118°15’W
0°30’W
°K 00 21 @ en ld go ur ho 51°52’N
extent of annual morning golder hour’s phenomenal spectacle at Pinewood Studios, Iver Heath, UK
34°03’N
summer solstice golden hour sunpath
spring & autumn equinoxes golden hour sunpath
winter solstice golden hour sunpath
BOOSTING ETHEREAL L.A. GOLDEN HOUR /or the project’s thesis summary/
Cinematographic pursue of evoking ‘the look’ of golden hour by “translating 3D experience into 2-dimensional image”. The real estate’s obsession with the view especially the iconic overlooking City of Angels’ ‘rivers of lights’ grid during sodium hour from Mt Wilson.
Arts & Architecture magazine: Case Study Houses despite being conceived as means of mass delivery of affordable dwellings, became status statement built within prime location, with outstanding views, privacy and visual aesthetic.
Since its construction in 1923 to boost new real estate development, the Hollywood(land) sign transformed from a pure marketing tool to a place itself. The sign has come to redefine the area and its iconic status facilitated its place-making power. An advertisement of a product has become a product, and a PLACE itself.
Playboy apartment’s manual to seduction: Modernist architecture (unwittingly) was wrought as a seduction tool, facilitating the very process by its quintessential features such as open-plan living. Mid-century architecture firmly took ground in state of Pleasure: California. City of Angels ultimately curating hedonism.
Eisenstein’s montage theory: rating ‘the third thing’ through sum of two (or more) fragments. The argument is that a montage (or layering) of various sensual experiences (or visuals suggesting them) allows a director to evoke the experience only 2-dimensional media.
9: scatter skylight/ moonlight concept idea 8: open sliding dooravoiding exposing backstage jumble Composite reality layer 2: (elements 1+2+4+5) MID-GROUND: ORIGIN: ROLE:
7: flash bulbs 5: Modern furnituretotal design concept commencement
CONTEXT STATUS: IMPORTANCE:
Pierre Koening-designed Stahl House, living room; “Van Keppel-Green”- delivered furniture, plants (props); Ann Lightbody, Cynthia Tindle (Shulman’s assistant’s friends). stating plausible make-believe domesticity, advertising Modern architecture as acceessible and alluring ( through use of contemporary social archetypes) uninhabited primary (sharp focus)
4: industrial materials: modular system construction
concept finalized pitch/ negotiations 2. inviting homely character procurement
site prep work complete & camera setup
Composite reality layer 1:
Composite reality layer 3:
BACKGROUND: ORIGIN: ROLE:
FOREGROUND: ORIGIN: ROLE:
CONTEXT STATUS: IMPORTANCE:
1: modern life
CONTEXT STATUS: IMPORTANCE:
3: American Dream backdrop
plant & lounger introduced to the context by the photographer to evoke of long-established character of the space partial construction site secondary
Los Angeles night scape (Hollywood to Long Beach) existing emblematic of the American Dream (luring millions to the City of Angeles)- yet it can never be reached (reminiscent of the end of the rainbow). A stage set, highlighting its cinematographic dramatic character. American Dream capital primary (sharp focus)
00:00:00:00 exposure commencement
00:00:07:00 exposure finalized
07:00:07:00 photograph developed representation of modern life disseminated
Shulman’s famous time-based photograph of Case Study House 22 is a pre-PSD exemplar of ‘more real than reality’ representation. Through multi-exposure of analogue plate Shulman achieved perfect luminosity and detail rendering.
HYPER-REALITY OF SEDUCTION /composite reality/ Technique behind Shulman’s photograph was crucial in promoting and disseminating modern lifestyle. No longer just vessels of lifestyle, architecture became essential part of it. It also utilised the importance of the view for boosterism, while place-defining power of Hollywood provided lessons in disjunction between real Los Angeles and its projected hyperreal (and montaged) alter-ego: L.A.
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Drive (Winding Refn, N.. 2011) Pre-Solid State Lighting introduction of L.A.’s streetscape. Low CRI impacts on colour contrast and effecting depth of field. Ability to differentiate between object is impaired. Natural daytime ‘Technicolor’ city scape gave way to golden sepia incarnation of itself. A Sodium Hour Genzfeld.
Days of Heaven (Malick, T. 1978) Filmed almost entirely during the golden hour. The story told predominantly through visual means- ambient natural light became the mies-en-scene. To maximize shooting time, production was located in Alberta (Canada) as clearer light in this northern geographic location produces stronger chiaroscuro. DoP’s task was to ‘deilluminate’ to set stage for the natural light phenomenon to create the envisaged look.
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Drive (Winding Refn, N.. 2011) Rivers of ‘vapour gold’ wind around LED illumination towers. The High Pressure Sodium lamps’ indiscrimination in casting light created golden cloak suspended over the city- enveloping everything & everyone in nighttime extension of the magic hour. This saturated look became synonymous with L.A. and its view the hills.
5 Close-up comparison of contrast in architecture’s rendering by sodium and LED light. ( The Venetian, Las Vegas, 2013)
Las Vegas has undergone light signature switch and now boasts high-definition night-time headshot. The spirit of place has changed dramatically also in L.A. with the introduction of night light vessels. This new rendering of architectural fabric by LED lights made it ‘hot’ in Mitchum’s sense- that is it is not ‘cool’, ready for flexible interpretationit is now almost ‘trying too hard’, there is nowhere to hide, nowhere to let perception construct one’s own version of L.A.’s streets. It is all crystal clear and de-gilded.
sodium hour light (HPS lamps) and natural golden hour light colour temperature correlation
morning golden hour morning golden hour
sodium hour (fading)
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2
3
5
1
evening golden hour
sodium hour p r o p e r sodium hour (saturating)
L.A. magic hour(s) duration (dusk ÷ dawn)
non- L.A. magic hour duration (dawn ÷ daylight) +(dusk÷ night) only
evening golden hour
LIGHT SIGNATURE
& SPIRIT OF PLACE ‘California dreamin’ look identified with celluloid L.A. (and widely employed by Hollywood to support the utopian character of the city) is bestowed upon this urban-scale shooting set in a daily cycle. Golden Hour (GH) occurs twice daily: while Sun climbs from -4° below horizon to +6° (morning GH) & as it sets from +6° to -4° (evening GH). What, until 2012, was unique to Los Angeles was artificial extension of this 2100°K phenomenon spanning between these two natural events- identified here as sodium hour. With introduction of LED municipal lighting truly golden L.A. no longer exists.
part section & plan of the proposal
marketing suite diagrammatic section
marketing suite plan sketch
site plan key
masterplan overview
LIVING IN FILM: THAMESMEAD EDITION PEABODY PRODUCTIONS PRESENTS Initial proposal was located in Thamesmead and encompassed transplanting the iconic sodium hour view over L.A. across the road from the estate. The aim of the scaled maquette was to seduce new residents to relocate into the once utopian neighbourhood, now premièring as a live-in filming location with its own Hollywood vista. The maquette, used as marketing (or boosting) tool, would lead way in regenerating the area by use of manipulating perception & decision-making through emotional responses to the projected light installation.
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Dominican Republic (2011) Purpose- built film studio including: : 4 sound stages (12,000- 21,000 sq ft) : 60,500 sq ft exterior water tank with natural ocean horizon on 8 acre water effects facility : production support facilities : surrounding tropical locations : media hub
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Iver Heath, UK (2004) [+ Shepperton Studios + Cardiff, Wales] Purpose- built film studio including: : 16 sound stages (1,760- 59,092 sq ft), incl. the largest in Europe [007 Stage] : 6 interior tanks : Paddock Tank- largest in Europe exterior tank w/ green screen (73x18m) : underwater stage : varied outdoor lots (incl. vast park) : wide range of locations on-site : comprehensive (post)production support facilities
Iskandar, Malaysia (2014) Purpose-built media production facility, encompassing: : 5 sound stages w/ internal tanks (15,000- 30,000 sq ft) : exterior filming tanks w/ green screen : backlots, incl. 30 acre forest : workshop: office space : (post)production support facilities
Berlin: studios; loc. scouting
Ireland: production management
Los Angeles, USA: sales office 1
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Toronto, Canada Purpose- built film studio including: : 11 sound stages (15,000- 30,000 sq ft) : production support facilities : workshops : office space : backlot areas (forests, rivers) : media hub
New York City, USA: sales office
Atlanta, USA (2009) Purpose- built studio complex including: : 12 sound stages (10,000- 45,900 sq ft), incl. the largest in North America : production support facilities : workshops : office space : extensive backlot areas
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PINEWOOD STUDIOS’ INFRASTRUCTURE DISTRIBUTION Stand-in stage locations & facilities comprising Pinewood Group worldwide.
Pinewood Studios expansion to East Area
Pinewood Studios existing infrastructure
M25
outdoor Paddock Tank at Pinewood Studios existing estate
Iver Heath
PINEWOOD STUDIOS
Black Park Local Nature Reserve
Black Park Country Park
Blackpark Lake
Upton Lake
Pinewood Studios: existing site infrastructure
LIVING IN FILM: THAMESMEAD EDITION PEABODY PRODUCTIONS PRESENTS Initial proposal was located in Thamesmead and encompassed transplanting the iconic sodium hour view over L.A. across the road from the estate. The aim of the scaled maquette was to seduce new residents to relocate into the once utopian neighbourhood, now premièring as a live-in filming location with its own Hollywood vista. The maquette, used as marketing (or boosting) tool, would lead way in regenerating the area by use of manipulating perception & decision-making through emotional responses to the projected light installation.
Pinewood Studios expansion: Living & Working with Filming quarters Proposed Magic Hour(s) Productions development
LOCATION PLAN
50
100
200
scale 1:5000 @A2
25 50
100
200 yd
SCEN E 2: EXTRACT GEN ERIC PLACE-MAKI NG ELEM ENTS
SCEN E 3: PROJ ECT DISPLACED “SPIRIT OF PLACE” ONTO PU RPOSE-BUILT STUDIO CITY FABRIC
SCEN E 4: BORDERLESS CITIES TH ROUGH DISCONTI NUITY OF SPACE & TIM E
municipal
block
grid
facade/
unit
width
floor to floor heights
characteristic generic features
SCEN E 1: SELECTION OF POPU LAR FI LIMI NG LOCATIONS
PLACE-MAKING TYPOLOGY STUDY
ON LOCATION AT HOME Pinewood’s expansion to the East Area incorporates permanent, high quality, unique outdoor filming quarters. Highly recognizable features, faithfully recreated within wider network of studio facilities denote particular cities or regions. These transplanted generic streetscapes become surrogates of Tribeca (USA), Amsterdam (Netherlands), Venice (Italy), English countryside. These displaced ‘scenes’ together create a designated vernacular borderless city, through evoking spirit of place in fictional representation mies-en-scenes.
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MOTION PICTURE DATA
MOTION PICTURE DATA
LOCATION DATA USA
COUNTRY
England
PROVINCE
Alberta
PROVINCE
California
PROVINCE
Bucks
LOCATIONS & ALTITUDES
Waterton Lakes National Park(1200m÷3000m) Banff National Park (1300m÷2300m) RAYMOND (960m) Lethbridge (910m) Calgary (1000m)
LOCATIONS & ALTITUDES
Los Angeles (av. 87m) Hollywood sign (512m) Sheats House (207m) Stahl Residence (239m)
LOCATION
Iver Heath
TIME ZONE
±0 UTC
LATITUDE
51°Nin
TIME ZONE
-8h UTC
ALTITUDE
58m
LAND FORMATION
mostly flat, dense foliage
20.03 sunrise GH
07:06 ÷ 07:50 (@ 89.4°)
20.03 sunset GH
18:31 ÷ 19:15 (@ 271°)
20.06 sunrise GH
06:36 ÷ 07:19 (@ 89.2°) 18:03 ÷ 18:46 (@ 271.1°)
20.06 sunrise GH
05:23 ÷ 06:15 (@ 50.3°)
20.06 sunset GH
20:54 ÷ 21:46 (@ 309.7°)) total GH length 52min+ 52min
equinox
23.09 sunrise GH 23.09 sunset GH
07:20 ÷ 08:03 (@ 89.1°) 18:47 ÷ 19:29 (@ 270.6°)) total GH length 43min+ 43min
21.12 sunrise GH
08:29 ÷ 09:27 (@ 127°)
21.12 sunset GH
15:35 ÷ 16:33 (@ 233°)85:1 total GH length 58min+ 58min
LIGHT ANALYSIS
soft, long shadows
GOLDEN HOUR LEXICON
total GH length 43min+ 43min
hilly
20.03 sunrise GH
05:57 ÷ 06:30 (@ 89.6°) 17:32 ÷ 18:05 (@ 270.6°)
20.03 sunset GH 20.06 sunrise GH
05:42 ÷ 06.16 (@ 60.6°)
20.06 sunset GH
19:21 ÷20:08 (@ 299.4°)
total GH length 33min+ 33min
total GH length 37min+ 37min 23.09 sunrise GH 23.09 sunset GH
06:42 ÷ 07:15 (@ 89.6°) 18:16 ÷ 18:49 (@ 270.2°)) total GH length 33min+ 33min
21.12 sunrise GH
06:55 ÷ 07:33 (@ 113.1°)
21.12 sunset GH
16:09 ÷ 16:47 (@ 242°).85:1 total GH length 38min+ 38min
LIGHT ANALYSIS
sharper, shorter shadows
equinox
20.03 sunrise GH
87m
LAND FORMATION
total GH length 44min+ 44min 20.06 sunset GH
03:44 ÷ 04:38 (@ 48.9°) 19:29 ÷ 20:23 (@ 311.2°) total GH length 54min+ 54min
23.09 sunrise GH
06:49 ÷ 07:33 (@ 88.9°)
23.09 sunset GH
18:15 ÷ 18:59 (@ 271°)) total GH length 44min+ 44min
21.12 sunrise GH winter sol.
varied, but in the key scenes extensive flat plane
ALTITUDE
GOLDEN HOUR LEXICON
LAND FORMATION
34°N
equinox
910m ÷ 3000m$3
LATITUDE
summer s o l .
ALTITUDE
equinox
49°N ÷ 51°Nin
winter sol.
LATITUDE
equinox
-7h UTC
summer s o l .
TIME ZONE
GEOGRAPHICAL DATA
COUNTRY
GEOGRAPHICAL DATA
Canada
20.03 sunset GH
winter sol.
GOLDEN HOUR LEXICON
COUNTRY
equinox
CASE STUDY #3: PINEWOOD SUTDIOS
summer s o l .
CASE STUDY #2: A SINGLE MAN
GEOGRAPHICAL DATA
CASE STUDY #1: DAYS OF HEAVEN
21.12 sunset GH
09:05 ÷ 10:07 (@ 126.3°) 15:53 ÷ 16:55 (@ 233.6°).85:1 total GH length 62min+ 62min
LIGHT ANALYSIS
soft, long shadows
GOLDEN HOUR CASE STUDY LOCATION COLLATION Analysis of geographical characteristics and local golden hour opics.
NOT SITE-SPECIFIC SCENARIO structure in valley, surrounded by mountains
SCENARIO #1: main structure at ground level COMPROMISED tree line at least partially blocking out direct view of golden hour; only aural experience possible, via scattered & reflected light only
SCENARIO #2: main structure elevated above tree topsSATISFACTORY source of golden hour visible until it is near horizon line
SCENARIO 3: main structure at ground level, adjacent to sea/ ocean IDEAL offers unobstructed view of sun disc until it reaches horizon and beyond. To achieve the ideal scenario the structure would be developed on an island with min. 3 mile-long unobstructed vistas to East and West in order to afford both sunrise and sunset golden hour spectacles.
GOLDEN HOUR VISTA PATH OPTIONS Identification of potential development sites: - which would facilitate attractive golden hour viewing sightliness (unobstructed by tall structures, relatively remote for privacy) - and their terrain/ landscape formation implications
VERNAL EQUINOX : 20 March : am AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
8°C 9mm
-4° @ 07:06am
+6° @ 07:50am
GH START TIME: GH END TIME: GH LENGTH:
7.06 7.50 62min
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
89.4° 97.7° -4°÷ 6°
SUMMER SOLSTICE : 20 June : am
4a
°@
8a 5.:
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
+6°
49.9° 59° -4°÷ 6°
AUTUMNAL EQUINOX : 23 Sept : am
LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
GH START TIME: GH END TIME: GH LENGTH:
51°N 58m ±0
AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
51°N 58m ±0
@
6.9°C 10mm
23
GH START TIME: GH END TIME: GH LENGTH:
+6° @ 7:33am
+6° @ 18:59
°@
AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
20:29 21:23 44min
-4° @ 18:15
88.9° 97.7° -4°÷ 6°
GH START TIME: GH END TIME: GH LENGTH:
16.2°C 8mm
300° 311.2° 6°÷ -4°
51°N 58m ±0
AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
18:15 18:59 54min
15.9°C 8mm
262.7° 271° 6°÷ -4°
WINTER SOLSTICE: 21 Dec : pm 126.3° 138° -4°÷ 6°
GH START TIME: GH END TIME: GH LENGTH:
15:53 16:55 44min
LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
51°N 58m ±0
AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
6.9°C 10mm
53
9:0
°
+6
°@ -4
9am
15:
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
am
+6 °
:07
10
@
@
09:09 10:07 44min
51°N 58m ±0
29
-4° @ 6:49am
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
262.7° 271° 6°÷ -4°
20:
-4
GH START TIME: GH END TIME: GH LENGTH:
21:
LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
15.9°C 8mm
6:49 7:33 54min
8°C 9mm
AUTUMNAL EQUINOX : 23 Sept : pm
WINTER SOLSTICE: 21 Dec : am LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
SUN’S ANGLE E of N: SUN’S ANGLE E of N: SUN ALTITUDE PATH:
18.31 19.15 62min
-4
4:4
4.44 5.38 44min
AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
SUMMER SOLSTICE : 20 June : pm
m
°@ +6
GH START TIME: GH END TIME: GH LENGTH:
GH START TIME: GH END TIME: GH LENGTH:
m
16.2°C 8mm
@
AV. TEMP: AV. PRECIPITATION: AV. CLOUD COVER:
°
51°N 58m ±0
-4
LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
51°N 58m ±0
-4° @ 19:15 +6° @ 18:31
:55
51°N 58m ±0
16
LOC. LATITUDE: LOC. ALTITUDE: TIME ZONE:
VERNAL EQUINOX : 20 March : pm
222.2° 233.9° 6°÷ -4°
SEASONAL GOLDEN HOUR VISTA ANALYSIS LEAD CHARACTER: golden hour gantzfeld The building as viewing instrument, focusing and enhancing the magic hour’s effect on human emotion and perception.
light-focusing channels, aligned with key sun events
inspiration: Desert Courtyard House [Wendell Burnett Architects] Structure in service of the light beyond.
Double- aspect requirement to take in both morning and evening golden hour. To truly extend exposure to the magic hour, sodium hour will feature along North-aspect
Site-specific study of golden hour path and length, based on the only existing outdoor filming facility within Pinewood Iver Heath: Padock Tank. The above analysis conclusion is that ptimal average atmospheric conditions and length of GH correlation occur during summer solstice. This is also when cloud cover is most likely no to be obstructing long light wavelengths producing 2100°K Gestalt aural experience.
golden hour azimuths on 20th March
N 15°
345°
30°
330°
315°
45°
golden hour azimuths on 20th June
60°
300°
75°
285°
90°
270°
golden hour azimuths on 23rd September 255°
105°
240°
120°
225°
135°
210°
150°
165°
195°
golden hour azimuths on 21st December
annual extent of golden hour @ sunrise
PINEWOOD STUDIOS’ Paddock Tank (exterior shooting)
annual extent of golden hour @ sunset
180°
PADDOCK TANK GOLDEN HOUR MAPPING scale 1:12500@A2 Paddock Tank is the only permanent outdoor filming facility which could benefit/ be affected by golden hour modulation. Annual extent of vista corridors from this location are collated above, indicating potential site intervention locations.
Ronchamp, Le Corbusier Deep reveal windows channel and filter light entering the chapel. Angles to the reveals create ever-changing display of projected light on the opposite wall. Deeply ethereal and certainly a fleeting effect. Architecture creates envelope to the spiritual experience.
Din Blinde Passanger, O. Eliasson Ganzfeld effect of saturated light particles scattered by pollution/ mist in the air. Sodium aura envelopes spectator and make on feel connected with the phenomena beyond purely visual means.
Sky Space, J. Turrell Framing sky by a vertical and horizontal opening, which are then surrounded by gradually changing coloured light forces one to temporarily suspend one’s knowledge about even colour of the sky at night. Turrell plays with our perception and impact of light on our psyche.
Roden Crater, J. Turrell Structure dedicated to framing, capturing and enhancing celestial phenomena. View constantly focused on what’s beyond the architectural fabric.
Close-up comparison of contrast in architecture’s rendering by sodium and LED light. ( The Venetian, Las Vegas, 2013)
Malick house becomes vessel for golden hour immersion, or dual purpose viewing instrument/ dedicated light quality studio stage
MALICK HOUSE CONCEPT SCRIPT: SPATIALITY picture windows at primary levels of the villa orientated onto 4 key events
other “regular” golden hour vistas throughout year, together define extent of morning and evening vista angles
Bestowing the effects of ‘the look’. The scheme is not about architecture of form- it pursues architecture of space.
Ronchamp chapel [Le Corbusier] Striving for experiential architecture: Spartan purity of space: “meditative & reflective in purpose�. Window apertures with tapered reveals, amplifying light entering the space
Sunset camera [Leo Lindros] Ganzfeld effect: Installation mimicking golden glow of sunset as relaxation/ meditation tool, due to effect of longer light wavelengths causing increased levels of melatonin.
Squish Studio [Saunders Architecture] Focus on the vista through ceiling sloping toward the view.
Sunset Chapel [BNKR Arquitectura] Modulating view through materiality: transparency (glass) vs. opaque (concrete). Achieving ephemeral through strict technical parameters: Sun had to set exactly behind altar cross.
It was clear from the outset, that due to proximity of scots pine (reaching h35m) it would be necessary to devise a method of elevating the primary levels to provide golden hour vistas.
South elevation
ground floor plan
MALICK HOUSE DEVELOPMENT/ DoP AURAL LODGING: initial concept Windows as viewing instruments onto key annual Sun events.
top floor plan
MAGIC HOUR(S) PRODUCTION WIDE SHOT scale 1:7500 @A2
Malick House villas in context. Pinewood’s expansion is evidence of growing industry & the location’s strategic position- geographically and logistically. Next phase of growth proposes to encompass a dedicated DoP & directors’ club, or exclusive temporary villa community, which will be occupied during filming and scripting process. Each dwelling is designed to capture am & pm golden hours making Malick Houses immersive instruments for viewing. To the north lays currently developed area which will be transformed into sodium incarnation of L.A
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Brise soleil marking annual golden hour sunpath milestones.
MALICK HOUSE CONCEPT DEVELOPMENT/ DoP AURAL LODGING: iteration 1 The iteration refined initial conceptโ s ideas and made provision for the living/ entertainment & bedroom/ study levels to benefit from direct golden hour views over treetops. By the virtue of the guest residing at the elevated storeys, ancillary levels (basement, ground floor and first floor) did not require the same privileged vistas. Brise soleil-style fins featured at primary levels serve to highlight annual progression of setting/ rising sun by acting as fixed milestone markers.
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garage
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circulation
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staircase
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plant room
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storage
BASEMENT PLAN
1
2
5m
scale 1:100 @A2
3
6
16 ft
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dressing room
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GROUND FL’R PLAN
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5m
scale 1:100 @A2
3
6
16 ft
2 8
7
3
4
6 5 9
2
balcony
3
kitchenette
4
circulation
5
staircase
6
lift
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cinema room
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storage
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powder room
FIRST FL’R PLAN
1
2
5m
scale 1:100 @A2
3
6
16 ft
1
2 7
2
8 4
3
6 5
9
1
cantilevered infinity pool
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terrace
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kitchen
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circulation
5
staircase
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lift
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dining room
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lounge
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powder room
SECOND FL’R PLAN
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2
5m
scale 1:100 @A2
3
6
16 ft
11
11 2
1
8
3
4
8 10 7
6 5
9
1
treatment room
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terrace
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bar
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circulation
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staircase
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lift
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dressing & relax
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plant room
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powder room
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gym
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sauna/ steam room
THIRD FL’R PLAN
1
2
5m
scale 1:100 @A2
3
6
16 ft
3
2 2
1
7 8
4
4
2
2
6 5
9
1
en-suite
2
terrace
3
dressing room
4
circulation
5
staircase
6
lift
7
study
8
bedroom
9
storage
FOURTH FL’R PLAN
1
2
5m
scale 1:100 @A2
3
6
16 ft
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
:CHECKED BY:
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CONCEPT :DRAWING TITLE:
Fourth floor plan :DRAWING º:
:REVISION:
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:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
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:FORMAT:
15.03.16
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CONCEPT :DRAWING TITLE:
Third floor plan
:DRAWING º:
:REVISION:
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:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
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CONCEPT :DRAWING TITLE:
Second floor plan :DRAWING º:
:REVISION:
P01
a103
p01 15.03.16
First Issue.
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
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CONCEPT :DRAWING TITLE:
First floor plan :DRAWING º:
:REVISION:
P01
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p01 15.03.16
First Issue.
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
:CHECKED BY:
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CONCEPT :DRAWING TITLE:
ground floor plan :DRAWING º:
:REVISION:
P01
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First Issue.
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7
1
driveway
2
garage
3
utility room
4
circulation
5
guest bedroom
6
kitchenette
7
cinema
8
lounge
9
treatment room
10
bedroom
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
:DRAWN BY:
:CHECKED BY:
15.03.16 bk
a2
-
CONCEPT :DRAWING TITLE:
basement plan :DRAWING º:
a100
p01 15.03.16
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P01
First Issue.
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2
4
3
1
SECTION A-A
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2
5m
scale 1:100 @A2
3
6
16 ft
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
:CHECKED BY:
bk
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CONCEPT :DRAWING TITLE:
Fourth floor plan :DRAWING º:
:REVISION:
P01
a105
p01 15.03.16
First Issue.
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:CLIENT:
Pinewood Estate
7
:PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
:CHECKED BY:
bk
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CONCEPT :DRAWING TITLE:
Third floor plan
:DRAWING º:
:REVISION:
P01
a104
p01 15.03.16
First Issue.
6
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
:CHECKED BY:
bk
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CONCEPT :DRAWING TITLE:
Second floor plan :DRAWING º:
:REVISION:
P01
a103
p01 15.03.16
First Issue.
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
:CHECKED BY:
bk
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CONCEPT :DRAWING TITLE:
First floor plan :DRAWING º:
:REVISION:
P01
a102
p01 15.03.16
First Issue.
:CLIENT:
Pinewood Estate :PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
:SCALE:
y5+2
1:100@A3
:DATE:
:FORMAT:
15.03.16
a2
:DRAWN BY:
:CHECKED BY:
bk
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CONCEPT :DRAWING TITLE:
ground floor plan :DRAWING º:
:REVISION:
P01
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p01 15.03.16
First Issue.
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4 :CLIENT:
Pinewood Estate
2
garage
3
dressing room
4
circulation
5
cinema
6
lounge
7
plant room
8
master bedrom
:PROJECT:
Malick House Iver Heath, SL0 0NH :PROJECT º:
y5+2
:SCALE:
1:100@A3
:DATE:
15.03.16 :DRAWN BY:
bk
:FORMAT:
a2
:CHECKED BY:
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CONCEPT :DRAWING TITLE:
basement plan :DRAWING º:
a100
p01 15.03.16
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P01
First Issue.
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3
2
SECTION B-B
1
2
5m
scale 1:100 @A2
3
6
16 ft
Sun path extract of annual Golden Hour incident on site. This mapping provides basis for geographical orientation of the proposal.
M25
The Clump
New trees enhancing ‘English’ quarter. This treeline will be utilised in providing visual screen for the proposal.
Existing hedge/ treeline providing visual screen between Pinewood & existing residential development
Pinewood expansion: place-making streetscape quarter- Amsterdam(under construction) Pinewood expansion: place-making streetscape quarter- New York (under construction) Pinewood expansion: place-making streetscape quarter- Venice (under construction)
Pinewood Studios expansion: East Area (under construction)
Pinewood Studios: West Area (existing)
Pinewood expansion: place-making streetscape quarter- England (under construction)
MASTERPLAN aerial view
As Pinewood Studios enter next phase of construction, the proposal seeks must take into account existing views from adjacent residential estate while not unreasonably compromising variety of frame angles which can be achieved from the ‘English’ streetscape quarter. As this area is to portray essence of British landscape, existing treeline will be augmented by additional planting to screen shots from inside the house looking out, and long Eastward vistas.
The Superiscope [Pedro Barata & Arquitectos Associados] Shipping container as supersized ‘toy’ periscope enabling viewing lagoon at eye level- otherwise obstructed by foliage and buildings.
brick tower addition to Edinburgh Sculpture Workshop [Sutherland Hussey Harris] Landmarking campanile projecting light from the inside outbecoming a vessel of light, alike lighthouse.
Diagram of the ‘golden hour catchers’ principle Vessels capturing, channelling down to required level and projecting reflection of golden hour.
GOLDEN HOUR ‘CATCHERS’: iteration 2 MALICK HOUSE CONCEPT DEVELOPMENT
The idea evolved into creating a structure as an obsessive adaptation of cinematography’s practice of stand-ins and exaggerated falsified projections of reality- in pursuit of achieving the look. The villa would be approached via tunnel obscuring actual point of access to the house and its external form (especially in respect of height). Once inside, visitors would be tricked into thinking they travel high up above tree crowns to admire the view, while in reality the house would firmly sit below ground level. The views visible from the inside, would be reflected projections brought down by means of oversized periscopes or golden hour catchers.
3
2
6
4 5
8
1
7
1
driveway
2
garage
3
utility room
4
circulation
5
staircase
6
lift
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plant room
8
storage
BASEMENT PLAN
1
2
5m
scale 1:100 @A2
3
6
16 ft
2
5 3 4
1
9 6 7
8
10
1
den/ lounge
2
shower
3
dining
4
infinity pool
5
pool deck
6
bar
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kitchen
8
staircase
9
lift
10
green screen
THIRD FL’R PLAN
1
2
5m
scale 1:100 @A2
3
6
16 ft
Wall junction form development.
Picture window glazing study.
Ceiling form and window study, to control view angles- crucial for maintaining the illusion.
1
9
3 8
7
5
1
en-suite
2
terrace
3
dressing room
4
circulation
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staircase
6
lift
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study
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bedroom
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storage
Reverse fan ceiling
FOURTH FL’R PLAN
1
2
5m
scale 1:100 @A2
3
6
Window openings onto reflected Golden Hour horizon. The key consideration was controlling angles of views onto the mirrors so as not to give away the illusion. Vertical and horizontal view extremities, along with golden hour view corridors, dictated spacial arrangement along perimeter of West and East elevations. North elevation was developed separately as a semi-dome projection screen (Truman Show is back!).
16 ft
Malick House: South- West view
Malick House: North- West view
Malick House: North- East view
“You can check out any time you like. But, you can never leave...”
Malick House: South East view
MALICK HOUSE FINAL DESIGN Malick House sits within Southern Fields area, adjacent to the Clump. As trees mature, the villa will gradually disappear at eye level, while reflective cladding applied to sensitive vista corridors (South and West) will reflect surrounding helping it belnd-in further, during the transitional phase. The villa’s orientation in precise East-West direction looks over tops of existing Pinewood Studios’ West Area and tall sctos pine trees. Its proximity, despite relative seclusion, allows Malick House to be used as dedicated golden hour stage between its DoP immersion retreat ‘sints’.
existing primary access roads existing & future access points (part of Pinewood Extension development) sensitive views- structure concealed with cladding proposed service tunnel/ BoH access proposed ceremonial access tunnel (from future car park adjacent to English quarter) building heights (m)
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MALICK HOUSE SITE ANALYSIS Context with proposed intervention. As topography is overwhelmingly flat, long vistas would be very limited without Malick’s elevation of the primary levels. Hedgerows, bushes and dense treeline provide natural visual screen between the residential to the South and West. North and East aspects face onto Pinewood East Area and M25 orbital making these elevations’ industrial treatment suitablethe building will be read as another telegraphic/ electricity network pylon. Existing and future entry point were utilised to provide access to the villa, with introduction of tunnel’s for experience choreography and logistics reasons (not interjecting or causing filming long shots obtrusion).
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Ronchamp, Le Corbusier Deep reveal windows channel and filter light entering the chapel. Angles to the reveals create ever-changing display of projected light on the opposite wall. Deeply ethereal and certainly a fleeting effect. Architecture creates envelope to the spiritual experience.
Din Blinde Passanger, O. Eliasson Ganzfeld effect of saturated light particles scattered by pollution/ mist in the air. Sodium aura envelopes spectator and make on feel connected with the phenomena beyond purely visual means.
Sky Space, J. Turrell Framing sky by a vertical and horizontal opening, which are then surrounded by gradually changing coloured light forces one to temporarily suspend one’s knowledge about even colour of the sky at night. Turrell plays with our perception and impact of light on our psyche.
Roden Crater, J. Turrell Structure dedicated to framing, capturing and enhancing celestial phenomena. View constantly focused on what’s beyond the architectural fabric.
Close-up comparison of contrast in architecture’s rendering by sodium and LED light. ( The Venetian, Las Vegas, 2013)
Malick house becomes vessel for golden hour immersion, or dual purpose viewing instrument/ dedicated light quality studio stage
MALICK HOUSE vv
picture windows at primary levels of the villa orientated onto 4 key events
other “regular” golden hour vistas throughout year, together define extent of morning and evening vista angles
Bestowing the effects of ‘the look’. The scheme is not about architecture of form- it pursues architecture of space.
Scene 3 production notes: Scene 6 production notes:
LOCATION: West-bound street SET: street lined with HPS lamp replicas matching ‘sodium’ LA; dense tree foliage; golden hour ganzfeld BACKDROP: horizon line in evening golden hour- setting sun disk legible; 007 sound stage in rear view mirror reflection DoP notes: giant reflector boomed overhead & sides; [2100°K] disk lamp through scrim- stand in for Sun; smoke machine PROPS: 3/4 scaled model of 007 sound stage muscle car
LOCATION: East area SET: boulevard driveway- entrance to tunnel just seen beyond the road bend BACKDROP: tree branches curving overhead, creating tunnel effect DoP notes: [2100°K] strip bank beyond tree line (one side); giant reflector boomed overeahs PROPS: trees, shrubs and grass smoke machine
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Scene 5 production notes:
Scene 1 & 2 production notes: LOCATION: 007 sound stage SET: Stahl House lounge scene @1:1 BACKDROP: LA sodium hour vista in post-production over green screen DoP notes: [2100°K] HPS strip bank uplight through diffusion panel on ground- over green screen; [3000°K] globe pendants to Lounge; white board at distance to out of frame side; octobank through scrim to front PROPS: potted shrub plant- exterior; 2no. potted plants- interior Van Keppel-Green furniture: - 2-sater ochre sofa - grey club chair - yellow seat - black top, white frame coffee table Scene 4 production notes: - cube timber veneer side table LOCATION: as in Scene 3 (approaching destination) - grey foot stool SET: as in Scene 3; golden hour PROP/ LAN DSCAPE DEPT. BACKDROP: dappled light/ shadow rhythm TO CONFIRM SPECIES DoP notes: giant reflector boomed overhead & sides; smoke machine; PROPS: LA HPS street lamps
LOCATION: entrance gate to the villa SET: half open polished brass sliding gate with laser cut villa name; tree branches overhead just seen in the frame BACKDROP: densely tree-lined driveway boulevard beyond the gate & ‘vanilla’ sky DoP notes: HPS street lamps light reflected in the gate (no hotspots); [2100°K] octobank through scrim to side; giand reflector opposite PROPS: smoke machine; LA HPS street lamps; trees, shrubs and grass
Scene 7 production notes: LOCATION: East area, tunnel, basement entrance & main SET: column with staircase @ 1:1 silhouette of tunnel exist blocking view of the villa BACKDROP: only sky, entrance to the basement and main structural column just seen in a flash; DoP notes: golden hour ganzfeld blurring villa outline and partially bscuring details of the strucutre; [2100°K] umbrella boomed overhead to the West; white board behind tree line to East side; giant reflector boomed overhead at angle PROPS: smoke machine; trees, shrubs, grass
Scene 9 production notes: LOCATION: SET: BACKDROP: DoP notes:
Malick House sound stage- upper floor Pinewood Estate partial view from opening elevator door of golden hour over Malick House horizon (canopy line) picture window Iver Heath, SL0 0NH 1:100@A3 picture window onto key golden hour;y5+2 15.03.16 a2 ‘focusing’ walls partially seen and obstructing view onto room bk beyond them CONCEPT Sun disk blinding light at initial door opening; Thirdbleach floor plan fading subsequently to ganzfeld reitnal and then P02 a104 subtle ganzfeld with outline of structure legible; [2100°K] giant octobank through scrim beyond window/ option: green screen; [2100°K] strip bank boomed overhead ‘outside’ casting light over window and into the interior; [2100°K] lights beyond camera vie illuminating lift walls as in Scene 9 smoke machine :CLIENT:
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Scene 9 production notes:
LOCATION: SET:
LOCATION: SET:
Malick House sound stage- basement view of black cast in-situ elevator shaft, illuminated by reflected light of concealed floor stip lights along parking bays’ edge BACKDROP: parking bays seen beyond- muscle car in one, Harley Davidson in another DoP notes: [2100°K] concealed strip LED floor lights to edge of bays; white boards behind camera PROPS: muscle car as in previous scenes and Harley Davidson
Malick House sound stage- elevator interior close up on elevator sliding door, finished in polished brass; partial reflection of human silhouette just distinguishable DoP notes: [2100°K] light glow creeping up the walls (source not seen); upper part of frame fading to darkness; where walls illuminated, it is a brilliant almost glittery light
CHOREOGRAPHING PERCEPTION OF MALICK HOUSE IMMERSION SEQUENCE FRAMES On location and sound stage shooting setup markers.
MALICK’S LEGACY: IMMERSION IN THE GOLDEN HOUR [1]
Story board mapping progress of the immersion illusion.
6
Entrance to tunnel concealing approach and view of the villa.
5
Front gate scene: establish anticipation of upcoming experience.
projected scene setup
projected scene view point
7
Exit from tunnel- view screened by the tunnel and foliage- just a glimpse of shimmering finish of the villa and main support.
Beginning of the journey- almost total darkness in the basement car park, with only lift shaft legible by its shimmering golden reflectionslift as a beacon and vehicle to immersion in the magic hour.
actual scene setup
actual camera setup /position, focal length,etc./
MALICK’S LEGACY: IMMERSION IN THE GOLDEN HOUR
Storyboard scripting progress of the immersion illusion.
8
projected scene setup
projected scene viewpoint
actual scene setup
actual camera setup /position, focal length,etc./
isometric view of actual setup
spotlight
cam
10
First impression: intense exposure to ‘framed’ golden hour upon emerging in the villa’s living spaces/ stage.
MALICK’S LEGACY: scenes [10] & [11] Golden flexes capsule- retinal bleach.
Lift becomes a tardis, transporting from reality to golden hour genzfeld realm present at first and second floor. Polished brass cladding to car’s interior, and strategic light placement causes retinal bleach during the journeyconditioning and enhancing guest to what awaits them.
9
projected scene viewpoint
actual camera setup /position, focal length,etc./
lighting points to create golden hour effect
projected scene setup
actual scene setup
isometric view of actual setup
MALICK’S LEGACY: scene [11]
11
The study.
Picture windows framing natural mind-altering phenomenon. Rotating study/ bedroom align with current magic hour aspect providing continuous annual exposure.