NOLA film institute catalog by Grace Philipp

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“North by Northwest,” 1959

New Orleans

Institute for Film 4 64 48 96 85 :4

mission NOLA precedent program schematic design "&7')*,&/"#'!"#$!$%$&'()*'+,-

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The mission of The New Orleans Institute

long-term management and for making the

for Film (a fictitious organization), is that

collection accessible.

it be a non-profit organization dedicated exclusively to supporting independent

The institute intends to help artists create

documentary- and independent-film art-

new works through the use of new and

ists, creating an indigenous entertainment

evolving technologies while also creating

industry.

a place for a diverse group of artists to

NO Center serves as a support

facility and research center.

It provides

meet.

The program is intended to create

an ideal site for students and faculty to

a hybrid program, where different situ-

explore film and other media and plays a

ations and events sponsor unexpected

vital role in fostering serious interdisciplin-

meetings and create a synergy that keeps

ary film scholarship.

The Center supports

this place socially and economically vital.

classroom teaching, curricular film screen-

It is a non-profit media arts collaborative

ing, and individual research in dedicated

organization. Its goals are to create an

screening room and media classrooms,

environment that supports the creation

and through the development of its archi-

and dissemination of independent media

val film collection.

that promotes democracy, community

In addition to provid-

ing curricular support, NO Center hosts

participation, cultural preservation, access

an array of public events, programming,

and lifelong learning to a diverse commu-

archival film screenings, conferences and

nity of artists and audiences;

symposia, workshops and programs with

create an environment where artists can

visiting artists and film scholars.

make work inspired and achieved by

missoin

electronic media; to create a responsive NO Center also sees part of its mission

public context for the appreciation of new

as collecting and preserving the audio-

work by presenting and disseminating the

visualheritage of New Orleans and making

finished works; and to bring together in-

it available to as many users as pos-

novative practitioners from all branches

sible.

of the art collaborating in the use of

The Instituteâ&#x20AC;&#x2122;s collections forms an

important part of the New Orleans cultural

electronic media.

heritage.

independent media has the capacity to

The archive is a unique source

It is the belief that

of information for research, not only for

give voice to underrepresented communi-

students and academics, but also for jour-

ties and individuals, and to broaden the

nalists, international production companies

way people see themselves and others.

and broadcasting organizations.

The Forum assists with commissions and

New

material is added to the collection on a

residencies, production services, educa-

daily basis.

tion and information programs, and the

Digitalization is an essential

part of this preservation, both for efficient

presentation and distribution of work.

Lower Garden District, New Orleans

given by Robert Riccardi and Shannon Criss

studio mission

‘Down by Law,’ 1986

“History repeatedly points to the importance of great storytelling in chronicling and influencing human affairs. Even today, a powerful, authentic narrative can foster trust and respect between disparate cultures and mitigate the social and psychological impact of cultural prejudice.

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

ing the range and diversity of the world’s cultures as the cinematic arts. But this vital contribution to cultural diversity has been threatened by shifting economic conditions in the areas of film financing and distribution, a situation largely prompted by the international success of the American film industry. [...] Ironically, it is the United States, and especially its youth, that suffers disproportionately from this lack of exposure to other cultures. [...]

A comprehensive effort to give value to stories from every corner of the

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

missoin

Global Film Initialtive

http://www.globalfilm.org/about.html

‘The Third Man,’ 1949

“She was never able, after her education in the movies, to look at a face and not assign it some category in the scale of absolute beauty, and the scale was one she absorbed in full from the silver screen.

There at last were the darkened woods, the

lonely roads, the river banks, the gentle knowing eyes.

There the flawed became

whole, the blind sighted and the lame and halt threw away their crutches. was dead, and people made every gesture in a cloud of music.

There death

There the black-and-

white images came together making a magnificent whole -- all projected through the ray of light from above and behind.”

- Toni Morrison, The Bluest Eye

+,-

Roman Holiday, 1953

We have lived in the age of film.

Holly-

But what does this mean for the craft of

wood has always been a given for us, yet

film?

Will we suffer an influx of mediocre,

it seeks always to renew its novelty, its

but easy to produce material? But per-

initial draw. Film’s constant rebirth hasn’t

haps it’s a pendulum swing back to the

slowed in the past few decades, so much

dilemas of the first filmmakers.

so that the media for which it was named

many new creative mediums, the explora-

is becoming less and less an integral

tion is only about to begin.

With so

missoin

part of the craft. As ‘film,’ like other fields is changing to a digital profession it’s

One of the beautiful Things about the first

becoming not only more fantastic and

films, however, were also their limitations.

explosive, but also more accessible and

Not only technologically, but politically,

affordable to produce.

films of the early 20th century were

Children can cre-

ate their first films on their parent’s com-

bounded and thus forced to invoke the

puter in an afternoon. Films, once viewed

imagination. Perhaps some of our films

on an evening out in suits and gowns

have lost these characteritics, which begs

at a large cinema can now be rented

the questions: Which is more powerful,

with the click of a button on Netflix and

the implication of an event or its full

viewed by the individual on his or her

rendering?

nearest i-device.

school

The Philedelphia Story, 1940

Such are the questions and concerns

imagination of the viewer through the set-

which a film insitute in new Orleans could

tings and surroundings they find through

explore; a center for film to become again

their lens, not their computer.

a gathering event. The center would be a school as well as community archive. The

Hopefully, by limiting the school to the

school would function on a monthly basis.

digital realm, the school will remain af-

In this way, film classes could be more

fordable for the students. Allowing them

affordable for students, who wouldnâ&#x20AC;&#x2122;t have

the opportunity to think more freely of

to commit to a full year of study.

their craft.

At the

They would also have oppor-

end of each month, a small film festival

tunities to travel or work between courses.

would occur, open to the local com-

The center would also function as an

munity, during where the students would

archiving site; changing films into digital

showcase their monthâ&#x20AC;&#x2122;s work.

formats so as to preserve them. While the center serves as a model and promoter of the digital media, it would also stress the

be given plot, dialogue, and the frame.

importance of film as a storyÂtelling

The school would be completely digital,

device, one which explores the human

however CGI and special effects would

condition and concerns itself with the

be untaught.

events and issues of the present.

The school would pose a

challenge to its students to invoke the

The films would be short and stress would

the of an event or its

Which is more powerful,

implication full rendering?

opposite page: Town Theatre, Los Angeles, 1926

The Haunting, 1963 Signs, 2002

The classic horror film, the Haunting, creates tension and suspense through the viewerâ&#x20AC;&#x2122;s experience of empathy. We empathize with the terror of the characters.

Yet, one never sees the ghost creat-

ing the terror.

Signs begins in much the

missoin

same way, M. Knight Shyamalan creates suspense through the implication.

But in

the end the build up to the fully rendered alien seems anti-climatic.

“ evening out...

“

Films viewed on an

NOLA

new orleans, louissiana

Climate Culture Demographics Warehouse District Site Materiality

NOLA 13

NOLA

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

climate New Orleans temperatures reamain close to the comfort zone throughout most of the year.

screened portches and patios

However, humitidy is also quite

high, requiring energy effecient cooling systems in order to reduce building costs. recommendations from Climate Consultant:

“screened porches and patios can provide

thermal mass

comfort cooling by ventilation and prevent insect problems.”

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

raised indoor comfort temperatures

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

light colored materials

“use light colored building materials and cool roofs (with high emissivity) to minimize conducted heat gain.” 15

NOLA

culture music

social clubs

>%#<&*#

-%#!0!/"#';)0<'$)'"&7')*,&/"#='>)$2'$)'2&/*' and be heard. along Frenchmen street near the French quarter and in the Treme neighborhood, brass bands, blues groups, and general ?/@@'-/A2&-'!#',&$',))#&'&B&*A'7&&<&"CD'' dancing encouraged!

#)0!/,'0,%>#'!"'$2&',&##'/(;%&"$' neighborhoods provide a sence of 0)--%"!$A'/"C'$*/C!$!)"'$!&C'>/0<' to the mardi gras indians

street life and porch culture thrive in the new orleans climate, when stewing in the humidity outside beats stewing in the muggy heat inside. street performers and -%#!0!/"#'$/<&'/CB/"$/.&')('!$D

beignet

rebuilding in the cafe culture lower ninth

hints of the cityâ&#x20AC;&#x2122;s french roots found in culinary residue too, as seen by this new orleans staple

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

devestated wetlands

rebuilding most devestated communities with help from organiza$!)"#',!<&'-/<&'!$'*!.2$='2/#'/',)$' of the residents excited about green building and recreating their neighboorhood as a sustainable community

second line /($&*';))C!".'/"C')!,'#1!,,#='$2&'>*/0<!#2'7/$&*' &0)#A#$&-#'/*&'0),,/1#!".'/#'#/,$'7/$&*';))C#' the wetlands. acres of dying vegetation and -/*!"&',!(&'-/<&'%1'/'2/%"$!".',/"C#0/1&

levee walls

from social clubs to funeral marches life is celebrated through music, food, and friends...and exhibited on parade or a second line

in the outer districts, the levee walls, which prevent a large portion of the city from returning to marsh land, are a prominent part of the landscape and a crucial part of the built environment

remains of the french city the french past is prevelent in the old city quarter, from the architecture to the street names, one canâ&#x20AC;&#x2122;t easily forget the cityâ&#x20AC;&#x2122;s roots. 17

Educationalattainm ent bachelorsdegree orhigherforthe population 25 yearsand older 30% 28 United States 24 20 20

New OrleansMe tr o 23

23n.s.

0002

008

20 16 10

0 19801

9902

NOLA

Sources:US CensusBureau,DecennialCensus &Am erican Comm unitySurvey2008

demographics Registered artsand culture nonpro torganizations per100,000 population,OrleansParish 50 per100,000 population 2006 76organizations 208,548 population 40 2007 30 86 organizations 288, 113 population 2004 30 81organi zations OrleansParish 461,915 population 18

Regional“export”jobsforthe10largest“export”special izations New Orleans10-parishregion 50 thousand jobs

40 Tourism 30

Oil & Gas

14 United States

9 10 10

2000

‘04

Shipping 10

6 0 1990

‘07

Sources:NationalCenterforCharitable Statisticsand Census Bureau Population Esti ma tesProgram

0 1980

1990

2000

‘04

‘09

Source:Mo ody'sEconom y. com Database(U.S.Bureau ofLabor Statistics:CES,QC EW )

major streets

institutions 足 art galleries, museums, restaurants

NOLA

vegetation

warehouse district relationships of the site to larger land足 marks, major streets, and the river

NOLA

site materiality

precedent

Old Father Studios - KU Film Studies Hochschule der Medien Art House - LTL La Halle du Robin - AP5 Architects

old father studios upper left: classroom space upper right: relationship of production studio to teaching space

center left: screening room center right: production space

lower left: editing room

precedent

lower right: film storage

programatic

precedent

Old Father Studios is the facility of the Film School at the University of Kansas. Unfortunately, the school has long outgrown its facilities and is struggling to fit into inflexible spaces.

Editing rooms are

ideally reserved for one editing group at a time, but due to facility issues, two and in

studio space Hochschule der Medien

some cases three editing stations occupy one space. Classroom space is also highly valued, but no enclose classrooms exists at Old Father. Classes are held inconveniently either in a convergent space behind a makeshift wall and ramp or in the production stage facility. Flexibility for growth as well as specific ideals of task lighting and acoustics were helpful lessons from our visit.

â&#x20AC;&#x153;We see film and media as ways of ordering, clarifying, and understanding human experience. We are humanists, sharing the general goal of discovering and putting into communicable form hypotheses about human beings and the world as they interact with it.â&#x20AC;?

- KU Film & Media Studies

Art House - by L.T.L. Art House is a retrofit project in Austin, Texas.

The building, designed by L.T.L uti-

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

For exampe;

the screen of the movie theater becomes a projection out towards the city, a â&#x20AC;&#x2DC;filmâ&#x20AC;&#x2122; billboard.

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

screeing space

section at the central stair

precedent

longitudinal section

architectural

precedent

lobby and central stair

roof terrace

street entrance and facade

precedent

given by Robert Riccardi and Shannon Criss to be adjusted and revised according to scheme

space budget

CATEGORY A: ”PUBLIC” SPACES !"#$%&'(")*%%+,-.&&/0+1"23'4/"567"%+"89:'';':$.&"<(=/>/?"@ABB"3C".3"D&.(/=*&:/0E The public face of the center for the person coming in for the first time. Should facilitate public outreach function of the center.

Highly visible

from both inside and outside, includes Office for Theater

!"F.CG,F*CC//"<=*D,6.0,F*9(/33'*93"2HBBB"3C"I*I.&E" !"@ABJ</.I"K*;'/"5=/.I/0"L,"<I.M/".9:"#0*N/(I'*9"O**>"2P,J"QABB"3C"I*I.&E" CATEGORY B:

“PRIVATE” SPACES

!"6&.(R"6*S"<*$9:3I.M/"T"66"J"2@ABB"3CE" !"-0//9"<(0//9"#0*:$(I'*9"<I$:'*"T"-O"J"2@ABB"3C"I*I.&E"– includes print room, render farm, sound booth

!"#0/D"O**>3"2HBBB"3C"I*I.&E"makeup, wardrobe, etc., to be shared by BB and GR !"U:>'9'3I0.I';/"VCC'(/3"2WBBB"3C"I*I.&E"Center Director; Education/Outreach Coordinator; Accountant/Administrator; Maintenance Manager; 2 Staff Offices; Career Development Offices; Workroom

!"K//I'9M,F&.33"O**>31"2W"X"WAB"3C"/.(=?"HBAB"3C"I*I.&E"Small group meeting rooms/ classrooms

!"<(0//9'9M"O**>"23>.&&"I=/.I/0"3D.(/?"ABB"3CE"*0"HABB"3C"“library” for film and video rooms

!"<I.CC"O/3I0**>3"2567"'9"M0*33'9M"C.(I*0EZ" !"#*3IJ#0*:$(I'*9","Y:'I'9M"O**>3"2HB"X"HBB"3C"/.(=?"HBBB"3C"I*I.&EZ" !"<=*D"["#0*:$(I'*9"\.0:"T"YSI/0'*0"]*0R'9M"<D.(/"2P,J"@ABB"3C"I*I.&EZ" Category C:

SERVICE & CIRCULATION

given....

!"Y>D&*+//")*$9M/1"2HABB"3C"I*I.&E""Private space for employees; include shower and locker

!"K.'9I/9.9(/"<I.CC,^.9'I*0'.&"<$DD*0I" !"K/(=.9'(.&","Y&/(I0'(.&","#&$>%'9M" !")*.:'9M"7*(R,7$>D3I/0"T"7/&';/0+"U0/." !"Y&/;.I*0"["<I.'03,F'0($&.I'*9"J").0M/"3/0;'(/"/&/;.I*0"C*0"D/*D&/".9:"C0/'M=I" !"#$%&'("O/3I0**>3" !"a3/"-0*33'9M"C.(I*0"*C"@Ab"*C"c/I"<d" CATEGORY D:

SITE

!"#$%&'(".9:"#0';.I/"2<I.CC".9:"</0;'(/E"Y9I0.9(/3" !"V$I:**0"<(0//9'9M"U0/.3"" Gross Building Square Footage:

24,000 sf x .25 grossing factor = 30,000 SF TOTAL

K.S'>$>"-0*33"6$'&:'9M"d**ID0'9I1""P,J"H@_BBB"3C

program 31

!"F'0($&.I'*9_"<I*0.M/".9:"*I=/0"<$DD*0I"<D.(/3_".3"0/`$'0/:Z"

“public spaces”

“private spaces”

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

4,000 sf

movie theater

terrace

production studio I

production studio II

2,500 sf

5.000 sf

2,500 sf

1,500 sf

library

program

2,000 sf

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

1,650 sf

classrooms, W"X"ABB"3C"

shop yard

5.000 sf

1,500 sf admnistration

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

workroom

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

750 sf

archiving room

250 sf

actual....

1,250 sf

1,500 sf

conditioned space 19,400 sf P >/(=Z,('0(Z,3/0;'(/3"""A_BBB"3C x grossing factor

24,400 sf 1.25

gross sqft

30,500 sf

GSF SF Cost

$118.00

median GSF cost (Means 2007)

1.37

New Orleans (Means 2010)

$161.66

1.37 x $118.00

.90

30,0000/33,400 (Means 2007)

Adjusted Unit Cost

$144.90

$161.66 x .90

Use

$145.00

City Cost Factor Weighted SF Cost Size Modifier

Escalation

4% per year x 1.5 years

$3,540,000

A. Adjusted building costs

$4,350,000

30,000 x $145.00

B. Fixed Equipment

$435,000

10% of building cost

C. Site Development

$652,500

15% of buildng cost

$5,437,500

A+B+C

$326,250

subtotal x 6%

$5,763,750

subtotal + escalation

E. Site Aquisition

$500,000

variable upon market

F. Movable Equipment

$576,375

10% of construction cost

G. Professional Fees

$345,825

6% of construciton cost

H. Contingencies

$576,375

10% of construciton cost

I. Administrative

$57,637

1% of construction cost

escalation D. Total Construction (direct)

program

Unadjusted Construction Estimate

sub total

30,000

cost estimate

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

EF=G5H=F6I

6.00

7.00

8.00

11.00

12.00

13.00

14.00

15.00

16.00

17.00 editing rooms

5.00

lobby/cafe/bookstore

cafe staff

cafe patron

9.00

terrace

4.00

workroom

screening/conference room

offices

archiving room

“public” spaces

production studio

shop yard

classrooms

library

3.00 users

movie theater

2.00

teaching and admin. staff

time

event patron

1.00

custodial staff

0.00

students

) Mon. Fri.

time-use “private” spaces

10.00

18.00

19.00

20.00

21.00

22.00

23.00

needs...

... connection to street level lobby/cafe/bookstore library production studio shop yard

... daylight offices classrooms editing rooms lobby/cafe/bookstore library

... acoustic separation

program

movie theater production studio editing rooms

street connection

st. joseph street

studio II

library

shop yard

ula

pito

hou

tsc

cafe

a.r.

studio I

north diamond

first floor

theater daylight shop yard

terrace

class room third floor

cafe studio II ng

eni

e scr

shop yard

wk m

roo

studio I second floor

studio II

program

cafe

library

a.r.

shop yard

studio I first floor

accoustic separation

support

assembly occupancy

cafe

studio II

shop yard

support

library

a.r.

business occupancy

studio I

accoustic and fire separation 39

schematic

design

K&>*%/*A'6H K&>*%/*A'4H L/*02'6H

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

shcematic design 41

schematic design 42

Schematic design began after the analysis

smaller clusters the programmatic swaths

of our site in the Warehouse district and

of the project.

a trip to New Orleans.

first pin-up was to draw more informa-

My first steps

Initial feedback from the

were to cluster programmatic spaces into

tion and architecture from the context of

private, public, and institutional masses

the site as well as to allow more views

and fit these within the given site and

between the areas of production and ar-

context.

eas open to the public.

The basic guiding principles

Plan and section

included a desire to engage the siteâ&#x20AC;&#x2122;s

development occurred through an itera-

northwest corner, maintain a connection

tive process until our review on February

between the production studios and shop

28th.

yard on the first floor, and to offer an

At the February 28th review, ideas of

occupiable roof space within the siteâ&#x20AC;&#x2122;s

improving the massing of the roof led to

roofscape.

a more contained form and section. Ideas

Another early strategy was

the idea of the building creating both an

of connecting

interior and exterior fixed corridor be-

building to specific buildings around the

tween two streets and a flexible function

site were suggested.

within the studios to absorb the streets

For the March 18th jury, I further de-

causing the building to become more

veloped the project resulting in a fairly

permeable.

finalized plan and sections, but with ques-

A driving force of the project from these

tions and ideas of facade and materiality.

first weeks was the idea of film as media

Consequently much of the feedback I re-

historically evoked through implicative

ceived was directed toward the materiality

methods of storytelling as opposed to

and placement of the facade elements.

the explicit visual communication found

It was suggested to use the materials in

in contemporary film.

a simpler way to articulate the broader

This idea trans-

views from within the

lated to the programing of the spaces

stroke of the buildingâ&#x20AC;&#x2122;s masses.

as views and glimpses of activity were

comment suggested to capitalize on the

either denied, displayed, or revealed and

voyeuristic qualities of cinema and open

concealed subtly.

up views from one space through another.

After the first February 18th pin-up, I preceded to continue to develop in

Another

iteration 1

schematic design

A 6

6 5

8 4 5

4 5

first level

second level

third level

fourth level

scheme development

schematic design

(&>*%/*A'4H

theater lobby

screening admin.

cafe

library

learning production

learning

yard

production

section A_A

schematic design

theater lobby

cafe section B_B sections at 1/16â&#x20AC;? = 1â&#x20AC;&#x2122;

learning production

movie theater

projection room

fourth floor

movie theater

lounge classroom

editing room

terrace

editing room

classroom

editing room

second floor

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

mech. screening room

admin.

mech. workroom

third floor

storage

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

production studio

library

mech. archiving room production studio storage

first floor

D&.93".I"H,Hef"g"Hh

storage gallery

schematic design

-/*02'6H

schematic design

FIRST LEVEL

1 CAFE/LOBBY/BOOKSTORE

2 LIBRARY

3 ARCHIVING ROOM

4 MECHANICAL

5 STORAGE

6 PRODUCTION STUDIO

0 2

7 GALLERY

FIRST LEVEL

1 CAFE/LOBBY/BOOKSTORE 2 LIBRARY

3 ARCHIVING ROOM 4 MECHANICAL 5 STORAGE

6 PRODUCTION STUDIO 7 GALLERY

1 CAFE/LOBBY/BOOKSTORE 2 SCREENING ROOM 3 OFFICE 4 MECHANICAL 5 STORAGE 6 PRODUCTION STUDIO 7 GALLERY

3 2

8 7 4

4 5

6 5

SECOND LEVEL

1 THEATER 2 TERRACE 3 EDITING ROOM 4 MECHANICAL 5 STORAGE 6 CLASSROOM 7 STUDENT LOUNGE

2 4

4 3

schematic design

THIRD LEVEL

1 THEATER 2 PROJECTION ROOM

1 2

FOURTH LEVEL 55

A_A

0 2

CAFE

schematic design

LOBBY

CLASSROOM

PRODUCTION

STUDENT LOUNGE

EDITING

C_C

0 2

LIBRARY

B_B

0 2

schematic design

PRODUCTION

CLASSROOM

SHOP YARD

PRODUCTION

CLASSROOM

ST. J OS E PH

ST INTE RIOR C OR RIDO R EXTE R

CON S T A NCE ST

N OR

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ULAS ST

HIGG INS DR

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A ND

IOR C OR RIDO R

MECHANICAL

BUSINESS OCCUPANCY ASSEMBLY OCCUPANCY

schematic design

EGRESS

STRUCTURE

joists systems

THIRD LEVEL

SECOND LEVEL

FIRST LEVEL

new orleans

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2 LIBRARY

3 ARCHIVING SPACE

4 MECHANICAL

5 STORAGE

6 PRODUCTION STUDIO

7 GALLERY

NO IF

0 2

B 2

SECOND LEVEL

1 CAFE/LOBBY/BOOKSTORE

2 SCREENING ROOM

3 OFFICE

4 MECHANICAL

5 STORAGE

6 PRODUCTION STUDIO

7 GALLERY

8 WORKROOM

THIRD LEVEL

1 THEATER

2 TERRACE

3 EDITING ROOM

4 MECHANICAL

5 STORAGE

6 CLASSROOM

7 STUDENT LOUNGE

NO IF

FOURTH LEVEL

1 THEATER

2 PROJECTION ROOM

LOBBY

NO IF

A_A

0 2

CLASSROOM STUDENT LOUNGE

EDITING

PRODUCTION

0 2

B_B

NO IF

LIBRARY

0 2

SOUTHERN ELEVATION

NO IF

0 2

NORTHERN ELEVATION

NO IF

NO IF 82

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