New Orleans_ film and media cooperation by Bryan Pendzinski

NEW ORLEANS_ film and media cooperation

- Film and architecture are representations created through the study and documentation of life and its interractions.

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New Orleans Film and Media

Design Brief Film is the artful way to capture time and motion. Everyday we devise â&#x20AC;&#x153;screensâ&#x20AC;? for viewing through windows, doors, computers, and televisions. Theatre is the artful stage in which the performance of life occurs. It is the personal interractions throughout our lives that shape who we are, within these interractions exists a unique nature and a chance to capture and document the world, as time continues to move on. Through the study of film and media, we can continue to represent cultural and historical events of a city, documenting events have moved the world, and can continue to create a strong connection between communities at a global scale. The innovation of film and media may allow communities and individuals to express ideas, thoughts and experiences in new ways. By providing these opportunities equally among people it is possible to spawn a new language of film from voices that may have never been heard.

Mission Design Brief Responsibilities

Spatial Identity Precedent Analysis Spatial Analysis Site Identity

Design Review 1

Schematic Design Concept Development Material Studies

Design Review 2

Design Development System Diagrams

Final Documentation

A Global Mission

Relationships of Interaction Today, media, information and ideas are becoming more easily transportable and shared on a global scale. With the ability to share information through the internet based applications; email, smart phones, and facebook, we as a society have begun to abstract the way we communicate, interact and learn and teach each other. Film and media can be used as a developmental process in an effort to produce methods of research, consequently leading to a final analysis of the subject being documented. It is important for individuals at a global scale to have access to education and materials which foster these principles. In order for an individual to communicate in a digital world, they must have access to the technologies which promote this type of communication in an effort to maintain an equal distribution of collecting, producing and presenting knowledge and ideas across the world. The Film and Media Cooperation will focus on the overlapping experiences of local and visitor user groups witin New Orleans, allowing a strong relationship to grow inside and out of the city. The promotion of these interactions provide a strong crossbreed of culture and knowledge, essentially creating a pure innovative experience. The architecture will relate to these ideas by recognizing necessary space for overlapping conversation and dialogue. Spaces which allow visitors and users to collect, produce, and perform their ideas and realizations through the power of film and media.

Collective Mission

Context Responsibilities

History New Orleans is a place where Africans, both slave and free, and American Indians shared their cultures and intermingled with European settlers. Encouraged by the French government, this strategy for producing a durable culture in a difficult place marked New Orleans as different and special from its inception and continues to distinguish New Orleans today (Department of History. New Orleans). Founded in 1718 by the French Mississippi Company, New Orleans was named in honor of the Duke of Orleans, France. Because of its location off the Mississippi River,New Orleans would become a major port for the Atlantic slave trade. Despite this, it also boasted the largest community of freed, land-owning, educated AfricanAmericans in the U.S. at the time. In 1960, the population of New Orleans would hit its historical peak. While other cities in the South grew both in economy and population, New Orleans shifted from a port city and center of trade to a tourist destination. This move would also see a decrease in the percentage of educated people, and an increase in both poverty and crime rates. In 2005, New Orleans was damaged by a Category 5 hurricane which devastated 80% of the city, flooding nearly 100,000 homes and displacing 1.5 million people within the Louisiana territory.

â&#x20AC;&#x153;It is an American city, just a very different place with a very peculiar historyâ&#x20AC;? (1).

Diversity Map

Black White Hispanic

New Orleans Planning Districts with major roads 0

ay 11 Highw

2 Miles

Venetian Isles Planning District

ic ho

Blv

Lake Pontchartrain

Village de L Est Area Planning District e

Rd Paris

sa Loui

fin

ssi

St. Bernard Parish

ssi

era lM e

Macarthu

ral

r Blvd

De ga

ull

eD r

Hwy 406

u Ro

Plaquemines Parish

Sources: planning districts (New Orleans City Planning), other boundaries (Census TIGER)

Elevation Map 07 y4

New Aurora/English Turn Planning District

Overlapping Diversity

yer

Woodland Dr

rt pa

Caf

ad Br o N

0 I1

Ra m

iR ive Algiers r Planning District Gen y

Jefferson Parish

Almonaster Ave

Tup elo

Marconi

Wisner Blvd

West End Blvd

Canal Blvd

ian

uis

Ave

rson

Nunez

zin

ga Ma

Tchoupitoulas

r Hw

teu

Men

Lower 9th Ward District

Ave

Newton St

Garden District Lo

Jeffe

St Cl aude

Napoleon

ck Ja

Warehouse/ CBD

y9 0

Bywater Florida District Galvez

Uptown Planning District

e Av

rig W

tB lvd

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Av e

oll

Tula

Crowder

Cla

N Claiborne

ard

rn Be

Mid-City District

Chef

New Orleans East Planning District

France

Metairie Airline Hwy

d rest Blv

Press

Desaix

Ave Elysian Fields

I-610

City Park Ave

Franklin Ave

illy

t en

Paris

Lakeview District

Blv

Gentilly District

e Fo Lak

d an R

nm Dow

Robert E Lee Blvd

a Re

lvd ne B

Hay

Filmore

is orr

Created March, 2006 <www.gnocdc.org>

Re-build New Orleans The Bywater District of New Orleans proves to be a strong location with a primary mix of culture and diversity. The site is situated between the French Quarter (FQ) and the Lower Ninth Ward. Because of the heavy, tourist population of the FQ and the strong local communities of the Lower 9th Ward, it is possible to generate a strong dialogue between the two districts of the city.

After Hurricane Katrina, several houses throughout the city of New Orleans were flooded, many residents displaced and many communities devestated. As shown by the elevation maps, many of the areas around the Mississippi River maintain the highest ground above sea level, which makes them an obvious choice for reinvesting and re-build ing New Orleans.

Spatial Identity

Program Intentions The emphasis of design for the New Orleans Film and Media Center is to promote the interactions of the local community while integrating the strong tourist population of the city, in an effort to stimulate a global dialogue to exchange experiences, ideas, and knowledge in a collective manner. The spaces provided promote an equal distribution of technology, and thought. The center allows the collaboration of internal memory, and the use of external memory and technology as a chance to produce global ideas through the innovation of media arts. The success of the design relies on spaces for Collection, Production and Performance.

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Precedent Study

Overhang

Canopy. Stairs. Structure.

Tulane University Tulane provides a good precedent for climate design in New Orleans while also reacting to the vernacular architecture of the area with its spatial design and material choices. The buillding has examples of shading for exterior activities, and use of louver-shading. The Center uses stairs to elevate the floor off the ground to prevent from flooding and also provide temporary canopy structures to protect from the natural elements. The cafe is a great example of natural lighting an interior space during the winter months in New Orleans.

Cafe

Work shop

Black Box Theatre

Second Line Studios This example shows stroing influences in material choices and programmatic design for production spaces within the film center. The workshop spaces are a good precedent in focusing on the furnishings of spaces needed for a film workshop to succeed. The black box theatre was a great precedent to understand materiality for acoustic separation and structure in a long-span space. The scale of these spaces and the visual connection inside and out were good representations for the context of the project and site.

Interior/ Exterior

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Program Analysis Performance

Public Media Theatre_2000sf The theatre was conceptually seen as the main public forum for the Center. Designed as a four story system of balconies all open to below, the space would promote a spatial connectedness throughout the building, emphasizing the relationships between activities and the performance of the Center overall. During the day, the public theatre is used by students and visitors as a way of previewing films, viewing projects, and viewing lectures. The first level of the theatre serves as the public and faculty lounge, overlooking the main entrance and exhibition space below while also having a visual connection of the media boards displaying live feeds of student work and facility events. The tutorial balcony maintains a strong, public connection to the interactions and dialogue at the entrance level. The second and third levels of the theatre are designated for the viewing of works at a large scale. Throughout the day the Center will play films and works from the Center per request, these films can be found in the adjacent media library. At night, the entire theatre unit is used for events, including: project premieres and guest lectures. As the screen extends to the plinth floor the performance space is separated from the production spaces. The theatre relies on the adjacencies to the library and café.

Lobby and Exhibition_2000sf The lobby of the Center is the primary space that promotes the mix of culture, language, experience and knowledge. The lobby would be located off the main street of the site and would serve as the public entrance into the Center. The lobby can be rearranged to serve as an exhibition space for lectures and events. The success of the space relies on adjacencies to views back to the site and a strong connection to the cafe.

Cafe_1080sf The café plays an important role in New Orleans culture and history. The café will be situated on the main entrance of the center and have a direct physical and visual connection to the main exhibition space. The café will be the public node where users, visitors and faculty all convene and interact. The café will also service large events and promote the interconnectedness of interior and exterior programs.

Main Theatre

Market The markets have a programmatic continuity with the French Quarter and would be serviced by the community garden on-site and designated for events throughout the week as associated with the Film Center. The markets would also serve as emergency housing and shelter for the community and users of the facility.

Bywater Cycle Festival The Cycle Festival is an activity conceived by the many community group activities throughout the district. This primarily connects to a cooperative movement, Plan B, located directly northwest of the site on Decatur, which primarily focuses on the re-use of old bike parts as a way to train and teach others how to build bikes while recycling.

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

8am 10am 12pm 2pm 4pm 6pm 8pm 10pm

8am Monday 8am 10am 12pm 2pm 4pm 6pm 8pm 10pm

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday Performance Reflection Production Work Shop Premiere Event

8am

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Sunday

Production

Workshop_650sf The workshop space is primarily used to build necessary sets and prop devices for the success of filming. The success of the space will depend on its ability to transform in size and its connection to the black box theatre/ green screen production space to move sets in and out. The workshop needs to be acoustically separated from acoustically fragile program spaces. It is also important that the space has a direct connection to the exterior of the building to allow for materials to be adjusted outside, and also for the accessibility of cleaning and ventilating the space.

Black Box Theatre/ Green Screen Production_2500sf The space will be the long-span space of the project, providing an open area for the screening and recording of performances within the building. Some of these activities include: filming of movie scenes, music videos, and interviews. There will also be an editing lab and sound booth integrated into the space for direct adjustment of work. The space will need to be acoustically separated from exterior programs to allow the precision of production. It is also important that the space has a connection to the exterior of the building so that necessary loading and unloading of sets can occur. This space also becomes important as an interstitial space to work and build scenes and sets, therefore needing a connection to the workshop.

Editing Labs_1000sf The editing labs are a primary identity of student use within the building, these labs allow users to edit projects and produce their final documets. The editing labs need to be adjacent to classroom and conference spaces. The labs will be able to house single-person spaces, spaces for pairs to work together, also small groups to meet and edit as a team.

Storyboard Conference_1000sf Storyboard conference areas are necessary for talking and drawing out ideas. These spaces need to be well lit and have large open floor plans to adjust spaces as pertains tho the users. All conference spaces will have dialogue and storyboarding surfaces.

Class Room_800sf (2) The classrooms of the facility are important to the learning and training of film and media production. The classrooms need to have an adjacent connetion to editing labs, while also providing natural light and acoustically separated spaces. Each classroom will have a small lecture space, projection screen and dry erase board for storyboarding/lectures.

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Collection

Lending Library_2500sf The library was conceptualized to be divided vertically throughout the building, allowing a media library to exist on one floor, a print library on another and the equipment lending library to exist on another. Each of these library functions activates a different type of media necessary for the production of media art. The Media Library will house the digital media of the Center. This includes all projects created by students and visitors, also works that have a strong influence on the culture of New Orleans. These medias can be previewed within the library at individual and group viewing stations. The print library includes all necessary text for students and visitors to learn and reference film. These texts include scripts and storyboards created, process information of projects, books, scanning lab, and reading stations. The equipment library houses all lending equipment for users to begin their own film making.

Offices_1200sf The offices of the center have a strong connection to the outreach program of the facility, the placement of these offices is crucial in achieving a direct physical and visual connection within the site and community. As a public building, the offices will need to be easily accessible by the public, including the visitors and users of the building.

Community Garden The community garden will service as a reflection piece within the design, also allowing the community to give back to the center by giving time to maintain the space, teach others how to grow food and provide for the cafe/events. The community garden is an integral exchange of ideas and knowledge at a basic level and promotes the overall mission of the center.

Space Budget

Unit Size (NSF)

Units

NSF

50 36 32 26 20 20 20 20 30 65

40 30 20 20 15 15 15 15 25 38

2000 1080 320 520 300 300 300 300 750 2500

Grossing Factor

GSF

Ground Floor interior 1 2 3 4 5 6 7 8 9 10

Public Exhibition Café/Coffee Bar Work Shop Mechanical Room Office_maintenance manager Office_outreach coordinator Office_center director Office_ staff (2) Prep Room_ lockers and showers Soundstage and Green Screen

8370 exterior 12 13 14 15 16

Cooking station Loading Zone_ work space Bywater Bicycle Show Marigny Music Festival Riverwalk Parade Stop

30 30

15 28

450 840

11000 Level 1 17 18 19 20 21 22 23 24 25

Media Library Production Soundbooth_print and render Editing Labs (6) Production Classroom Tutorial Balcony Theatre Alcove Public Conference Private Conference Room Electrical Closet

40 30

25 17

40 40 75 30 12 20

20 15 12 12 12 12

1000 510 600 800 600 900 360 144 240 5154

Level 2 interior 26 27 28 29 30 31 32 33 34 35

Print Library Private Theatre Conference and Reflection Terrace Production Classroom Theatre Balcony_ 1 Theatre Alcove Editing Labs (3) Conference Bathrooms Projection Room

40 20 20 40 40 75

25 15 15 20 20 12

45 20

20 12

1000 300 300 800 800 900 300 900 240 5540

exterior 35 Reflection/ Conferencing Garden

3200 8740

Level 3 interior 36 Equipment Storage/ HVAC 37 Theatre Balcony_ 2 38 Theatre Exhibition and Gallery

40 60 40

18 30 30

720 1800 1200 3720

exterior 39 Classroom Garden

4050 7770

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2300 Decatur Street

Mind. Body. Machine.

Collecting _Producing_Presenting Understanding the interrelations of nature and culture to promote the transformation of technology and media though cognitive systems that operates as a collective whole. Historically, architecture has promoted the growth of community and knowledge through experience, form and space, in combination with materiality. Buildings provide an opportunity to explain and express culture, and nature through physical interaction as well as psychological transformation, these instances occur through moments carefully crafted and designed within the built and natural world. Over time, humans as a race have become less dependent on the use and organization of their internal memory. By obtaining technology that holds our information, we have begun to change the process in how we interact with each other at a communicative level. Becoming more dependent on external services to hold memory, it has become easier to formulate ideas and opinions, through the instant services of fact. The transformation of memory from internal to external technology can be seen through the abstraction of photo albums (or visual media for that matter). Date books and calendars have become digital, our cell phones and computers now hold this information. Consequently, we have freed our internal memory for other expressions of thought. Rather than remembering the facts, we are able to access them when a question is conceived. Therefore, we have the opportunity to start asking more thorough questions, receiving better answers, so on and so forth. The idea is spawned by not re-using information that already exists, yet learning form our predecessors and historical documents, consequently accelerating the knowledge and memory we have, pushing our systems forward to a more intelligent solution. The accessibility of this information is important in the innovative process of further educating our society. Through the equal distribution and management of this information, globally we can connect processes that drive our economy and society. Moreover, technology understood and used as a collective whole on a global scale can promote the cross breed of culture and ideas, ultimately promoting innovation in all aspects of community, culture and society. It is apparent through history that we have always learned through this collective collaboration of different cultures leading us to believe that it is necessary to use our individual abilities to learn from each other, a combination of a designed system and an evolving system, not exploiting facts, but promoting innovation in existing systems as means to design a better way to organize nature and culture.

The accessibility of this information is important in the innovative process of further educating our society. Through the equal distribution and management of this information, globally we can connect processes that drive our economy and society. Moreover, technology understood and used as a collective whole on a global scale can promote the cross breed of culture and ideas, ultimately promoting innovation in all aspects of community, culture and society. It is apparent through history that we have always learned through this collective collaboration of different cultures leading us to believe that it is necessary to use our individual abilities to learn from each other, a combination of a designed system and an evolving system, not exploiting facts, but promoting innovation in existing systems as means to design a better way to organize nature and culture.

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Marigny Bywater District Located east of the famous French Quarter District, the Marigny offers a strong sense of community through its diverse zoning of commercial, industrial and residential. The location provides a unique opportunity to bring together many different types of user groups with very different backgrounds and experiences.

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Marigny Bywater District New Orleans, LA

French Quarter

Marigny

Household Income Through research on the annual household income of the Marigny Bywater District in comparison to the local districts, it is obvious that there is a strong imbalance of earnings. Much of hte French Quarter, located to the west depends on commercial activities and tourist investment. The overlap of income levels, tourists and locals can have a strong impact on the success of the Center.

French Quarter

Marigny

Bywater 88

Dauphine

$27,000

Royal

$2 27, 7 00 0 0

Site S Tourisst Tour Loca al B s Tr Bu Tran ansi sitt B ke Rou Bi oute te e Schoolls

$67,000

Bywater

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Income: $67,000

Site Identity Local Influences

roya l st.

elysian fields st.

chartres st.

chart

press

royal st.

st.

st. fe rdin and st.

port st

fran klin

ave.

st. roche ave.

To the east, a school for the performing arts (NOCCA). â&#x20AC;&#x153;The New Orleans Center for Creative Arts is a regional, pre-professional arts training center that offers secondary schoolage children intensive instruction in dance, media arts, music (classical, jazz, vocal), theatre arts (drama, musical theatre, theatre design) , visual arts, and creative writing, while demanding simultaneous excellence.â&#x20AC;?

spain st.

mandeville st.

marigny st.

Public Schools

res st

decatur st. n

n. peters st.

Marginy/Bywater District _ Orleans Parish_ New Orleans, Louisiana_ scale 1:4800

French Quarter River Walk_ parks

chartres st.

st. press

roya l st.

st. fe

royal st.

rdin and

st.

port

fran

st.

klin

ave.

st. roche ave.

spain st.

mandeville st.

The site includes most of the green space within the district. As a response, it is important to maintain as much lawn area as possible. The site will be responsible for activities such as outdoor concerts, a parade stop, markets, bike shows and community garden spaces.

marigny st.

Park Space

chart

res st .

decatur st.

35% n. peters st.

Marginy/Bywater District _ Orleans Parish_ New Orleans, Louisiana_ scale 1:4800

st.

port

fran

st.

klin

ave.

st. roche ave.

spain st.

mandeville st.

marigny st.

Co-Operations

chartres st.

press

st. fe

rdin

roya l st.

st.

and

royal st.

chart

res st .

The Marigny/Bywater District has a strong influence of cooperative groups throughout the area. Two of them located just north of the site on Decatur Street. The Cooperations focus on the strong connection back to the community through volunteer work, in an effort to exchange ideas and knowledge freely. Two examples include the Lending Library and Plan B, a recycled Bike Learning Center.

decatur st.

N n. peters st.

Marginy/Bywater District _ Orleans Parish_ New Orleans, Louisiana_ scale 1:4800

Residential_ Cafe

port

fran

st.

klin

ave.

st. roche ave.

spain st.

mandeville st.

st. press

roya l st.

and

rdin

royal st.

st.

st. fe

marigny st.

Cafe

4 chartres st. 5

chart

res st .

Throughout New Orleans, there is a strong influence of cafe culture. The Marigny Bywater District is full of cafes, many located in the residential zone to the north. Understanding these activities and environments depend greatly on the success of the Film and Media Center.

decatur st.

n. peters st.

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Mandeville_Warehouse_west

Site Perspective_

NW Corner

N. Peters_ Main public road through site_ south

Decatur_Residential_ north

Marigny Bywater District Decatur St.

Mandelville

The site is fortified by several types of zoning, providing different activites, views and materials on each corner.To the north is the residential zone of the District, to the south, the Mississppi River. To the west and east are industrial warehouses, one cladded in brick, one steel.

N. Peters

Climate Data Hot Humid Climate

Front Porch Culture â&#x20AC;&#x153;Nobody thought much about the front porch when most Americans had them and used them. The great American front porch was just there, open and sociable, an unassigned part of the house that belonged to everyone and no one, a place for family and friends to pass the timeâ&#x20AC;? (Rochlin, the Front Porch, in Home Sweet Homeâ&#x20AC;?

n w

e s

J F M A M

53.1 56.2 62.6 68.4 75.8

80.9

J J A S O N D

82.7 82.7 79.1 70.3

During the hottest months, New Orleans Recieves the most rainfall and the least wind strength. This creates a very still moist climate.

61.7 55.5

Designing with the elements As one of the simplest forms of a semi public and private, interior and exterior space, the porch provides protection from the natural elements. Once used as the entrance into a classical temple, the porch allows breezes while blocking high summer sun, and when place on the south end of the building, can allow low winter sun angles into the interior of the building.

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Design Review_02.28.11

Egress_Support Spaces: - The egress system is set up on a north to south access with the south fire stair (public) being rotated on a 90 degree access exiting on the west façade. The circulation routes are laid out on a single corridor bridging both ends of the building.

- Critique: The stairwell and elevator need to work in combination with another, with an emphasis on sizing. It was noted that the stairwell could be extended to reach the west façade, rather than situated adjacent to the west wall. Being placed in the café/ lobby gallery of the building, special attention needs to be brought to the support spaces around the fire stair including bathrooms and kitchen units. Specifically, this includes the way visitors move into and out of these spaces and how the programs work simultaneously to promote thorough public and private spaces. Also, attention needs to be drawn to the vertical stacking of bathrooms to provide service for each floor. These facilities would be located adjacent to the Library (a space that is a strong mix of visitor and user) allowing access for the entire building while also maintaining a plumbed wall servicing the kitchen and bathrooms. Also, it was brought to my attention to research ways in which the café would be integrated into a recycling/ composting system for the building. Moreover, how this space would begin to connect to the west plaza, and service the east lawn during exhibitions and events. (Bywater bike show_Marigny Music Festival_Riverwalk Parade Stop).

Passives/ Mechanical Systems:

-The Mechanical room is located adjacent to the north-south axis circulation spine of the building. The main space is located on the north end of the building, vertically connecting each floor and allowing air chases to run in a straight path feeding each space. The supporting program spaces next to the mechanical room include the Office of the maintenance manager (close in proximity for accessibility) and the work shop (beneficial for acoustics, and allowing a large space for ease of maintenance). The space is situated on the north exterior wall allowing ventilation to the exterior. -Critique: More than one mechanical room would be beneficial to separate the systems and lower the work on individual systems. The secondary mechanical system will be located adjacent to the south fire stairs and green screen production studio. In accordance with the design decision to raise the print/render/editing booth, the mechanical space can be placed below these support spaces.

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Schematic Design

Responding to Place The success of spaces relies on proportion, view and the ability to create activities. The proportion of the space whether sitting, standing or leaning depends on the time of the activity the user needs. Does the space require openness within the landscape, or a modulated feel as a way of reconciling the activities that may occur? The proportion of a bench can alter the actions of the user as well. For instance, a stool will affect the way one interacts with the space differently than a bench would, thus provoking a sense of activity/ reasoning to exist within that space, guiding the user to react in a certain manner. The materiality of these spaces is also dependent on this notion.

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Schematic Design Site Arrangement

Interaction It was important to diagram and understand the existing movement to and through the site in an effort to design a system of programmatic elements that related back to the site, while also maintaining an internal relationship. It was apparent that the residents of the Marigny/ Bywater would access the site from the north, based on the zoning of the site. The Riverwalk would hint that many tourists would travel from the French Quarter (west) to the site, many using North Peters as their access and vehicle parking. With an education facility located to the east. This would promote student access and the Bywater residents (east). The integration of these users is critical in the success of the mission.

Resident

Users

Tourist

The user groups of the center range from tourists all over the world to local residents of the Marigny/ Bywater District, to students attending class around the site and around the local area. The mix of each individuals personal experiences, knowledge and ideas are critical to the primary mission and success of the Film and Media Center.

Student

Existing The diagram refers to the movement of different users and visitors of the center. The interior spaces will be placed on the site based on these movements. For instance, the Public Entrance will be located on the south end of the site (N. Peters) because of the two-way traffic and the strong mix of tourist, local and visitor user groups. While many students access the site from the east, therefore locating student accessible spaces on the east end of the site.

Main Entrance

Local Use

Yar d

Co lle

ctio

Pro Pu Pe du blirfo cti on c rEma nntcre an ce

tia

art er

sid

Fre n

Public Function

Lo ca lE du ca tio n

Semi Pub Se blic

sid

ris

To u

en t

Mission

a orm f r Pe

e nc

Pro d

Co lle tio

ctio

Lo c

rke

Performance. effort to maintain a visual connection through the site from the residential neighborhoods (north) to the Mississippi River/ Main Public Entrance. The Performace function serves as the main entrance and the main connection of all preceding program spaces Production. in accordance to student users, the production spaces were situated on the South end of the site, elevated to reconnect the Mississippi River to the user. The outreach facilities and offices are located on the first floor, wrapped by the community garden in an effort to take advantage of the traffic off N. Peters. Collection identifies areas to collect information and experience to promote an innovative response to film and media. Market referring to emergency housing/ markets. Adjancencies in program and site to the main lawn.

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Schematic Design Program Relationships

Performance Public Tutorial Cafe Lobby and Exhibition Market Bywater Cycle Festival Black Box Theatre Green Screen Production

Phase 1

Production Editing Labs Story Board Conference Community Garden

Collection Media Library Print Library Lending Library Theatre Garden Classroom

Floor 1

Floor 2

Site and Program Each program space begins to have a connection with the direction of the section of the site it is placed. The activities inside bgin to suggest activities outside, and visual connections across the site. The relationships of program and site refer back to the research done about movement to and through the site by users, visitors and locals.

Phase 2

Floor 3

East Perspective_ student approach

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Schematic Design Site and Program

A Decatur

UP P

Bywater Bike Show

4 UP

1 2 3 4 5 6 7 8

Outdoor Cafe Drop Off-Zone Recycling Exterior Work Shop Community Garden River Walk Parade Stop Bywater Bike Show Marigny Music Fetival

2 UP UP

6 1

North Peters

Mississippi River

Black Box Theatre/ Green Screen Production

Performance/ Theatre

Production/ Class and Conference

Performance

Production

Reflection

Interconnectedness The large site demands an attention to the programming of spaces as they relate to the surrounding context. The center promotes activity on all facades which promotes visual and physical connections bewtween the interior and exterior of the building. Programmatically this makes sense in a warm climate like New Orleans. p42

Floor Plans

2 20

19 1 9 23

10 8

C 18

B 2

22 17 Media Library 18 Production Soundbooth 19 Editing Labs (6)

1 Public Lobby/ Gallery 2 CafĂŠ/Coffee Bar 3 Work Shop 4 Mechanical Room 5 6 7 8 9 10

Office_maintenance Office_outreach Office_center directorOffice_ staff (2) Prep Room_ WC Soundstage and Green Screen

20 Production Classroom 21 Tutorial Balcony 22 Theatre Alcove 23 Public Conference

Floor Plan_ Level 1 N A

24 Private Conference 25 Electrical Closet

Floor Plan_ Level 2 20

N 50

2 29

33 28 32 2

34 34

27 27

B 26

30 30

26 Print Library 27 Private Theatre 28 Conference and Reflection Terrace 29 Production Classroom 30 Theatre Balcony 31 Theatre Alcove 32 Editing Labs 33 Private Conference 34 Projection Room

Floor Plan_ Level 3 20

36 Equipment Storage/ HVAC 37 Theatre Balcony_ 2

N 50

38 Theatre Exhibition and Gallery 39 Exterior Projection Classroom

Floor Plan_ Level 4 N 20

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Section Detail The parti is split as a “front of house” and “back of house” approach, recognizing the residential and commercial zoning of the site and situating the space inside to react to the buildings around the site. The theatre is situated on the south end of the site and promotes a visual connection to the Mississippi River. The production spaces, on the north end of the site have a relation to the residential units while also promoting views over the lawn to the east.

Theatre_level 1

Tutorial Lounge

Exhibition Gallery

Level 1_55’

Level 1_40’

Level 1_27’

Level 1_15’

Plinth_6’

Section B

Design Review_03.18.11

KCDC_12th and Baltimore

Julie:

-Let the choice of materials begin to express and provoke the intended emotion of the task/ activity occurring within the space.

Steve:

-Program the existing site. +Agree. Other than the existing community garden extending into the lawn, there will be emergency housing/market structures built which can house students, locals or food/ local material trading as a vernacular response to the French markets, provoking the connection between the two locations, also allowing the sale of food grown within the garden. -Floor Plans need to better represent the ramp as it ties into the east faรงade balconies.

John:

-Program the existing site. -Exterior circulation works, interior circulation works, these two

can be better tied together as a continuous system.

Ryan:

-According to the east section, the parti-diagram of the building has a clear representation of two massing (front of house and back of house). Structurally there is an opportunity to enforce this system, while the east facade circulation system can be used as a cross bracing of the two.

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Function of Ornament

Public Theatre Entrance

Materiality It is interesting to begin to think of materials reacting to the formal activities in the space. How does color, pattern and texture provoke an emotion or mood? How does this affect the way we produce, perform and reflect within the building? Surfaces also need to react to the physical conditions of the space. Words that come to mind include durability, illuminance, and transparency. The existing material pallet I am working with includes wood (reacting to the contextual use of brick around the site, through the replication of color tones and horizontality in construction). Concrete as a material has good thermal capacity and reacts to the surrounding context of the levy wall along the Mississippi river. Fabric, conceptually driven by canopies and outdoor umbrellas, allows the faรงade to breathe, and also serving as a protective shading device. A precedent common in the cafe culture of New Orleans.

Concrete Slab

Wood

White Fabric

Garden

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Cinematic Approach

6 5 1

East Facade

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Design Review 04.01.11

Critique

South Facade

East Facade

North Facade

Blake: Blake suggested that the main thing to focus on for the remainder of the semester was getting the jury into the project. He suggested that this could be accomplished through simple line drawing perspective vignettes that express the intended activities throughout the spaces. These drawings could possibly really communicate use relationships and special qualities of the project. He felt that the composition of the building elevations could be better resolved. Even though he thought the choice of materials (wood, concrete and galvanized steel) was good he suggested that these could be better represented in a way that better defined the scale and proportions of the facade. We discussed the wrapping of materials around corners and how materials themselves provide a sense of scale. The majority of the conversation was around the west façade and its relationship around the corner to the north.

Denton: Denton automatically questioned the decision to cut my section for the ½” model through the production portion of my building. He suggested that the better decision would be to cut the section at the main entrance. 1. The model expresses where the majority of people enter the building. 2. The section offers the same material properties as the previous section. 3. The section has the ability to wrap from the south façade to the east, and begins to detail the balconies. Denton questioned the material choice of wood in a humid climate like New Orleans. He suggested looking into the use of terra cotta. Terra cotta does not need maintenance or replacing like wood and would work in a climate like New Orleans. My only question is does the terra cotta contextually work in the Bywater? Besides the color of terra cotta matching brick, does it have any relationship?

Thom: There was a lot of discussion of the theatre being represented in the renders as the jewel being held within the building. However, the model was moving more towards breaking and pulling the theatre to act dynamically within the east elevation. The intention was to play with the visual qualities as a way to better represent a sense of public levels and semi public levels. We both agreed that the jewel representation worked best, and that the screening on the east façade could be pulled up in the same manner and achieve the same effect. The same was said about the columns on the south east corner, these could tie into the ramp rather than coming to the ground to emphasize the public realm below. Thom and I discussed a lot about the composition of the elevations. He felt that I could eliminate the structural canopy on the east façade to develop a more inviting community garden, the material of the ramp could wrap around the corner to the north, and the west façade shading devices could be pulled across the west elevation to begin to help shade the garden atop the black box. Finally, the black box, needs a material representation that correlates with the physical move of pulling the mass out from the flush west façade. We agreed that brick would work best for this contextually and as a way to build an acoustically separated wall. The brick would wrap into the interior of the building.

West Facade

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Design Development

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Sun Studies Winter and Summer

Site Plan

South-West Perspective

South Interior

Winter Solstice 8am

10am

12pm

2pm

4pm

6pm

8pm

Building Envelope Analysis The following was tested by analyzing the sun angles during winter and summer solstice throughout a 12 hr span throughout the day. The images include studies at 3 scales: site, aerial perspective, and interior perspective. The images were intended to provide a comprehensive visual guide to the thermal and light qualities the building provides. The test was run using Google Sketchup 8.

During the winter, the low sun angles are able to enter the south faรงade, however, the screen diminishes the amount of south winter sun enters the interior spaces.

Building Envelope Analysis

After further investigation, the building design functioned best when rotated so that the long production facade was directed to the south. The internal building programs worked well with the external site context and the building skin was able to perform while accommodating both internal and external functions.

The following was tested by analyzing the sun angles during winter and summer solstice throughout a 12 hr span throughout the day. The images include studies at 3 scales: site, aerial perspective, and interior perspective. The images were intended to provide a comprehensive visual guide to the thermal and light qualities the building provides. The test was run using Google Sketchup 8.

Site Plan

South-West Perspective

South Interior

Summer Solstice 8am

10am

12pm

2pm

4pm

6pm

8pm

Building Envelope Analysis The south faรงade performs well during the summer. The overhang condition, in combination with the screen conditions summer sun from impeding the interior spaces of the building. The building does not perform perfectly. The south screen needs to be adjusted to allow more low angled light into the interior spaces to allow passive heating.

From this point, it would be beneficial to further analyze the dimensions of the south screen and how it performs during the summer. Also, it would help to research the height at which the screen should exist to best perform during the winter with low sun angles, allowing winter light to thermally heat the building.

Program

Program Diagram Production Performance Collection

Parti The Program of the FIlm Center was concieved as a “font of house” and “back of house” approach. The front/main entrance of the Center was determined by site studies to identify the main overlap of visitor and loval user groups. This is where the theatre balconies exist, serving as overhangs for all public functions to exist, sheltered below*. Adjacent to the theatre exists the collection services including: Media, Print and Equipment Library. These work together servicing both visiotr and user groups. The back of house includes programs such as outreach offices, production labs, conference space, workshop and large production spaces. The offices are strategically placed along the street to promote visitation and interest within first time visitors/users. The editing spaces are accessible from a semi-public south facade entrance, up the ramp, which dually serves as an entrance to the first theatre balcony, the Tutorial Lounge. The editing labs are on the south facade of the building to connect views back on to the Mississippi River. On the other hand, the large production spaces are on the North end, opening up to the North Production Yard. The Plinth Provides a hierarchy of program, slightly separating all production function from the ground. This creates public steps on either side for gathering and dialogue. Functionally, the elevation increase creates a consistency in ceiling heights, as the large production spaces require larger volumes and higher ceilings.

*Overhang_ public gathering

Visitor Local User Production Performance

Program Diagram Production Performance Collection

User Diagram Visitor Local

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Structure 1. W 10x33 column 2. W 12x16 joist 3. W 18x50 girder 4. 30K12

Steel System Structure Material: Steel Structural Bay: 25’-30’ Joist: 12x 16 Girder: 18 x 50 Long-Span: 30k12 Column: 10x33 The structure consists of steel members. The structural grid is set up to not exceed 30’ spans. According to the Allen text, the joists are 12” deep and the girders are 18” deep. For the long span production studio, 30k12 open web joist are used. All members are vertically supported by 10x33 steel columns.

2. 4.

1. 3.

3. 1.

30’

25’ 30’

25’

South Elevation

1 2 3 4 10

Floor 1

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Mechanical

Mechanical Systems VAV Split Packacge System Assembly Occupancy Air Chase

VAV system For this building a variable air volume split packages system works best. This allows a high degree of local temperature control at a moderate cost, the system is economical to operate and self-balancing. The split package allows multi-zone configuration which is beneficial in conditioning multiple types of occupancy zones which tend to require differing amounts of conditioned air. The packaged unit offers service up to 240 ft. spans, which coincides with the maximum length of the building footprint. It was decided to locate the fan room on an intermediate floor, which was strategically located on the north exterior wall to promote the exchange exhausted air to the outdoors and fresh air to be drawn in to the return air system.

Outdoor Components: Compressor Condensing coils Indoor Components: Cooling and Heating Coils Circulating Fan Sizing: Indoor Ceiling suspended unit 9’ x 7’ x 3’

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Circulation

Circulation Diagram Exit Discharge Exit Access Exit -

Egress System The egress system is thought of as 3 parts: exit access, the exit and the exit discharge. The decisions of sizing and materials are made based on the occupancy zone within the building. Considering both Assembly occupancy and Business occupancy, it was possible to determine the max travel distance to an exit, fire rating and widths of exits, and the widths of exit access. It is important to note that lobbies and vestibules may provide 50% of egress discharge if: -path is visible from point of discharge -level of lobby is sprinkled -fire rating of floor is equal to exit enclosure -path does not exceed 15m

Organization The fire rated stairs are located at both the north and south ends of the building. Both stair cases have access to the exterior of the building. The main circulation route connects the production and performance sections of the building.

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Final Documentation

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Sub Title

New Orleans. Bywater Film and Media Cooperation

Production Labs Theatre

Media Library

Employee Lounge/ Tutorial Balcony

Theatre Balcony

Employee Lounge/ Tutorial Balcony

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1. 11.

16.

15.

14. 12. 17.

11.

5. 16.

12. 14. 17.

7. 10.

13. 3.

18.

1. Heavy vegetation 2. Orgainc substrate 3. Polysterene drainage boards 4. Vapor barrier 5. Steel decking 6. Edge gravel 7. ceiling 8. Storefront panel system 9. Concrete slab 10. W 10x33 column 11. W 12x16 joist 12. W 18x50 girder 13. Corrugated aluminum 14. Tie back bracket 15. Terra cotta louvers 16. Rammed earth 17. Slip Track 18. Plywood

Floor Plan_ Level 2 20

N 50

17 Media Library 18 Production Soundbooth 19 Editing Labs (6) 20 Production Classroom 21 Tutorial Balcony 22 Theatre Alcove 23 Public Conference 24 Private Conference 25 Electrical Closet

A 2 20

19 1 9

21 21 23

Floor Plan_ Level 1 N 20

1 Public Lobby/ Gallery 2 CafĂŠ/Coffee Bar 3 Work Shop 4 Mechanical Room 5 6 7 8 9 10

Office_maintenance Office_outreach Office_center directorOffice_ staff (2) Prep Room_ WC Soundstage and Green Screen

2 4

A 5

1 9

Print Library

Plan Detail

Floor Plan_ Level 4 N 20

36 Equipment Storage/ HVAC 37 Theatre Balcony_ 2 38 Theatre Exhibition and Gallery 39 Exterior Projection Classroom

38 8

A 37

Floor Plan_ Level 3 20

26 Print Library 27 Private Theatre 28 Conference and Reflection Terrace 29 Production Classroom 30 Theatre Balcony 31 Theatre Alcove 32 Editing Labs 33 Private Conference 34 Projection Room

27 27

A 2 29

32 2

34 34

30 30

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Title of Chapter Sub Title

26 Print Library 27 Private Theatre 28 Conference and Reflection Terrace 29 Production Classroom 30 Theatre Balcony 31 Theatre Alcove 32 Editing Labs 33 Private Conference 34 Projection Room

Canopy Vegetation lightweight organic substrate 65’

3” polysterene

55’

2’x4’ window 33’ 3” polysterene

21’

6’

2 Way Concret Slab

Wood Screen

4’x8’ plywood sheathing

Main Theatre Balcony

Tutorial Balcony

Performance Plinth

Entrance

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Student and Local Sub Title

Marigny Music Festival

Riverwalk Parade Stop/ Market

Production Yard

Collection Garden

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1 http://www.neworleansonline.com/neworleans/history/people.html 2 http://www.google.com/imgres?imgurl=http://farm1.static.flickr.com/151/339185196_d92354ed83. 3 http://www.google.com/imgres?imgurl=http://ragskanyiphotographyblog.com/wp-content/uploads/2010/10/ 4 http://www.google.com/imgres?imgurl=http://www.periscopepost.com/wp-content/uploads/2010/12/685588-Travel_ 5 Google Earth 6 http://www.google.com/imgres?imgurl=http://2.bp.blogspot.com/_449SMDcZjC4/TH8pyaq7OVI/AAAAAAAABKc/yNpT7 http://www.nofringe.org/familyfringe.html 8 http://www.filmneworleans.org 9 http://www.google.com/imgres?imgurl=http://videos.videopress.com/twmb9Sxm/new-orleans-free-school_scruber10 http://www.google.com/imgres?imgurl=http://shambhalatimes.org/files/2009/04/community-garden-2.

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