180) Minimum Required Area: No minimum required area. But see 21.24.240 of L.A. County Code - Subdivisions Maximum Height Limit: 13 times buildable area, except as otherwise provided in community standards district (22.52.050) Minimum Required Parking: General commercial -- 1 parking space for each 250 sq. ft. of floor space

Non-medical office uses -- 1 parking space for each 400 sq. ft. of floor space. See applicable use-- Part 11, Chapter 22.52 Eating/drinking establishments -- 1 parking space for each 3 persons, based on occupant load determined by Public Works Department (minimum of 10 parking spaces) Building Setback: No building setback required Maximum Lot Coverage: 90% of net area of lot 10% of net area must be

landscaped (22.28.220) Outside Display: Automobile sales, restaurants, and a few other uses (22.28.220) Outside Storage: Permitted at the rear of a parcel when incidental to the permitted use existing in the front of the parcel; storage may not be closer than 50 feet to the front lot line and must be completely enclosed by a 5 to 6 foot-high solid fence or wall (22.28.280) Los Angeles County, California, Code of Ordinances > Title 22 – Planning and Zoning > Divisiong 1 – Planning and Zoning > Chapter 22.52 – General Regulations > Part 1 General Design Requirements > 22.52.050 Hight Limits – “A. The total floor area in all the buildings on any one parcel of land shall not exceed 13 times the buildable area of such parcel of land. Cellar floor space, parking floor space with necessary interior driveways and ramps thereto, or space within a roof structure or penthouse for the housing of building operating equipment or machinery shall not be considered in determining the total floor area within a building.”

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C R A / L A : HOLLYWOOD & CENTRAL REGIONAL AREA CRA/LA stands for the Community Redevelopment Agency of the City of Los Angeles “The 1,107-acre Hollywood Redevelopment Project is located approximately six miles northwest of the Los Angeles Civic Center at the foot of the Hollywood Hills. The project is generally bounded by Franklin Avenue on the north, Serrano Avenue on the east, Santa Monica Boulevard and Fountain Avenue on the south and La Brea Avenue on the west. The Redevelopment Plan for the area sets forth an array of goals that include encouraging economic development; promoting and retaining the entertainment industry; revitalizing the historic core; preserving and expanding housing for all income groups; meeting social needs of area residents; providing urban design guidelines; and preserving historically significant structures.

The project is included in the CRA/LA Hollywood & Central Regional Area.� - crala.net

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H O L L Y W O O D BOULEVARD DISTRICT AND FRANKLIN AVENUE DISTRICT URBAN DESIGN PLAN Under the CRA.LA Hollywood & Central Regional Area project, a document was composed for a cohesive explanation of the urban design standards and guidelines.

The following are excerpts from the 64 page Urban Design Standards and Guidelines - Draft 09.28.11 which were used as reference in the design process.

FIGURE 1-2

Boundaries where standards and guidelines apply

2.2.2 ENSURE A VITAL AND INTERESTING S I D E W A L K EXPERIENCE Hollywood’s sidewalks are its primary open space. The massing, scale, and details of rehabilitated and new buildings and environments shall enhance the interest and vitality of these outdoor areas.

2.2.3 RELATE NEW BUILDINGS TO OLD BUILDINGS The massing of Hollywood’s traditional building types and the pattern of its existing streets, blocks, and historic buildings,

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER provide the overarching design framework for maintaining existing historic settings, and for realizing new as well as creative building additions, masses, and open spaces that relate to these settings.

2.2.4 BUILD UPON EXISTING PATTERNS OF BUILDING SCALE AND DETAIL

In Hollywood, new buildings, infill construction, additions, alterations, and improvements should be in harmony with the pattern, scale, and detail of Hollywood’s districts and buildings.

Compatibility Goals Include Evolve Designs from Existing Architectural Character Relate Heights to Historic Massing Patterns Maintain Street Walls Ensure Unobtrusive Parking Invite Browsing and Activity at Storefronts Utilize Material and Color Palettes Complimentary to Existing District Character and Buildings

FIGURE 2-16

Figure-Ground Map

3.1.2 BUILD-TO LINE AND LOT COVERAGE GOALS

A. Maintain the Pattern of

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Existing Build-to Lines, Setbacks, and Lot Coverage: Maintain the integrity of the Hollywood Boulevard District and Franklin Avenue Design District’s existing street walls, setbacks, and build-to lines.

B. Allow For New Urban Open Spaces: Encourage the creation of new ground related urban open spaces.

FIGURE 3-2 Build-to Line Standards

and

Setback

FIGURE 3-4

Lot Coverage: Gross lot coverage includes all areas of the building including overhangs projected onto the ground plane at the parcel or lot, divided by the area of the parcel or lot.

FIGURE 3-5 Maximum Standards

Lot

Coverage

3.2.2 HEIGHT, MASSING, AND BULK GOALS

A. Honor Existing Scale Maintain the integrity of heights, massing, and bulk observed in the Hollywood Boulevard District and District Franklin Avenue Design District.

B. Preserve Views Conserve views up streets north towards the Hollywood Hills.

C. Allow Iconic Structures Encourage the creation, where appropriate, of new buildings that imaginatively extend into the skyline and thereby strengthen the identity and spirit of Hollywood as a unique historic F. 85-Foot Maximum Building Height The following standards shall apply in areas designated on Figure 3-20 as “85 ft.” i. Maximum Height. New buildings, as well as additions, shall not exceed 85 feet in height (see Figure 3-21).

FIGURE 3-20 Maximum Standards

Building

Height

FIGURE 3-21

Maximum Building Height Diagram 1. Maximum building height 2. Visibility triangle (see L.A.M.C.) H. 45/75-Foot Maximum Building Height The following standards shall apply in areas designated on Figure 3-20 as “45/75 ft.” i. Maximum 45-Foot Height.

New buildings, as well as additions shall not exceed 45 feet in height (see Figure 3-21). ii. Maximum 75-Foot Height.

New buildings, as well as additions, may exceed 45 feet in

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER height to a maximum height of 75 feet provided the following conditions are met: (a) Any floor area above a height of 45 feet shall have a maximum plan diagonal that does not exceed 155 feet in length (see Figures 3-22 and 3-27). (b) If more than one building component above 45 feet in height is proposed on a site, a minimum distance of 30 feet shall separate these components from each other.

gross square footage of the top inhabited floor of a structure. iii.

Approval.

Required Architectural extensions exceeding 220 feet in height as measured from grade shall require the approval of the City. Proponents of projects with architectural extensions exceeding 220 feet in height should confirm City approval requirements with City staff before proceeding.

FIGURE 3-27

Architectural Extension Uninhabited architectural extensions are allowed if they meet the criteria of Section 3.1.3 M.

Maximum Plan Diagonal The measurement of the largest diagonal distance, from outside corner to outside corner of the floor plan of a building.

M. UNINHABITED ARCHITECTURAL EXTENSIONS Notwithstanding the building height limit standards of this section, uninhabited architectural extensions are encouraged provided the following standards are met (see Figure 3-28): i.

Height.

Architectural extensions shall not exceed 200 percent of the maximum allowed height as measured from grade or 70 feet, whichever is less. ii. Footprint. The footprint of all architectural extensions shall not exceed 25 percent of the

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FIGURE 3-28

3.3.2 ARCHITECTURAL C H A R A C T E R STANDARDS AND GUIDELINES GOAL New buildings and additions in the Hollywood Boulevard District and Franklin Avenue Design District should build upon observation of Hollywood’s historic built environment. Both traditional and innovative contemporary design expressions should be compatible with the characteristics that have defined the materiality and expression of the districts’ architecture through time.

FIGURE 3-62

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Required Storefronts Storefronts required by this figure will provide space for lively and active uses at the street level and enhance the pedestrian experience along Hollywood’s major commercial streets and boulevards.

FIGURE 3-72

Required Subterranean Parking Subterranean and semi-subterranean parking

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requirements within the Franklin Avenue Design District and adjacent areas reduce the impact of new development on existing residential and hillside neighborhoods.

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“THE DIRECTORS THAT HAVE PERSONAL, EMOTIONAL FEELINGS FOR ME ARE INGMAR BERGMAN AND FEDERICO FELLINI, AND I’M SURE THERE HAS BEEN SOME INFLUENCE BUT NEVER A DIRECT ONE. I NEVER SET OUT TO TRY AND DO ANYTHING LIKE THEM. BUT, YOU KNOW, WHEN YOU LISTEN TO A JAZZ MUSICIAN LIKE CHARLIE PARKER FOR YEARS AND YOU LOVE IT, THEN YOU START TO PLAY AN INSTRUMENT, YOU AUTOMATICALLY PLAY LIKE THAT AT FIRST, THEN YOU BRANCH OFF WITH YOUR OWN THINGS. THE INFLUENCE IS THERE, IT’S IN YOUR BLOOD.” W

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PRECEDENT ANALYSIS In documenting and analyzing relevant precedents, the following are their relation to the themes of AMMPAS (outlined and clarified).

Additional precedents will appear throughout the rest of the document and in the Appendix respectfully.

MUSEUM OF THE MOVING IMAGE Architects Leeser Architects Year 2011 Location Astoria, NY Size Existing 50,000 SQFT New 47,700 SQFT Theatre 264-seat theatre 68-seat screen room

“ENABLING GROWTH AND INNOVATION IN THE MUSEUM’S UNIQUELY COMPREHENSIVE PRESENTATION OF SCREEN CULTURE IN ALL ITS FORMS (FILM, TELEVISION, AND DIGITAL MEDIA) AND WELCOMING VISITORS INTO AN EXPERIENCE IN WHICH ARCHITECTURE IS SEAMLESSLY FUSED WITH THE MOVING IMAGE.”

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Details The Museum of the Moving Image houses a comprehensive collection dedicated to educating the public about the art, history, technique, and technology of film, television, and digital media. The expansion and renovation of this unique museum allows for the interplay of rich moving image history with innovative technology and cutting edge design.

Why I chose this building as a precedent because it is the most recent I know that is as close to a museum of all things film (+ tv, and digital media). It has on display technical equipment along with various other artifacts.

In addition to class rooms and two theatres all in a three story building.

Studying both technically and experientially is something that I feel will only be educational in how the museum chooses to showcase and present film and artifacts alike, in the cohesive manner and how the architecture highlights or diminishes that experience.

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Site Visit on November 30, 2014 After my fist visit at the museum, I found myself thinking that this building is essentially a synthesized and incredibly smaller building than the one I have envisioned for my thesis.

One of the two extremely important things I have noticed is how hands on the exhibits were. There was a station for animation, a hands on experimentation with sound mixing. There was even a tacky green screen set up. Allowing the audience/museum-goer to experience and be educated on the techniques of making a film and the implications and decisions all of these artists and technicians make was such a strong and enjoyable process.

The second thing I found myself walking away with . . . was how much more I wanted from the museum. The museum felt like it had to cover so much that it only was able to display X amount of costumes, X amount of production drawings, etc. If the museum was only bigger, one could see the grand scale and understanding of how much beautiful art there is in making films (and televisions in this case).

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Site Visit on June 5, 2015 Specifically this visit was to see the temporary exhibit: Matthew Weiner’s Mad Men. The exhibit took up the entire gallery floor and it was incredibly. In terms of scale they had costumes, letters, books, furniture, important scenes on loop, jewelry and so much more. What stood out the most was the re-produced set pieces of the Draper’s Kitchen and Don’s Office.

The scale, detail, and intimacy was incredibly and moving. In retrospective this is the type of temporary exhibits that could showcase the production / impact / etc. of a single film in the Academy’s museum.

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A C A D E M Y MUSEUM OF MOTION PICTURE 1 Architect Christian Portzamparc Date 2007 - Competition Location 1313 Vine Street, Los Angeles Size 200,000 SQFT Details In November 2007, Christian de Portzamparc was selected amongst 300 architects through a long casting process to build the Academy of Motion Pictures Museum in Hollywood.

The project is described by the Academy of Motion Pictures Arts and Science (the Oscar institution) as the most ambitious monument ever in the “… history and influence of world cinema…”.

In two years, two different projects were conceived under the direction of the committee and its president, Syd Ganis.

They both followed different alternative programs and they were both articulated around a mysterious entrance pavilion, a dark high room accessible from the piazza, and located

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“TO CALL L.A.’S LONG-DREAMED-OF HOLLYWOOD MUSEUM CURSED WOULD BE AN EPIC UNDERSTATEMENT. SINCE THE ADVENT OF THE MOTION PICTURE, ELECTED OFFICIALS, PRODUCERS, ACTORS, AND MOVIE BUFFS HAVE TRIED TO BUILD THE DEFINITIVE REPOSITORY FOR INDUSTRY TREASURES. EACH TIME, THEY’VE FAILED MISERABLY.”

before the ticketing area. This first room was the architectural response to a demand from the Academy, that Steven Spielberg described as an immersion room, immersion into the phenomenon of the projected image. As he also said, “…movie begun when men moved the shadow of their hand on the wall of a rock, it is all about light and shadow”.

Both projects installed a piazza on the side of the street next to the existing Mary Pickford center.

This public space was allocated to ceremonies such as the

premières, while the buildings were conversing with the city through architectural screens, showing movie sequences.

The image of the first project was a tectonic emergence with faults and screens; the second was made of long “train” buildings accompanying the exhibition journeys and ending on the piazza as pavilion screens.

The public enters into the darkness to rediscover the lost light, through the lighting of the movies… Visitors reach the different exhibition zones (temporary exhibitions, movie making, history of movies, the Academy…) through a sequence of spaces that would provide specific visual experiences. Horizontal, unified, fragmented….. The route is like a movie itself, a canvass offered to the imagination of different and multiple directors.

Why As the earlier of one of the only two Academy Museums every conceived by the Academy, this specific project brings a very different idealization. The plan is open with various exterior spaces for leisure and recreation while simultaneously allowing for an uniquely shaped object.

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A C A D E M Y MUSEUM OF MOTION PICTURE 2 Architect Christian Portzamparc Date 2008 - Competition Location 1313 Vine Street, Los Angeles Size 200,000 SQFT Details The project is described by the Academy of Motion Pictures Arts and Science as the most ambitious monument ever in the “…history and influence of world cinema…” The museum will focus on explaining the process behind film production.

This tour through the museum takes place in an open yet covered volume.

Only exhibition spaces require climate control. The will of the academy was to avoid air conditioning on a major part of the building.

Both projects give particular attention to the journey through the different parts of the Museum, history, arts, and technique… The trail ends once the visitor passes through the mirror, reaching the ultimate

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“ONLY

THE EXHIBITION SPACES REQUIRE CLIMATE CONTROL. IT WAS A DESIRE TO AVOID THE ACADEMY AIR CONDITIONING OVER A MAJOR PART OF THE BUILDING. BOTH PROJECTS PAY SPECIAL ATTENTION TO TRAVEL THROUGH DIFFERENT PARTS OF THE MUSEUM , HISTORY , ARTS AND TECHNICAL ... THE PATH ENDS WHEN THE VISITOR GOES THROUGH THE MIRROR , REACHING THE HIGHEST EXPOSURE HOUSES ... IT ENTERED THE WORLD OF THE IMAGE . FROM THE UPPER TERRACE , VISITORS CAN BROWSE THE GAZEBO AND GARDEN AT THE BACK OF THE MUSEUM, SLOWLY LEADING DOWN TO THE EXIT”

exhibition houses… He has entered the world of the image.

From the upper terrace, the visitor can visit the belvedere and the garden on the back of the museum, slowly leading down towards the exit…

Why As the later of the two Portzamparc’s Academy Museums every conceived by the Academy, this specific project … which is incredibly less appealing and less interesting than it’s earlier version… has a similar public setback than its former but this iteration is too bland. The snake-like fingers of the procession of the museum seem odd and erratic. Although there is no plan, the form of the building does net present itself as something produced from any singular concept. Although it pains me that the first iteration will never see the light of day, if it means this version would have been built, it is a good thing they ditched this version.

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THE ACADEMY M U S E U M OF MOTION PICTURES Architect Renzo Piano & Zoltan Pali Year 2014 Location Los Angeles, CA Size 290,000 SQFT Details Motion pictures are our most populist form of visual art and they captivate us in ways no other art form can. For every generation they are the cultural, social and political diary. They inspire and challenge us to see each other and the world in different and meaningful ways— often crossing ethnic, political, geographic and socioeconomic lines to do so. And yet, in Los Angeles–the moviemaking capital of the world–there is no museum dedicated to preserving, presenting, and celebrating this most influential art form... until now.

The Academy Museum will contain state-of-the-art galleries, exhibition spaces, movie theaters, educational areas, and special event spaces. The

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“THE DESIGN FOR THE MUSEUM WILL FINALLY ENABLE THIS WONDERFUL BUILDING TO BE ANIMATED AND CONTRIBUTE TO THE CITY AFTER SITTING UNDERUTILIZED FOR SO LONG. I AM VERY INSPIRED BY THE ACADEMY’S MISSION, AND THE IDEA OF THE ARTS AND SCIENCES WORKING TOGETHER TO CREATE FILMS. OUR DESIGN WILL PRESERVE THE WILSHIRE MAY COMPANY BUILDING’S HISTORIC PUBLIC PROFILE WHILE SIMULTANEOUSLY SIGNALING THAT THE BUILDING IS TAKING ON A NEW LIFE—A LIFE THAT CELEBRATES BOTH THE INDUSTRY AND ART FORM THAT THIS CITY CREATED AND GAVE TO THE WORLD.”

Academy Museum of Motion Pictures will be the world’s premier museum devoted to exploring and curating the history and future of the moving image.

Designed by Pritzker Prizewinning architect Renzo Piano, the Academy Museum will be located next to the Los Angeles County Museum of Art (LACMA) campus in the landmarked Wilshire May Company building. The Museum will curate and present the work of Oscar winners and nominees, as well as the legions of global artists who make movies. The Museum will provide interactive, immersive, and engaging exhibitions that will pull back the curtain on moviemaking and highlight the history and future of the arts and sciences of film.

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ARCH 614 / THESIS STUDIO / ALEX SCHWEITZER Why This is a unique opportunity to understand the programmatic vision of the Academy and critique it to pull out what the Academy has in mind for scale and vision. Unfortunately the LACMA site and use of the existing May Co Building is completely wrong for what the Academy, In my opinion should be going for. The Academy needs to emphasize on Film and History, not the red carpet obsessed media. The Academy needs to be as professional inside as it is portrayed on the outside.

In other words, the museum need to fully represent something the Academy has been straying away from in recent years, and that being their heart and soul, their fully forced importance in the past, present, and future of film.

“PIANO’S DESIRE TO REDEEM HIMSELF IN LOS ANGELES AFTER HIS LACMA MISADVENTURE IS UNDERSTANDABLE. BUT IT’S DRIVEN HIM TO PRODUCE A MISGUIDED ATTEMPT AT TOURIST-FRIENDLY ARCHITECTURE AND ONE OF THE MORE STRAINED DESIGNS OF HIS LONG CAREER.”

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HOLLYWOOD C O S T U M E MUSEUM

Senior Curator Deborah Nadoolman Landis Year Oct 2014 – Mar 2015 Location Ground Floor of the May Co. Building, LACMA Size N/A SQFT Details Currently on the First Floor of the Wilshire May Company Buildings as a temporary exhibit before the start of construction of the Academy Museum of Motion Pictures. Of the 150 Costumes, 40 of which are new acquisitions of the Academy such as Jared Letto’s Costume from Dallas Buyers Club (Kurt and Bart, 2013). The featured item in the exhibit is the famous ruby red slippers from The Wizard of OZ (Adrian, 1939). The MultiMedia Exhibit is curated by Deborah Nadoolman Landis, Academy Award nominated costume designer (Coming to America 1988).

Specifically the technology for the exhibit is provided by Barco, ARRI, JBL, and Samsung. 61 films in the exhibition have won Academy Awards; including 22 for

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“ORGANIZED BY THE VICTORIA AND ALBERT MUSEUM, LONDON, THIS TICKETED EXHIBITION EXPLORES THE CENTRAL ROLE OF COSTUME DESIGN–FROM THE GLAMOROUS TO THE VERY SUBTLE–AS AN ESSENTIAL TOOL OF CINEMATIC STORYTELLING . . . THE EXHIBITION BRINGS TOGETHER THE WORLD’S MOST ICONIC COSTUMES FROM THE GOLDEN AGE OF CINEMA TO THE PRESENT.”

Costume Design. “Hollywood Costume includes montages, animation, film clips, and projections, supported by a specially commissioned score written by British composer Julian Scott. The Clothes are exhibited alongside quotes and interviews with costume designers, directors, and actors discussing the role that costume plays in creating the characters on screen.�

Why If anything this exhibit is the representation, or glimmer of what the Academy Museum could and may potentially look like. When I walked through the museum, I did so with a critical eye which inspired me greatly.

The gallery was not perfect but its bleeding of media and layers of the cinema from screenplay to post-production all focused on the influence of and by costume design was very well done.

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THE EXTENSION TO THE DENVER ART MUSEUM

Architect Studio Daniel Libeskind Year 2006 Location Denver, CO Size New 146,000 SQFT Details The first Libeskind building to reach completion in the USA. Silhouetted against the majestic backdrop of the Rocky Mountains, Libeskind’s design consists of a series of geometric volumes inspired by the peaks and valleys of the mountain range.

A sharply angled cantilevered section juts across the street, pointing towards the existing Museum by Milanese architect Gio Ponti, which first opened in 1971.

The Frederic C. Hamilton Building, is clad in an innovative new surface with 9,000 titanium panels that cover the building’s surface and reflect the brilliant Colorado landscape.

The architect conceived of the extension project as part of a composition of public spaces, monuments and gateways in this developing part of the city, tying

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“THE SHARDLIKE TITANIUM-CLAD FORMS… BURST ON THE CITY’S DOWNTOWN WITH THE ENERGY OF A LIGHTNING BOLT. …THE JAGGED BUILDING IS A SURPRISINGLY SUCCESSFUL TOUR DE FORCE ON URBANISTIC GROUNDS ALONE.”

together downtown, the Civic Center, and forming a strong connection to the golden triangle neighborhood. Why Understanding the folds, bends, and ultimately sculptural nature of a building of this kind, is something I find endlessly interesting. It will be divulged later in the thesis but the experimentation and use of surfaces like the kind Mr.Libeskind is so known for will come in handy. Also the fact it has an extremely regular theatre held within it - was also incredibly captivating.

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THE ROYAL ONTARIO MUSEUM Architect Studio Daniel Libeskind Year 2007 Location Toronto, ON Size New 100,000 SQFT Details The entire ground level is unified into a seamless space with clarity of circulation and transparency.

The Crystal transforms the ROM’s fortresslike character, turning it into an inspired atmosphere dedicated to the resurgence of the Museum as the dynamic centre of Toronto.

The design succeeds in inviting glimpses up, down, into galleries and even from the street. The large entrance atrium, the Gloria Hyacinth Chen Court, separates the old historic building from the new, providing a nearly complete view of the restored façades of the historic buildings. The Chen Court also serves as a venue space for all kinds of public events.

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“ITS NEW NAME IS DERIVED FROM THE BUILDING’S FIVE INTERSECTING METAL-CLAD VOLUMES, WHICH ARE REMINISCENT OF CRYSTALS—INSPIRED BY THE CRYSTALLINE FORMS IN THE ROM’S MINERALOGY GALLERIES. LIBESKIND CREATED A STRUCTURE OF ORGANICALLY INTERLOCKING PRISMATIC FORMS TURNING THIS IMPORTANT CORNER OF TORONTO, AND THE ENTIRE MUSEUM COMPLEX, INTO A LUMINOUS BEACON.”

Why Like the previous Denver Art Museum, the building is both an icon and a symbol while allowing for difficult and potentially hindering on the art that it holds.

The building asks me, Is this too much? And I don’t know if I have the answer yet?

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PÉREZ ART MUSEUM MIAMI Architect Hertzog and de Meuron Year 2013 Location Miami, FL Size 120,000 SQFT Details The new Pérez Art Museum Miami (PAMM) is located in Museum Park, part of the redeveloping downtown waterfront on Biscayne Bay. Its direct neighbors are the Patricia and Phillip Frost Museum of Science and a major freeway, connecting mainland Miami with Miami Beach. Simultaneously oriented towards the park, the water and the city, the new PAMM is an open and inviting structure from all sides alike.

Miami is known for its iconic art deco district, decorated boxes with no great relationship and exchange between inside and outside. What makes Miami so extraordinary however, is its amazing climate, lush vegetation and cultural diversity. How can these assets be fully exploited and translated into architecture?

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“RATHER THAN BEING AN ISOLATED “JEWEL BOX” (SCHATZKAMMER) FOR ART LOVERS AND SPECIALISTS, THE MUSEUM PROVIDES COMFORTABLE PUBLIC SPACE FOR EVERYBODY. IT IS AN EXTENSION OF THE PARK, OFFERING GRADUAL TRANSITIONS FROM THE OUTSIDE TO THE INSIDE, FROM THE WARM TO THE COOL, FROM THE HUMID TO THE DRY AND FROM THE STREET TO THE ART.”

Why Last winter I was able to visit the PAMM and found it to be one of the best museums I have ever been to. It seemed perfectly situated on the water with a generous but graceful public zone around its perimeter.

The transitions of entering the building through massive wooden doors was beautifully juxtaposed to the clean, and light detail of the glass. Herzog & de Meuron’s use of materials, like so many of their buildings, seemed to emulate a confidence of appropriateness that one can’t find in most buildings. Within the building one can simply get lost in the art but then almost immediately reorient themselves in the donut-esque plan with its central open theatre space.

The building should feel like it’s a monster, a great big box, but quite oppositely it feels open, friendly, and artful.

And like all the ‘good’ museums… it had great wine and delicious pizza in the café!

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GUGGENHEIM HELSINKI GH-5631681770

Architect SMAR Architecture Studio Year 2014 Location Helsinki, Finland Size 43,000 SQFT of Exhibition Spaces Details In June 2014, the Solomon R. Guggenheim Foundation launched its first open, anonymous, international design competition for a proposed Guggenheim museum in the Finnish capital of Helsinki.

From 1,715 entries in Stage One, the 11-member jury selected six finalists. Following a public exhibition of the Stage Two finalist designs in Helsinki, the jury chose the design “Art in the City” by Paris firm Moreau Kusunoki Architects as the competition winner.

(GH5631681770)

“A GUGGENHEIM MUSEUM IN HELSINKI WOULD REPRESENT A NEW MODEL WITHIN THE GLOBAL GUGGENHEIM CONSTELLATION. IT OFFERS AN OPPORTUNITY FOR THE FOUNDATION TO DEVELOP A MUSEUM OF THE FUTURE WITH RADICAL, MULTIDISCIPLINARY APPROACHES TO ENGAGING NEW AUDIENCES WITH CULTURE AT LARGE. WITHIN THE GLOBAL CONSTELLATION, THE GUGGENHEIM HELSINKI WOULD BE DISTINCTIVE IN ITS ACTIVE INCLUSION OF DESIGN AND ARCHITECTURE IN ITS PROGRAMMING. THE GUGGENHEIM HELSINKI WOULD BECOME AN INNOVATION CENTER FOR THE OTHER GUGGENHEIM MUSEUMS AND THE KNOWLEDGE ACQUIRED, ALONG WITH THE STANDARDS SET, WOULD BENEFIT HELSINKI, THE CONSTELLATION AS A WHOLE, AND AUDIENCES WORLDWIDE.”

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Why “2. The Program - The Evolution of Museum Space Museums have changed from institutions where information was directed in only one way: towards the viewer into institutions that are increasingly creating conversations with the viewer.

We need a really radical change in how people use museums now.

It’s not only about looking closely at works of art; it’s moving around within-a-sort of cultural spectacle.

Museums of the future should

engage with their visitors in the museum, with the physical spaces outside of the museum and with virtual audiences they build around specific subjects.

Without these spaces museums risk the audience moving on to a new venue.

Gaining space and functionality is not enough. Added value lies in creating an environment where it is good to be, an arena for interaction between artwork, visitor, museum and society.

In planning the museum, we try to imagine how art and audiences might come together five years from now, in an institution that not only houses and cares for a collection, but is also a meeting place for major social significance.

The New Guggenheim Helsinki should be generous, adaptable, and multi-functional.

It’s not about Designing a Museum, it’s about Designing an Experience.

We propose a new Experience not only for the visitor, but for the Citizen.”

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“I DON’T UNDERSTAND WHY WE HAVE TO EXPERIMENT WITH FILM. I THINK EVERYTHING SHOULD BE DONE ON PAPER. A MUSICIAN HAS TO DO IT, A COMPOSER. HE PUTS A LOT OF DOTS DOWN AND BEAUTIFUL MUSIC COMES OUT. AND I THINK THAT STUDENTS SHOULD BE TAUGHT TO VISUALIZE. THAT’S THE ONE THING MISSING IN ALL THIS. THE ONE THING THAT THE STUDENT HAS GOT TO DO IS TO LEARN THAT THERE IS A RECTANGLE UP THERE - A WHITE RECTANGLE IN A THEATER - AND IT HAS TO BE FILLED.” A

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the AMMPAS.

After the long winter break and the Thesis Research Vacation, the best way to defamiliarize with the project and to help understanding the scale of the project, I decided to scale the site drawings accordingly, create CAD plans with topography, create a Revit Site Model (which will be seen later) with topography, and model a large portion of Hollywood Boulevard in Maya for the animations I intended on making

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It should be noted here that all or most of the content in Conceptual Framework all happened simultaneous or in succession between February 2nd and March 2nd and therefore will not necessarily cover any specific design moves that will be explained later but mores the visual, technical, and more “conceptual” ideas that have helped form the final product of

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ORGANIZING T H R O U G H PROGRAM

To understand how to conceptually go about organizing the AMMPAS, the program which rolled over from the preparation of the previous semester was once again scrutinized, examined, Program Galleries Permanent Galleries History of The Academy Production Design Costume Design Soundtrack/Score Cinematography Film Editing Sound Mixing Sound Editing Visual Effects Annimation Documentary Temporary Exhibitions Large Medium Small Demonstration Stage The Making Of Gallery Premiere Theatre Individual Theatres Theatre 1 Theatre 2 Theatre 3 Education Center Class Rooms Administration Library Public Garden Academy Resturant CafĂŠ Museum Store Administrative Offices Parking Total

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Area (sqft) Seats 108,000 70,000 10,000 6,000 6,000 6,000 6,000 6,000 6,000 6,000 6,000 6,000 6,000 30,000 15,000 10,000 5,000 3,000 5,000 18,000 1000 15,000 750 5,000 250 5,000 250 5,000 250 16,000 12,000 4,000 10,000 12,000 12,000 5,400 7,200 15,000 80,000 298,600 1750

pulled apart and reassembled to help understand relationships, connections, and the like. The resultant looked more like an equation or bubble map of the procession or experience of the museum.

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C01

The first massing and concept design in modeled and rendered in Maya - was a strait forward placement of the general square footage of the program placed relatively arbitrarily on the site

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and layered in the same arbitrary manner. This began a dialogue of further discovery of procession, placement, and adjacencies of program all while under the realistic understanding of scale.

C02

Is simple the second iteration of its predecessor following the same rules as the previous, but organized in a different fashion - still not so much designing as playing.

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ORGANIZING T H R O U G H ASPECT RATIO

In order to understand and separate the program, or at least categorize it, begat another revelation. The categories at first for the 12 or so galleries became: Physical, Audio, and Visual. Rather than split them up with color, which I did for some time, inevitably I also assigned them ratios to use both scaling them in all axis and various other dimensions. I didn’t just use any ratios though. I used the Aspect Ratios for film that have been used as standards since the first silent film up until today.

The three most common (popular) ratios I chose were the Current Widescreen (or cinematic) ratio of 2.35:1 which I assigned to the Visual subcategory of galleries because of there super panoramic and ‘visual’ qualities.

Next I chose the American Widescreen of 1.85:1 which I assigned to the Visual subcategory of program because it is the most used ratio.

Last, for the Historical sub category of program I chose the Academy Ratio of 1.375:1 because it was literally issued and made a industry standard by

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the AMPAS in 1932.

By separating the program pieces by Aspect Ratio then determining their LxW and H by the ratio when placing them on the site, became another layer to the overall design organization

of what evolved into the formal exploration of the design.

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ORGANIZING THROUGH FORM

From sketches, and physical models - the experimentation and articulation of spaces began to materialize. The conceptual notions of passing through the site emerged. The following also formalized as ideas: Separation of the building in two halves. A courtyard-esque entrance. Highs and lows of the building in relationship to the surrounding context. The initial site boundary should be extended to emphasize

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the pass through idea. The difficulty of having a ‘U’ shaped building. etc.

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ORGANIZING T H R O U G H ANIMATION LAYERS

Another important concept for me was to somehow illustrate or animate how a single image could be created of is made up of many other images, or many layers of images. This representing the layers of craft and artistry (writers, actors, costume designers) which make up the final product which is the film. This lead to the ‘Academy Gold’ galleries made up of the 12 (or so) galleries and each coming from a single image or layer.

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Or how they could all create a single image when spread apart and manipulated, that college could create a single image or experience. These are stills from an animation made exploring this concept of Layers in motion.

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HITCH

This experiment blossomed from the layering idea of a single image but then evolved into the manipulation of the layers in space but with the addition of it having an image. Specifically the iconic image from Hitchcock’s North by Northwest - essentially exploring the ideas of presentation on multiple surfaces.

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WALTZ

Becoming more of a specific exploration - this time including both sound and a moving image with the same but slightly subdued spacial manipulation of the projected planes. Focusing on Christoph Waltz’s Oscar Winning role in Inglorious Basterds, the multiple planes play various scenes from the movie while Tarantino as seen in the later shots is seen speaking of working with Christoph.

Ultimately you are enclosed in the experience of the film and his master-class performance.

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A SINGLE MAN

This animation represented a conceptualized version of what a single gallery experience might be like within the museum.

The procession of a funnel-like introduction into the atmosphere of the film and then the same and grander exit funnel to emphasize a particular moment or scene on the way out. While on the inside of the gallery are smaller full floor to ceiling panels of moving and still images of the like. This became as much of a design concept experiment as well as a computer softwarerender experiment to see how many images and movies I

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could reference and how I might start considering a rendering technique for the semester that I could explore and develop.

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C03

Another iteration and collection of previous ideas, but without much sculpting of form, than programatic organization.

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C04

Another iteration and collection of previous ideas, but without much sculpting of form, than programatic organization. This time with different angles.

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FIELD OF VISION

Austrian / American Herbert Bayer who is considered to be one of the last living members of the Bauhaus. Oddly enough in one way or another each semester at school I have found myself always coming back the the Bauhaus for inspiration.

From Gropius, to Breuer and Meyer, now Bayer - became one of the biggest inspirations for the AMMPAS. In addition to being a graphic designer, sculptor, photographer and architect…

Bayer was also interior design.

Specifically in the realm of museums, exhibits, and the notion of a person’s perspective, their perception and their Field of Vision. In as early as 1935 when Bayer was 56, he wrote an essay on the “Fundamentals of Exhibition Design” where he describes the Field of Vision in relation to the perspective of the individual… “the eye of man is fixed at an average distance from the floor. the field of vision has a definite size whose limitations are founded in the nature of the eye. by means of movement of the eye, of the head, or the body, the field of vision is extended. it also becomes larger with increasing distance between the eye and the object. normal sight is horizontal.

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since, however, the perspective may be so greatly enlarged, there lies here an elementary motif for design. up to the present time, it has been little used. the exhibition space is available to the individual eye and should obtain its forms from the qualities of the eye itself. this space is also

mostly temporary, which fact differentiates it from the design of monumental buildings or homes” Later in life in his essay “Aspects of design of exhibitions and museums” of 1961, Bayer states “Today it would be considered a misconception if the subject itself were not put forth convincingly, while the auxiliaries necessary to this end would assume no more than the required importance.

Any analysis as to purpose and content of a projected exhibit will result in a specific solution. The subject must be brought close to the spectator and leave an impression on him.

It must explain, demonstrate, and persuade him, and even lead to a planned reaction.

The presentation must serve in support to the subject. The Italian designer carboni says, “… tutto viene subordinato all’idea contrale espresso in sintesi…” (... Everything is subordinated to the idea contrale expressed in summary …)”

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MORE FIELD VISION…

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IBM Pavilion “The IBM Pavilion at the 196465 New York World’s Fair covered 54,038 square feet (1.2 acres) in Flushing Meadow, N.Y. Designed by Charles Eames and Eero Saarinen Associates, the pavilion created the effect of a covered garden, with all exhibits in the open beneath a grove of 45, 32-feet high, man-made steel trees. The pavilion was divided into six sections: The “Information Machine,” a 90-foot-high main theater with multiple screen projection; pentagon theaters, where puppet-like devices explained the workings of data processing systems; computer applications area; probability machine; scholar’s walk; and a 4,500-square-foot administration building.” - ibm.com

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7S Pavilion “Inaugurated at the 2012 Cannes Film Festival with a screening of Kanye West’s debut short film Cruel Summer, this pavilion designed in collaboration with West’s creative team, Donda is a lifted pyramid containing a seven-screen cinema.

Located along Palm Beach, the pyramid’s canopy is hemmed to open up a panoramic backdrop of Cannes and the Mediterranean while creating an effect of levitation above the red carpet.

Filmgoers ascend into the pyramid along a continuous red carpet that widens into the 200 seat auditorium. OMA worked with Cannes-based production team Ar’Scene…The resulting pyramid also subtly distinguishes itself from the context of white event sheds in Cannes.

The pavilion is designed to immerse the audience in a space defined by seven screens of cinematic proportions (17’ x 17’, 17’ x 30’). Shot with a custom seven-camera rig in Qatar, Cruel Summer was envisioned for this space as a constellation of projections that wrap around the audience through the configuration of the screens.” oma.eu

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BACK TO BAYER’S FIELD OF VISION...

These are Bayer’s original drawings used to diagram his ideas and concepts for Field of Vision, along with another artist’s diagram of his drawings.

Above all else, these have captured my attention.

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MY INTERPRETATIONS

Even more so than my animations, these conceptcollages reflect the type of experience, and atmosphere I was initially experimenting with from the beginning of the project.

The idea of having sectionally active environment with larger than life screens that are both interactive and engaging. Behind the layers of the large screens would be the galleries, or rather the explanations of what the exterior screen was hinting at or referencing. Regardless this monumental yet fragile planes that construct an path and purpose are incredibly powerful to me. But at the same time the procession is incredibly dynamic, from the endlessly moving images to the wonder and surprise on what might lie behind each gallery, or projection.

The collage also helps represent or solidified the idea that this experience was not necessarily one that would happen within the galleries, but this would be the entrance, the trailer if you will for the museum as a whole.

To be floating in between these massive films, with their budgets and prestige is exactly what everyone thinks the academy is today and its not until they are

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inside the museum where they truly realize and get to experience that the museum is celebrating the artists, technicians, and process of cinema. It becomes the literal and figurative curtain reveal. The removal of the perfection and illusion of the final cinematic image. Rather the difficulty and craft of the boommic guy, or the composer’s relationship with the director etc.

Ultimately it is the manifestation of the thesis dealing collages that I hope to create architecturally with the AMMPAS.

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“WHAT A COSTUME DESIGNER DOES IS A CROSS BETWEEN MAGIC AND CAMOUFLAGE. WE CREATE THE ILLUSION OF CHANGING THE ACTORS INTO WHAT THEY ARE NOT. WE ASK THE PUBLIC TO BELIEVE THAT EVERY TIME THEY SEE A PERFORMER ON THE SCREEN HE’S BECOME A DIFFERENT PERSON.”

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D E S I G N SOLUTIONS

The following are sketches and renderings from and in-between each formal and informal presentation during the semester.

There will be some digressions for big moves or further research that was needed to push the design further.

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With the notion of the “pass through” or how one could move through a building with out entering it yet be teased by the approach and the various design elements that would spark someone’s interest… like a movie trailer. One of the most persistent design elements and intentions of the design was the pass-through over the courtyard, the separation of inside the museum and outside the museum, and even further the separation between inside and outside is interwoven in that distinct separation as well.

As you can see in the sketches, my Corbusian inspiration from a visit to Boston.

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0320 PRE-MID CRIT

At this stage, I had just found the Bayer Field of Vision drawings and was completely inspired to have it integrate and mold into the multi-plane environment of the fractured galleries that enclose the entrance and courtyard of the museum.

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0320 MID ANIMATION

CRIT

This was one of the last animations I did for the project and through the experiments of easily manipulating the 3-D galleries, their associations and interactions, programmatically resonated the ideas of the design.

Although they were quick to make and manipulate, the playful experimentation, even in animated them for effect, offered a great deal of insight into the circulation and movement through the museum.

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03 / 20 MID CRIT REVIT

By the mid-crit, I moved past hand drawing and sketch modeling in Maya to the more detail oriented Revit, in order to see how far I was able to push the program in terms of finding a happy medium in the graphic nature of ‘revit-drawings’ and the extent of how easily I was able to model the complex shapes of the design.

Ultimately Revit allowed me to quickly and efficiently present an incredibly large number for drawings including renderings of almost every level and space in the project.

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0320 MID CRIT REVIT

Section Boxes and Site Context (cropped)

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0320 MID CRIT REVIT print sheet

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0320 MID CRIT REVIT print sheet

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0320 MID CRIT REVIT Print Sheet

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0320 MID CRIT REVIT Print Sheet

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0331POST MID CRIT REORGANIZATIONS After the presentation, the project was missing a clear and defined sense of rational circulation between the programs, specifically the galleries.

This led to multitudes of trace, redrawing plan, after plan, until ultimately it became more and more clear that the circulation wants to be a double loaded corridor with a bridge, flanked by galleries with the service towards the south, and the education portion in the rear part of the site.

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There were also more detailed design elements that had to be more thoughtfully and accurately determined, such as the service entrance, the elevator and stair cores, and the beginnings of what the building is made of and how is it held up, etc.

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0331 POST MID CRITSECTIONS AND PERSPECTIVES What was missing from these drawings was the sculpting and mainly more of the sectional energy that was so interesting in the previous drawings. In order to create that energy I started simplifying the design in section and create and focus more of my time in plan, what is apparent now, looking back is that I got lost in the plan and found it very hard to escape and refocus me attention on other parts of the design.

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At this point the entrance has yet to be designed, but the idea of it being off the center axis, and allowing it to act as a pedestrian pass through is still a prominent design component. That pass through split the rear program down the middle to allow for the concept similar to a Hollywood production back lot – type – alley.

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0407 ENTRANCE

AMMPAS

On the right is the first collage from when I started focusing in on the entrance to the museum, what should it feel like? What was a viewer going to experience before entering the museum?

Similar to the Bayer renderings, the path would be flanked by film and production stills that are printed on what the viewer does not realize yet are the galleries of the museum. On the exterior its like the hollywood and film industry everyone expects, but inside is the reveal behind the magic and the artistry.

The entrance should have a certain hierarchy and open up into a circulation core that shows and presents the scale of whats to come.

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0410 CLADDING AND STRUCTURE Structural Precedent Analysis Based on the precedent research of both Libeskin’s Royal Ontario Museum and his Denver Art Museum, their cladding and structural acrobatics with steel was convincing enough for the museum. The grid for the structure helped clarify and simplify some of the plan and section both in terms of circulation and mechanically.

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0410 CLADDING AND STRUCTURE

Exterior Panel System The Theatre Agora by UN Studio was another project that inspired the paneled facade.

Not only was the theatre space incredibly intriguing but, the way that the facade is made up of so many different yet similar colors asserted my varying aspect ration paneling system of the cladding of the galleries.

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04 / 10 CLADDING AND STRUCTURE

Exterior Material Selections As for the texture of the building, the panels would be made of TRESPA, specifically the Trespa Meteon Exterior paneling system, allows for just the right amount of metallic sheen without being reflective.

The galleries would be clad with Amber M06.4.1 (or similar) The theatres would be clad with Garnet Red M12.4.2 (or similar) The other programs would be clad with Aluminum Grey M51.0.1(or similar) Interior Material Selections For the interiors, the Floors would be made of a low gloss smooth concrete.

The exterior wall of all the programatic spaces (except the theatres) would wrap inside of the building. The interiors of the spaces would be a painted (default white) Gypsum wall giving a higher contrast to the inside of the galleries.

The interiors of the theatre would reflect the similar aspect ratio composition panels of the exterior Trespa material, but would be more acoustically appropriate.

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0414 DETAILS

THEATRE

Each theater became a unique experience, from the ability to present Ultra Panovisin 70mm film to the experimentation of a vertical screen, the versatility and possibilities of what could be experienced in the museum are endless.

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0414 DETAILS

THEATRE

The intricate design of the theaters was fitting them into the museum in such a way that function autonomously from the museum. One could enter the theater, was ch a tim and leave without the choice of entering the museum. This intention derived from the fact that knowingly the museum would eventually close at night but the theaters could remain open for screening of new and old features. The restaurant on the top could also be an extension of that nightlife function to the museum.

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0407 GATE

The gate presentation for those who may not be familiar is when the Student pins up all the work they have done, roughly a few weeks before the Final Presentation and then leaves their drawings for their Professor and guest to make comments on the design with out any type of formal or informal verbal presentation from the student.

Purely letting the drawings speak for themselves.

After the professors judge and critique the work, they leave behind post-it notes that have varying comments such as what they believe can reasonably be focussed on or fixed before the Final. And in that case they receive the “OK FOR MAY” sticky. If the student is not OK, then they simply are asked to preset a few weeks later.

POST IT NOTES “OK FOR MAY” “Why Can’t This Be Simple?”

“How Can This Get Simpler, Calmer, Less Agitated?”

“Engage Rear Portion of Front Building” “Too Much FORM”!!”

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“AGITATED

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0417 GATE

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0417 GATE

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0417 GATE

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“IF YOU’RE GOING TO PLAY MUSIC OR DO ANY ART FORM, JUST AS A HOBBY OR AS PURELY A SOURCE OF ENJOYMENT, THEN YEAH, YOU SHOULD ENJOY IT. BUT I DO BELIEVE IN PUSHING YOURSELF. IF YOU ACTUALLY TAKE THE IDEA OF PRACTICE SERIOUSLY—TO ME, PRACTICE SHOULD NOT BE ABOUT ENJOYMENT. SOME PEOPLE THINK OF PRACTICE AS “YOU DO WHAT YOU’RE GOOD AT, AND THAT’S NATURALLY FUN.” TRUE PRACTICE IS ACTUALLY ABOUT JUST DOING WHAT YOU’RE BAD AT, AND WORKING ON IT, AND THAT’S NOT FUN. PRACTICE IS ABOUT BEATING YOUR HEAD AGAINST THE WALL. SO IF YOU’RE ACTUALLY SERIOUS ABOUT GETTING BETTER AT SOMETHING, THERE’S ALWAYS GOING TO BE AN ASPECT OF IT THAT’S NOT FUN, OR NOT ENJOYABLE. IF EVERY SINGLE THING IS ENJOYABLE, THEN YOU’RE NOT PUSHING YOURSELF HARD ENOUGH, IS PROBABLY HOW I FEEL. ” D

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FROM MAY TO JUNE Within the days that followed it became more and more apparent that not only did I want to spend more time on developing my design, but I more or less saw it as an opportunity to spend more time on it. To make up for the time I spent stuck in the plan, but also to work on and work out the ‘kinks’ that were still very much present.

For Example, the most drastic and last minute design addition before the “Gate” presentation was the addition and determination of the circulation enclosure/roof in between the galleries spaces. What was open, what was transparent - before pressing print, the haphazard extremity that surrounded the building was a place holder at best, but would create further discussions and explorations form there.

The following is the progress made from the Gate Presentation to my Final Presentation.

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0505 POST-GATE CHANGES

Section Perspective 1 of Education / Administration Wing One of the biggest changes in the design during this period was the complete overhaul and re-organization of the rear service and education block of the building. Separating it and creating a language similar to the rest of the building with a courtyard and a double loaded corrode which gracefully pushes its way into the rest of the museum.

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05 / 05 POST-GATE CHANGES

Section Perspective 2 of Education / Administration Wing

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0513 ADDITIONAL POST GATE CHANGES L HBLV Programatic elements of curatorial areas, restoration labs, break out offices, conference rooms, and the like elevated the before-hand briefly discussed Administration and Education program elements.

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0513 ADDITIONAL POST GATE CHANGES L2

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0521 ADDITIONAL POST-GATE CHANGES Exterior Renderings of Entry from Hollywood Boulevard

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“IF YOU WANT A HAPPY ENDING, THAT DEPENDS, OF COURSE, ON WHERE YOU STOP YOUR STORY.”

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FINAL PRESENTATION

The Presentation was held on June 12th 2015 at 2pm.

My Final Presentation consisted of 8 sheets of 32” x 72” photo paper, totaling to 144 SF of Presentation along-side a 7min 3second 1080 HD movie that showed my process animations transitioning to Walkthroughs and Renderings of the design.

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FINAL PRESENTATION WALK THROUGH 01

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FINAL PRESENTATION WALK THROUGH 02

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FINAL PRESENTATION WALK THROUGH 03

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FINAL PRESENTATION WALK THROUGH 04

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FINAL P R E S E N TAT I O N BOARDS

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F I N A L PRESENTATION EXTERIOR APPROACH

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F I N A L PRESENTATION PROGRAM LIST

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F I N A L PRESENTATION GALLERY LIST

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F I N A L PRESENTATION THEATRE LIST

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F I N A L PRESENTATION AXON SITE CONTEXT

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F I N A L PRESENTATION AXON SITE CONTEXT

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F I N A L PRESENTATION AXON 01

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F I N A L PRESENTATION AXON 02

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F I N A L PRESENTATION PANORAMA

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F I N A L PRESENTATION SITE PLAN

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F I N A L PRESENTATION FLOOR PLAN L -3

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F I N A L PRESENTATION FLOOR PLAN L -2

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F I N A L PRESENTATION FLOOR PLAN L -1

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F I N A L PRESENTATION FLOOR PLAN L HBLV

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F I N A L PRESENTATION FLOOR PLAN L2

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F I N A L PRESENTATION FLOOR PLAN L 2G

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F I N A L PRESENTATION FLOOR PLAN L3

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F I N A L PRESENTATION FLOOR PLAN L4

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F I N A L PRESENTATION NORTH ELEVATION

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F I N A L PRESENTATION EAST ELEVATION

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F I N A L PRESENTATION SOUTH ELEVATION

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F I N A L PRESENTATION WEST ELEVATION

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F I N A L PRESENTATION S E C T I O PERSPECTIVE 01

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F I N A L PRESENTATION SECTION CUT 01

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F I N A L PRESENTATION SECTION CUT 02

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F I N A L PRESENTATION SECTION CUT ‘BOX’ 1

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F I N A L PRESENTATION SECTION CUT ‘BOX’ 2

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F I N A L PRESENTATION SECTION CUT ‘BOX’ 3

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F I N A L PRESENTATION SECTION 1

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F I N A L PRESENTATION SECTION ENTRY RAMP

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F I N A L PRESENTATION S E C T I O N ADMINISTRATION AND PARKING

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F I N A L PRESENTATION SECTION PASS THROUGH

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F I N A L PRESENTATION SITE SECTION 2

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F I N A L PRESENTATION SECTION SERVICE

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F I N A L PRESENTATION SITE SECTION 3

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F I N A L PRESENTATION STRUCTURE AXON 1

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F I N A L PRESENTATION STRUCTURE AXON 2

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F I N A L PRESENTATION SECTION TH02

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F I N A L PRESENTATION TH02

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F I N A L PRESENTATION SECTION TH03

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F I N A L PRESENTATION TH03

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F I N A L PRESENTATION SECTION TH04

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F I N A L PRESENTATION TH04

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F I N A L PRESENTATION SECTION TH05

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F I N A L PRESENTATION TH05

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F I N A L PRESENTATION SECTION DEMO

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F I N A L PRESENTATION TH06

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F I N A L PRESENTATION 3DV L -1

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3DV LHBV: HOLLYOOD BOULEVARD

3DV L3

F I N A L PRESENTATION 3DV EXTERIOR NORTH

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F I N A L PRESENTATION SOUTH FACADE

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F I N A L PRESENTATION INTERIOR L2 - EDUCATION LOBBY

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F I N A L PRESENTATION INTERIOR GALLERY G01

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F I N A L PRESENTATION INTERIOR GALLERY G18

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F I N A L PRESENTATION INTERIOR LOBBY L2 & L4

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F I N A L PRESENTATION L3 EDUCATION ROOFTOP

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F I N A L PRESENTATION L4 ROOFTOP EXTERIOR THEATRE

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F I N A L PRESENTATION L-1 COURTYARD

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F I N A L PRESENTATION L-1 UNDER RAMP

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F I N A L PRESENTATION LOBBY

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F I N A L PRESENTATION ENTRY SEQUENCE

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F I N A L PRESENTATION NOTES FROM AFTER CRITIQUE Reviewed By: Andrew Cohen Andrea Adams B.G. Shanklin Nathan (?)

Luis E. Carranza

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Negative Maybe this project as a whole was too big?

Add more circulation on west side for the museum goner to really have more free will of circulation.

Have diagram maps of museum to better explain it.

Positive This building really looks like it should be in L.A. It is okay that you have not curated the building… there is a process in here and you should be proud of what you have accomplished.

Great project… something that needs to be described with the medium itself.

The forms are crazy, but unlike most that do this, you really have made this work, spatially and circulationaly.

Other Remarks The concept of the building as… for a new academy, a redirection of where it is heading the future, in the eyes of the public.

The galleries are not linear because film is not linear… there is no hierarchy there.

Is there a place for experimental film in the auditorium?

What makes your design different than Renzo’s without telling me anything about his?

AFTER CRITIQUE

0623 Review In His Own Words “hey alex, that is a great idea… my general comments had to do with two things: the first, with organizing the sequence of the experience of the user/ viewer in layers (so that s/he could see the components that make up the movies). this came about, if i remember correctly (and remember, i was just there in the audience), from one of your early diagrams/studies that showed how the layering of information gave the total picture. in addition, this implied also a spatialization of the visual diagram (albers?) to organize the information.

the second thing had to to with the building being more akin to “experimental cinema” that reveals the tricks and conventions of movie making. and whether some of those techniques could have been helpful for organizing and, more importantly, thinking how the material presented shows those very “tricks.” i’ll leave the more simplistic and code related things to my colleagues… ;) good luck with the final push…! luis”

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“MY CINEMA IS AN EXTENSION OF MYSELF. A SORT OF LIFE-TESTIMONY OF MY VITAL EXPERIENCE, WITH MY FEW VIRTUES AND MY NUMEROUS LIMITATIONS.”

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CONCLUSION

In the end what I have accomplish and what I wanted to accomplish seem like two opposite sides of the world. The truth is I probably could have worked on this project for another semester, another 6 months… 6 years? But none the less the explorations, research, creative reasoning and so much more have been some of the most rewarding experiences in the 6 years I have studied architecture.

I chose this as my thesis even before Thesis Prep, it was cemented in my mind, and I was almost afraid to make decisions in fear that - I needed to do more research before making that decision, or I needed to watch ‘this many’ movies, or I needed to understand something else.

Little by little it all became more and more tangible.. . but enough about I never want to stop working on this project.

I have learned more about a subject I thought I knew so much about. More so it allowed me to explore architectural and film ideas, and concepts that I never would have before. I learned new software and computer tricks, watched more movies than I care to admit… I even went to LA for 7 days!

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What I hope, and what I believe I have accomplished was creating an argument of how the Academy needs a museum. The past year has been setting up the boundaries and justifications of that argument, understanding the implications of that argument - with all or its requirements, challenges, and specificities then out of the argument comes

the design solution.

Presented in this book and what I designed is a single synthesized and in-depth solution to a museum for the Academy. Named appropriately the Academy Museum of Motion Picture Arts & Sciences (AMMPAS).

Hoping you enjoyed my process.

Cheers, Alex Schweitzer

FIN. (WAIT FOR CREDITS)

THE

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“I LOVE WRITING BUT HATE STARTING. THE PAGE IS AWFULLY WHITE AND IT SAYS, “YOU MAY HAVE FOOLED SOME OF THE PEOPLE SOME OF THE TIME BUT THOSE DAYS ARE OVER, GIFTLESS. I’M NOT YOUR AGENT AND I’M NOT YOUR MOMMY, I’M A WHITE PIECE OF PAPER, YOU WANNA DANCE WITH ME?” AND I REALLY, REALLY DON’T. I’LL GO PEACEABLE-LIKE.”

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BIBLIOGRAPHY ARCHITECTURE

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[1st ed. New York: Princeton Architectural Press, 2004.

Lamster, Mark. Architecture and film. New York: Princeton Architectural Press, 2000.

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Programmatic Innovation in the Work of Koolhaas/OMA.” Journal of Architectural Education 56.1 (2002): 5-13. Print.

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Contemporary Landscape Architecture, 59-68. New York: Princeton Architectural Press, 1999.

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Rowe, Peter. “Civitas and a Civic Sensibility in Civitas / What Is City?” The Harvard Architectural Review 10 (1998): 7-9. Print.

Rowe, Colin, and Fred Koetter. “The Crisis of the Object: Predicament of Texture.” Collage City. Cambridge, Mass.: MIT, 1978. 50-85. Print.

Lubell, Sam, and Greg Goldin. Never Built Los Angeles. New York: Metropolis, 2013. Print.

Augé, Marc. Non-places: an introduction to supermodernity. 2nd English Language ed. London: Verso, 2008. Print.

Rainer, Paul v., and Oliver Hilger. Museum Buildings: A Design Manual. Basel: Birkhäuser, Publishers for Architecture, 2004.

Lord, Barry, Gail Dexter Lord, and Lindsay Martin. Manual of Museum Planning: Sustainable Space, Facilities, and Operations. 3rd ed. Lanham, Md.: AltaMira Press, 2012.

Heathcote, Edwin. Cinema Builders. Chichester: Wiley-Academy, 2001.

Griffiths, Alison. Shivers down Your Spine Cinema, Museums, and the Immersive View. New York: Columbia University Press, 2008.

Marstine, Janet. New Museum Theory and Practice an Introduction.

Malden, MA: Blackwell, 2006.

Cohen, Arthur Allen, and Herbert Bayer. Herbert Bayer: The Complete Work. Cambridge Mass.: MIT Press, 1984.

Bayer, Herbert. Herbert Bayer: Painter, Designer, Architect. New York: Reinhold, 1967.

Bayer, Herbert. “Fundamentals of Exhibition Design - NYPL Digital Collections.” NY Public Library - Digital Collection - Rare Book Division. 7 Sept. 2014. Web. 27 Aug. 2015.

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Boehm, Mike. “Film academy to pay LACMA $36.1 million for movie museum lease.” Los Angeles Times 2 June 2014: n. pag. La Times.

Web. 22 Sept. 2014.

Keegan, Rebecca. “Zoltan Pali exits academy museum project as construction phase nears.” Los Angeles Times 13 May 2014: n. pag.

LA Times. Web. 22 Sept. 2014.

Hawthorne, Christopher. “Critic’s Notebook Design tweaks can’t overcome Academy Museum’s dramatic flaws.” Los Angeles Times 15 Apr. 2014: n. pag. Critic’s Note. Web. 22 Sept. 2014.

McKeough, Tim. “Los Angeles Gets a New Renzo Piano-Designed Museum.” Architectural Digest 19 Nov. 2012: n. pag. Daily AD. Web. 22 Sept. 2014.\ Cieply, Michael. “French Architect picked For Film Museum.” New York Times 8 Nov. 2007: n. pag. Movies. Web. 22 Sept. 2014.

Later: http://archrecord.construction.com/news/daily/ archives/071113academy.asp Diamond, Jaime. “Academy Report.” Digital Collections. Academy of Motion Pucture Arts and Sciences, n.d. Web. 30 Sept. 2014. <http:// digitalcollections.oscars.org/cdm/ref/collection/p15759coll4/id/5757> Hawthorne, Christopher. “Peter Zumthor’s Plan for LACMA Undergoes Makeover.” Los Angeles Times 23 Mar. 2015. Web. 19 Aug. 2015. <http://www.latimes.com/entertainment/arts/architecture/ la-et-cm-new-zumthor-plans-20150323-column.html>.

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Nolan, Christopher. “Christopher Nolan: Films of the Future Will Still Draw People to Theatres.” The Wall Street Journal (New York), July 7, 2014. http://online.wsj.com/articles/christopher-nolan-films-ofthe-future-will-still-draw-people-to-theaters-1404762696 (accessed September 4, 2014).

Ayers, Mike. “Steven Soderbergh on Why He Really Quit Movies.”

Esquire, July 7, 2014. http://www.esquire.com/blogs/culture/stevensoderbergh-interview (accessed September 7, 2014).\ “Steven Spielberg And George Lucas On Hollywood’s Future.”

Empire, June 13, 2013. http://www.empireonline.com/interviews/ interview.asp?IID=1714 (accessed September 7, 2014).

Osborne, Robert A.. 85 years of the Oscar: the official history of the Academy Awards. New York: Abbeville Press, 2013.

Geduld, Harry M.. Film makers on film making; statements on their art by thirty directors,. Bloomington: Indiana University Press, 1967.

McGinn, Colin. The power of movies: how screen and mind interact.

New York: Pantheon Books, 2005.

Dixon, Wheeler W., and Gwendolyn Audrey Foster. 21st century Hollywood movies in the era of transformation. New Brunswick, N.J.: Rutgers University Press, 2011.

Hansen, Miriam. Cinema and experience Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno. Berkeley: University of California Press, 2012.

Plantinga, Carl R.. Moving viewers: American film and the spectator’s experience. Berkeley: University of California Press, 2009.

Sickels, Robert. American film in the digital age. Santa Barbara, Calif.: Praeger, 2011.

Rombes, Nicholas. Cinema in the digital age. London: Wallflower Press, 2009.

Nilsen, Vladimir. The cinema as a graphic art (on a theory of representation in the cinema). New York: Hill and Wang, 1959.

Andrew, Geoff. Film: the critics’ choice: 150 masterpieces of world cinema selected and defined by the experts. New York: Billboard Books, 2001.

Giannetti, Louis D.. Understanding movies. 12th ed. Boston: Allyn & Bacon, 2011.

Douglas, Stan, and Christopher Eamon, Eds. Art of Projection.

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Ostfildern, Germany: Hatje Cantz, 2009.

Ascher, Steven, and Edward Pincus. The filmmaker’s handbook: a comprehensive guide for the digital age. 3rd ed. New York: Plume, 2007.

Bill, Tony. Movie Speak: how to talk like you belong on a film set.

New York: Workman Pub., 2008.

Lewis-Kraus, Gideon. “The Conjurer: How Christopher Nolan Makes Mass Entertainment Out Of Mind-Bending Fantacies.” New York Times Magazine 2 Nov. 2014: 28-51. Print.

Waxman, Sharon. “At U.S.C., a Practical Emphasis in Film.” The New York Times 31 Jan. 2006. Web. 11 Nov. 2014. <http://www.nytimes. com/2006/01/31/movies/31film.html>.

Soderbergh, Steven. “State of Cinema.” Lecture, San Francisco Film Felstival, San Francisco, April 27, 2013.

Schaal, Hans Dieter. Learning from Hollywood: Architecture and Film = Architektur Und Film. Stuttgart: Edition Axel Menges, 1996.

Kemp, Philip. Movies: From the Silent Classics of the Silver Screen to the Digital and 3-D Era. New York, NY: Universe, 2011.

Wieseltier, Leon. “Turner Classic Movies.” New York Times Magazine, March 1, 2015, 24-25.

And the Oscar Goes To... Performed by Anjelica Huston - Narrator.

USA: Turner Classic Movies, 2014. Film.

Douglas, Stan, and Christopher Eamon, Eds. Art of Projection.

Ostfildern, Germany: Hatje Cantz, 2009.

Jager, Joachim, Gabriele Knapstein, and Anette Husch, eds. Beyond Cinema: The Art of Projection : Films, Videos and Installations from 1963 to 2005. Ostfildern: Hatje Cantz ;, 2006.Lasseter, John. “Technology and The Evolution of Storytelling.”

Medium. 24 June 2015. Web. 19 Aug. 2015.

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“IF YOU GO OUT AND SEE A LOT OF MOVIES IN A GIVEN YEAR, IT’S REALLY HARD TO COME UP WITH A TOP TEN, BECAUSE YOU SAW A LOT OF STUFF THAT YOU LIKED. A TOP 20 IS EASIER. YOU PROBABLY GET ONE MASTERPIECE A YEAR, AND I DON’T THINK YOU SHOULD EXPECT MORE THAN ONE MASTERPIECE A YEAR, EXCEPT IN A REALLY GREAT YEAR.”

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FILMOGRAPHY

Example: Lastname, Firstname. Title of Work. Format. Directed/Performed by Firstname Lastname. Original Release Year. City: Studio/Distributor, Video release year. Medium.

Example: The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

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The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

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The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

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The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

The Artist. Directed by Michel Hazanavicius. Unites States of America: Sony Pictures Home Entertainment, 2012. Film.

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“I THINK YOU END UP DOING THE STUFF YOU WERE SUPPOSED TO DO AT THE TIME YOU WERE SUPPOSED TO DO IT.”

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CITATIONS / SOURCES

The following websites were used (unless previously specified) for all images, text and documents referenced and presented in this document.

NOTE The following websites listed (both specific and generic) were used (unless previously specified in bibliography) are included (but not limited to) all images, quotes, texts and documents referenced, sourced and presented in this document.

For all photographs made or originally taken be me, Alex Schweitzer, there will be an “AS” indicated on the image.

Assume all architectural drawings, renderings and diagrams were made by me, Alex Schweitzer, (not including “Precedents”) unless otherwise noted.

OSCARS

http://www.oscars.org/awards/academyawards/ http://www.oscars.org/filmarchive/collections/index.html http://www.oscars.org/awards/academyawards/legacy/bestpictures.html http://digitalcollections.oscars.org/ http://www.hollywoodreporter.com/blogs/race http://www.hollywoodreporter.com/news/hollywood-salariesrevealed-movie-stars-737321?thr-promo=rr http://www.nytimes.com/2006/01/31/movies/31film.html http://www.themill.com/work/the-oscars-2014/the-academyawards.aspx http://stephenfollows.com/how-many-people-work-on-ahollywood-film/ http://www.goldderby.com/odds/experts/200/ http://www.ew.com/microsites/longform/oscars/ http://graphics.wsj.com/oscars-of-everything-else/ http://www.celebrityseating.com/theater-seating-blog/ http://the.hitchcock.zone/wiki/Main_Page http://autodesk360rendering.typepad.com/blog/2015/02/ experience-your-architectural-designs-in-3d.html http://timleong.com/Art-Direction/2015-Oscars http://www.oscars.org/collection-highlights/all/2001-space-

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odyssey READINGS

http://www.dezeen.com/2014/08/08/mimi-zeiger-opinionlacma-peter-zumthor-architecture-of-las-museum-row/ http://www.dezeen.com/2014/07/08/revised-lacma-proposalby-peter-zumthor/ http://www.dezeen.com/2013/08/29/kpf-to-wrap-steel-ribbonsaround-las-petersen-automotive-museum/ http://lareviewofbooks.org/essay/frank-gehry-design-lacma http://blog.sffs.org/home/2013/4/steven-soderbergh-the-stateof-cinema-video-transcripthtml http://www.nytimes.com/2013/02/21/business/media/oscarsbroadcast-to-rival-super-bowl-as-ad-showcase.html?_r=0 https://records.viu.ca/~johnstoi/aeschylus/aeschylus_ agamemnon.htm http://www.eonline.com/news/628834/2015-oscars-red-carpetby-the-numbers-7-5-million-in-diamonds-6-000-pearls-9-versacedresses-more http://www.vanityfair.com/hollywood/2014/08/red-carpethistory http://www.forbes.com/sites/davidhochman/2015/06/25/ architect-renzo-pianos-extraordinary-plans-for-the-academy-museumof-motion-pictures/ http://www.latimes.com/entertainment/arts/architecture/la-etcm-new-zumthor-plans-20150323-column.html http://blogs.kcrw.com/dna/perspectives-on-peter-zumthorsdesign-for-lacma-joseph-giovannini http://graphics.latimes.com/responsivemap-la-me-earthquakefault/ https://en.wikipedia.org/wiki/Hollywood_fault https://lareviewofbooks.org/essay/peter-zumthor-lacmapreacher-wrong-church https://medium.com/art-science/my-vision-for-the-world-sgreatest-movie-museum-59d246047b8a http://www.cnn.com/2015/06/30/architecture/daniel-libeskindarchitecture-emotions/index.html

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SITEWORK http://zimas.lacity.org/ http://www.raremaps.com/gallery/search?search_ term=Los+Angeles http://www.thebroad.org/building# http://www.pfeifferpartners.com/projects.php?category=5 http://egis3.lacounty.gov/dataportal/?s=building http://planning.lacity.org/DRU/HOMEDRU.cfm http://www.amlegal.com/nxt/gateway.dll/ California/lapz/municipalcodechapteriplanningandzoningco/ chapterigeneralprovisionsandzoning/article2specificplanning-zoningco mprehen?f=templates$fn=default.htm$3.0$vid=amlegal:lapz_ca$anc= https://www.permitla.org/ipars/list_address.cfm http://zimas.lacity.org/mapsheet.aspx?val=135B177 http://www.nytimes.com/2011/06/12/travel/hollywoodrenewal-is-on-the-move-heads-up.html?_r=0 http://eastownla.com/area http://columbiasquare.com/ http://jayluchs.com/properties/for-lease/6201-hollywoodboulevard http://www.blvd6200.com/Pages/Home.aspx http://buildinglosangeles.blogspot.com/2014/06/dissectinghollywoodvine-construction.html http://beverlypress.com/2012/10/blvd6200-breaks-ground-inhollywood/ http://www.stopthemillenniumhollywood.org/?tag=hollywoodearthquake-fault http://www.paleycenter.org/ http://maps.assessor.lacounty.gov/GVH_2_2/Index. html?configBase=http://maps.assessor.lacounty.gov/Geocortex/ Essentials/REST/sites/PAIS/viewers/PAIS_hv/virtualdirectory/ Resources/Config/Default http://empowerla.org/chnc/ http://www.chnc.org/ http://www.crala.net/internet-site/Projects/Hollywood/index. cfm https://library.municode.com/HTML/16274/level4/TIT22PLZO_ DIV1PLZO_CH22.28COZO_PT4NEBUZO.html

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http://www.openstreetmap.org/search?query=6200%20Hollywood%20 boulevard%2C%20los%20angeles#map=17/34.09966/-118.33170 http://developer.metro.net/introduction/gis-data/downloadgis-data/ http://www.thecamdenlife.com/ Thesis Research Vacation http://www.archdaily.com/137692/architecture-city-guidesan-diego/ http://www.archdaily.com/104761/architecture-city-guidelos-angeles/ http://gocalifornia.about.com/cs/losangeles/a/flw_la.htm https://www.laconservancy.org/historic-modern-places https://www.marriott.com/hotels/travel/laxmh-residence-innlos-angeles-lax-manhattan-beach/ Precedents http://morphopedia.com/projects/los-angeles-county-museumof-art-competi http://www.oma.eu/projects/2001/lacma-extension/ http://www.kpf.com/project.asp?S=1&ID=509 http://www.dolby.com/us/en/platforms/dolby-cinema. html#design http://www.browninnovations.com/gallery-museum.html http://www.christiedigital.co.uk/emea/digital-signage/digitaldisplay-case-studies/pages/default.aspx http://cinematreasures.org/ http://www.cnfm.org.cn/english/main_en.htm http://deutsches-filminstitut.de/en/ http://www.archdaily.com/290580/in-progress-cinemamuseum-taller-mauricio-rocha-gabriela-carrillo/ http://en.wikipedia.org/wiki/Category:Cinema_museums http://www.saucierperrotte.com/home.php?lg=fr http://www.dmaa.at/projekte/detail-page/eye-film-institute. html http://www.projectorcentral.com/Samsung-SP-A400Bprojection-calculator-pro.htm http://gdcshow.blogspot.com/2012/05/worlds-fair-ibm-

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pavilion-1964.html http://www.maa.immcarrara.com/uk/MAA/projects/progetto. asp?codice=39&idsezione=92 http://www.clarett.com/#!projects/project4.html http://www.equitone.com/us/ http://www.hunterdouglascontract.com/facades/metal_facade. jsp http://www.alucobondusa.com/products.html http://www.trespa.com/uk/products#decor/M06.4.1&use/1& http://www.michadehaas.nl/en/projects/selection/het_gouden_ huis/ http://www.fsindustries.com/more_info/laminated_rubber_ bumpers/laminated_rubber_bumpers.shtml http://issuu.com/srgf/docs/gh-04380895_a3_booklet_ sanitised_-_ Regulatory

http://www.ecodes.biz/ecodes_support/Free_ Resources/2013California/13Building/13Building_main.html https://library.municode.com/HTML/16274/level4/TIT22PLZO_ DIV1PLZO_CH22.52GERE_PT1GEDERE.html#TIT22PLZO_ DIV1PLZO_CH22.52GERE_PT1GEDERE_22.52.050HELI http://planning.lacounty.gov/luz/summary/category/special_ purpose_zones/ Miscellaneous http://www.mpaa.org/ http://rwu.libguides.com/SAAHPwritingstandards http://rwu.libguides.com/c.php?g=58273&p=374831 http://docs.rwu.edu/archthese/

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“I THINK THAT YOU FIND YOUR OWN WAY. YOU HAVE YOUR OWN RULES. YOU HAVE YOUR OWN UNDERSTANDING OF YOURSELF, AND THAT’S WHAT YOU’RE GOING TO COUNT ON. IN THE END, IT’S WHAT FEELS RIGHT TO YOU. NOT WHAT YOUR MOTHER TOLD YOU. NOT WHAT SOME ACTRESS TOLD YOU. NOT WHAT ANYBODY ELSE TOLD YOU BUT THE STILL, SMALL VOICE.”

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COLOR SWATCH

HEADER / SUBHEADER

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Body Text Film (2009) “Quote”

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SMALL GENERAL DESCRIPTION

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COLOR R.G.B

COURIER NEW 11PT

ARIAL 24PT

LIGHT GOLD 209.173.87

ARIAL 16PT ARIAL 16PT ARIAL 13PT

Times New Roman 12pt

Times New Roman 11pt Times New Roman 11pt Italic (Times New Roman 11pt) “Arial 11pt”

MED. GOLD 193.158.77

Courier New 12pt

DARK GOLD 175.144.70

RED 192.0.0

LIGHT GGREY 211.211.211 SMALL GENERAL DESCRIPTION

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