Performing Art and Filmmaking complex - Graduation project thesis by layantayseer

PERFORMING ART AND FILMMAKING COMPLEX

University of Jordan, Faculty of Engineering Department of Architecture

Title: Performing Arts and Filmmaking Complex

Submitted by Layan Tayseer Mahameed Supervised by Arch. Esraâ&#x20AC;&#x2122;a al Qudah

Thesis submitted in partial fulfillment of the requirements of final graduation project in Architecture Academic Year 2019/2020

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Table of Contents

Contents

Page

Table of Contents ........................................................................................................................................................................................................................................ ii List of Tables .......................................................................................................................................................................................................................................... vi List of Figures........................................................................................................................................................................................................................................ vii Introduction ............................................................................................................................................................................................................................................... x Description of the project ................................................................................................................................................................................................................... x Value ..................................................................................................................................................................................................................................................... x Goal ...................................................................................................................................................................................................................................................... xi Objectives ............................................................................................................................................................................................................................................. xi Outcomes ............................................................................................................................................................................................................................................. xii Target group ....................................................................................................................................................................................................................................... xii Chapter1: Theoretical Background and Literature Review .................................................................................................................................................................. 1 Performing Arts Background ............................................................................................................................................................................................................... 1 Origin..................................................................................................................................................................................................................................................... 1 Performing Arts Branches: .................................................................................................................................................................................................................. 2 Music ................................................................................................................................................................................................................................................. 2 Theatre ............................................................................................................................................................................................................................................... 2 Dance ................................................................................................................................................................................................................................................. 3 History of performing art in middle east.......................................................................................................................................................................................... 3 Music in Jordan ................................................................................................................................................................................................................................... 4 Dancing in Jordan ................................................................................................................................................................................................................................ 4

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Theatres in Amman ............................................................................................................................................................................................................................. 4 Filmmaking Background ...................................................................................................................................................................................................................... 5 Filmmaking Vs Theatre acting ........................................................................................................................................................................................................... 5 Historical Background .......................................................................................................................................................................................................................... 6 Historical Background in Arab World ............................................................................................................................................................................................... 6 Introduction to motion picture ............................................................................................................................................................................................................ 7 Motion Pictures .................................................................................................................................................................................................................................... 7 Filmmaking Process ............................................................................................................................................................................................................................. 9 Crew member Involved ..................................................................................................................................................................................................................... 10 Needed Facilities ................................................................................................................................................................................................................................ 11 Control Rooms and Considerations .................................................................................................................................................................................................. 11 Consideration ....................................................................................................................................................................................................................................... 12 Lighting ........................................................................................................................................................................................................................................... 12 Ventilation ....................................................................................................................................................................................................................................... 12 Acoustics ......................................................................................................................................................................................................................................... 12 Standards ............................................................................................................................................................................................................................................. 14 Chapter 2: Site Analysis ....................................................................................................................................................................................................................... 19 Site Selection Criteria ........................................................................................................................................................................................................................ 19 Site 1: .................................................................................................................................................................................................................................................. 20 Site 2 ................................................................................................................................................................................................................................................... 21 Site 3 ................................................................................................................................................................................................................................................... 22 Location ............................................................................................................................................................................................................................................... 23 Site connection to cities .................................................................................................................................................................................................................... 24 Approach and Transportation ............................................................................................................................................................................................................ 25 Main Streets and Circles ................................................................................................................................................................................................................... 25 Travel Time Study ............................................................................................................................................................................................................................. 27 Circulation ........................................................................................................................................................................................................................................... 28

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Solid and Void ................................................................................................................................................................................................................................... 29 Landmarks ........................................................................................................................................................................................................................................... 30 Land use.............................................................................................................................................................................................................................................. 31 Topography.......................................................................................................................................................................................................................................... 32 Sections................................................................................................................................................................................................................................................ 33 Contour ................................................................................................................................................................................................................................................ 34 Arial

Views ....................................................................................................................................................................................................................................... 35

Climate

Study –

climatic charts ................................................................................................................................................................................................. 36

Climate

Study –

sun and wind .................................................................................................................................................................................................... 37

Vegetation............................................................................................................................................................................................................................................ 38 Sensory – Noise Study ...................................................................................................................................................................................................................... 38 Sensory – Views

in ......................................................................................................................................................................................................................... 39

Sensory – Views

out ....................................................................................................................................................................................................................... 40

Chapter 3: Precedents Analysis ............................................................................................................................................................................................................ 43 Logan Centre For the Creative and Performing Arts, University Of Chicago ........................................................................................................................... 43 Red Sea Institute of Cinematic Arts “RSICA” .............................................................................................................................................................................. 49 The Marshall Family Performing Arts Centre ................................................................................................................................................................................ 56 Bollywood Museum in Film City .................................................................................................................................................................................................... 60 The Fuzhou Strait culture and art center ........................................................................................................................................................................................ 62 New world Center .............................................................................................................................................................................................................................. 64 Starlight theatre................................................................................................................................................................................................................................... 65 House of art and culture................................................................................................................................................................................................................... 66 Chapter 4: Programmatic Thinking Approach ..................................................................................................................................................................................... 68 Case Studies Programs ...................................................................................................................................................................................................................... 68 The Complex Suggested Program .................................................................................................................................................................................................... 69 Bubble Diagram.................................................................................................................................................................................................................................. 72 Chapter5: Conceptual Approach and Design ....................................................................................................................................................................................... 75

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Concept Application ........................................................................................................................................................................................................................... 75 Architectural Reflection...................................................................................................................................................................................................................... 75 Functional Reflection ......................................................................................................................................................................................................................... 77 Flow and Immersion Theory ............................................................................................................................................................................................................ 77 Form Development ............................................................................................................................................................................................................................. 79 Chapter 6: Final design ......................................................................................................................................................................................................................... 81 Site Plan .............................................................................................................................................................................................................................................. 81 Plans .................................................................................................................................................................................................................................................... 82 Sections ............................................................................................................................................................................................................................................... 83 Elevations ............................................................................................................................................................................................................................................ 84 visitorâ&#x20AC;&#x2122;s scenario .................................................................................................................................................................................................................................. 86 Structure Analysis............................................................................................................................................................................................................................... 87 Chapter 7: 3 dimensional illustrations and perspectives .................................................................................................................................................................... 89 Exterior Shots ..................................................................................................................................................................................................................................... 89 Activities.............................................................................................................................................................................................................................................. 94 Interior shots ........................................................................................................................................................................................................................................ 96 References ........................................................................................................................................................................................................................................... 98

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List of Tables Table Table Table Table Table Table Table Table Table

number Page 1 Filmmaking needed facilities. .......................................................................................................................................................11 2 Site selection criteria table ...........................................................................................................................................................20 3 Site selection criteria for the first Proposed site ......................................................................................................................20 4 Site selection criteria for site3 ....................................................................................................................................................22 5 Case studies programs ..................................................................................................................................................................68 6 Reception and administration program and bubble diagram ....................................................................................................69 7 Performing section and public department program and bubble diagrams ............................................................................70 8 Filmmaking and services program and bubble diagrams .........................................................................................................71

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List of Figures

Figure subject Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

Page

1 Project’s objectives with description of each. ........................................................................................................................................................... xi 2 Youth percentage.................................................................................................................................................................................................................... xii 3 users divisions ....................................................................................................................................................................................................................... xiii 4 Performing arts major and minor branches. ............................................................................................................................................................... 2 5 Puppetry as a form of performing arts. .................................................................................................................................................................... 3 6 Dabkeh: Jordanian traditional way of dancing. ............................................................................................................................................................ 4 7 The list of theatres that are ......................................................................................................................................................................................... 4 8 Time line of historical development of motion pictures. ...................................................................................................................................... 8 9 Filmmaking process ............................................................................................................................................................................................................... 9 10 Users of the filmmaking process. .............................................................................................................................................................................. 10 11 Acoustical goals ................................................................................................................................................................................................................. 13 12 General standards ................................................................................................................................................................................................................. 14 13 Performing and cinema theatres standards, ....................................................................................................................................................................... 15 14 Shooting studios dimensions and functional requirements. ............................................................................................................................................. 15 15 Visual and acoustical standards and angles. ................................................................................................................................................................... 16 16 Secondary spaces standards................................................................................................................................................................................................. 16 17 Theatre study and analysis, visual and acoustical aspects study. ................................................................................................................................ 17 18 Proposed site 1 location ................................................................................................................................................................................................ 20 19 Site 2 location ...................................................................................................................................................................................................................... 21 20 Site 3 location .................................................................................................................................................................................................................. 22 21 Location of the chosen site ........................................................................................................................................................................................ 23 22 Site connection to other cities with ............................................................................................................................................................................ 24 23 Transportation system ........................................................................................................................................................................................................ 25 24 Streets and circles connection to the site, specifying each street location and width ............................................................................ 26 25 Time travel needed from different regions of Amman showing the street should be taken ........................................................... 27 26 Vehicle’s and pedestrians’ circulation around the site ........................................................................................................................................ 28 27 Solid and void ..................................................................................................................................................................................................................... 29 28 Landmarks and their expected influence to the project. ................................................................................................................................... 30 29 Land uses around the site ............................................................................................................................................................................................ 31 30 Topography of region surrounding site ..................................................................................................................................................................... 32 31 Region sections showing the surrounding of residential and commercial- business zones ....................................................................... 33 32 Contour of the site showing dimensions of the site in addition to section in the site. ........................................................................ 34

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Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

33 Arial views of the site from macro to micro scale. ....................................................................................................................................... 35 34 Climate charts of the area .................................................................................................................................................................................................. 36 35 Climate study ( sun and wind ) of the site in different times of the year. ............................................................................................. 37 36 Noise study of the site ............................................................................................................................................................................................... 38 37 Vegetation study of the site ....................................................................................................................................................................................... 38 38 views out .............................................................................................................................................................................................................................. 39 39 views in ................................................................................................................................................................................................................................ 40 40 swot analysis ........................................................................................................................................................................................................................ 41 41 Logan Center ........................................................................................................................................................................................................................ 43 42 Logan Center Analysis Site plan and basement analysis ................................................................................................................................................ 44 43 Logan Center Ground and first plan analysis .................................................................................................................................................................. 45 44 Logan Center Upper Levels analysis ................................................................................................................................................................................. 46 45 Section analysis .................................................................................................................................................................................................................... 47 46 Logan center elevations analysis (solid and void). .......................................................................................................................................................... 48 47 Rsd sea institute dynamic motion ...................................................................................................................................................................................... 50 48 Exchange domain ................................................................................................................................................................................................................. 50 49 Layering in the institute...................................................................................................................................................................................................... 51 50: Light and shadows study ................................................................................................................................................................................................... 51 51 Basement floor plan analysis .............................................................................................................................................................................................. 52 52 Ground floor analysis .......................................................................................................................................................................................................... 53 53 Section analysis .................................................................................................................................................................................................................... 54 54 Second floor analysis .......................................................................................................................................................................................................... 54 55 First floor function analysis................................................................................................................................................................................................ 54 56 Elevations with screens ....................................................................................................................................................................................................... 55 57 Elevations analysis ............................................................................................................................................................................................................... 55 58 Marshal family center .......................................................................................................................................................................................................... 56 59 Marshal center massing ....................................................................................................................................................................................................... 56 60 Lobby .................................................................................................................................................................................................................................... 56 61 ground floor analysis ........................................................................................................................................................................................................... 57 62 second floor analysis ........................................................................................................................................................................................................... 58 63 Site plan, elevations and section analysis ......................................................................................................................................................................... 59 64 Bollywood Museum Analysis ............................................................................................................................................................................................. 60 65 Bollywood Museum analysis, plans zoning, and interior shots. ..................................................................................................................................... 61 66 The Fuzhou Strait culture and art center analysis: Plans and elevation study. ........................................................................................................... 62 67 Materials and elevations details analysis ........................................................................................................................................................................... 63 68 New World center auditorium and park cinema. ............................................................................................................................................................. 64 69 Starlight theatre analysis ..................................................................................................................................................................................................... 65 70 House of art and culture analysis...................................................................................................................................................................................... 66 71 Areasâ&#x20AC;&#x2122; percentages of the main project sections.............................................................................................................................................................. 69

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Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure Figure

72 Bubble Diagram of the complex and their relationships ................................................................................................................................................. 72 73 Zoning .................................................................................................................................................................................................................................... 73 74 Units quantity representation................................................................................................................................................................................................ 76 75 Basic steps of reaching immersion.. ................................................................................................................................................................................... 77 76 Basic elements of successful flow. ..................................................................................................................................................................................... 78 77 Functions sequence in the complex .................................................................................................................................................................................... 78 78 Form development................................................................................................................................................................................................................. 79 79 Site plan.................................................................................................................................................................................................................................. 81 80 Plans ....................................................................................................................................................................................................................................... 82 81 Sections .................................................................................................................................................................................................................................. 83 82 East- frontal elevation .......................................................................................................................................................................................................... 84 83 West elevation ....................................................................................................................................................................................................................... 84 84 North elevation ...................................................................................................................................................................................................................... 85 85 South elevation ...................................................................................................................................................................................................................... 85 87 Visitor's scenario .................................................................................................................................................................................................................... 86 88 Structure analysis ................................................................................................................................................................................................................... 87 89 Exterior shot 1 ........................................................................................................................................................................................................................ 89 90 Shot 2 ..................................................................................................................................................................................................................................... 90 91 Night shot .............................................................................................................................................................................................................................. 91 92 Exterior shots ........................................................................................................................................................................................................................ 92 93 Exterior shots ......................................................................................................................................................................................................................... 93 94 Outdoor activities: outdoor cinema- amphitheater, drive in and cinematic kiosks ............................................................................................................. 94 95 Out door functions : outdoor theatre and outdoor shooting. ............................................................................................................................................... 95 96 Interior shots of theatre and shooting studio. ................................................................................................................................................................... 96 97 Interior shots of make up room, interactive VR spaces, central digital gallery and gallery-halls circulation areas. ................................................... 97

Introduction

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Introduction Arts and media play significant roll influencing the image of the country and its one of the most vital methods for defining society and their cultures, in addition to its economic importance. Jordanian culture and awareness of arts in its general meaning is evolving and people are showing more appreciation of art and media than before, the new generation is passionate about this field and have countless talents related to art and filmmaking fields, however, due to not having enough support and facilities to embrace them, most of these talents are wasted and ignored. Art and media facilities in Jordan are shattered and mostly are a part of programs, which makes talents unrecognizable and less appreciated by community. People tend to think of art as a side hobby or work. This center is the first to combine performing arts and filmmaking concentrating on art and culture of Jordan.

Description of the project The project is a platform that embraces performing arts and filmmaking and empowers the Jordanian talents to be a part of it, making it the first project in Jordan that makes it possible to enjoy all forms of arts human expressionism based in every way possible in one place, in one experience. In addition to multidisciplinary workshops, opportunities and jobs, with all required support and appreciation, the project is the hope we achieve a significant place in world’s development in arts and accomplish a vital role in filmmaking industry.

Value  Introduce informative entertainment destination where all the family can enjoy performances and films yet enhance their artistic and culture knowledge.  Change the generalized impression of society about art and film industry and start to orient our talents to make a footprint in these fields.  Surely, we have some shattered companies that facilitate performing arts and media, nonetheless, we are in the urge for a complex with a monstrous footprint effect in the world’s art and culture.

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 To provide all the facilities that will be necessary from pre-production stage up to the release of the movie so that film makers will not go through any kind of problems during the process of filmmaking.  Transform talents from a side job or hobby into a passionate career.

Goal Provide the planned city Amman a traditional outlook. This complex goal is to make people aware about the Jordanian tradition and culture and conserve it to educate the up-coming generation using human expressionism in art. It will also help promote tourism of Amman as a spot o filmmaking, performances, and concerts, hoping for a significant footprint in art and media fields.

Objectives There are six objectives of the Project aiming to achieve the long term goal.(figure1)

Introduction

FIGURE 1 PROJECT ’S

OBJECTIVES

WITH

DESCRIPTION

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EACH .

Introduction

PERFORMING ART AND FILMMAKING COMPLEX

Outcomes  Embracing the art and culture of Jordan by introducing the first wide platform off performing arts branches.  Significant Jordanian influence on the world’s filmmaking industry.  Economic development by job opportunities and local society and tourism.  Architectural iconic building that represent the definition art and culture of Amman.

Target group The Jordanian population is characterized by its relatively high youth population. In 2008, an estimation 37% of the population was under the age of 15 and 58% under the age of 25 (figure 2). The complex goal to target all sections of society, targeting the youth to be a part of the complex working community, and the family as audience and visitors. Interactive experience for visitors with the performances and workshops for more rememberable experience. Tourist are a significant target as well, festivals and concerts and exhibit Jordanian culture and arts. FIGURE 2YOUTH

PERCENTAGE

Youth percentage to the whole population: under the age of 15 to the population and under the age of 25 to the population.

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Users divisions  Performers: are professionals in art performing field, who could be either a former student in the center or an outside member. In addition to performing they contribute in supervising workshops hand in hand with art companies.  Filmmakers: professionals in the field of film industry process in its any part either in the production stages or crew.  Visitors: are divided into visitors who want to enjoy and appreciate the performances and films, and occasional visitor for symposiums, concerts, festivals and any other art or culture occasion.  Students: who are interested in learning any of art forms (visual or performing) or filmmaking process and want to be a part of it. this is obtained by workshops and courses. The project is not an institute more than a magnet for talents to gather them and embrace them in the complex(figure3). Performers

filmmakers

users divisions

students

visitors

FIGURE 3

USERS DIVISIONS

Users divisions that are expected to be a part of the project

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Chapter1: Theoretical Background and Literature Review Performing Arts Background Performance art is a performance presented to an audience, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated, spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media, the performer can be present or absent. It can be in any situation that involves four basic elements: time, space, the performer’s body, or presence in medium, and a relationship between performer and audience. Performance art can happen anywhere, in any venue or setting and for any length of time Difference between plastic and performing art: The performing arts are those forms of art which differs from the plastic arts as the former uses the artist’s own body, face, and presence as a medium, and the latter uses materials such as clay, metal, or paint which can be molded or transformed to create some physical art objects.

Origin • • • • •

Started in Asia and Latin America referring for tribal to sporting and ritual or religious events. Western cultural theorists often trace performance art activity back to the beginning of the 20th century as poetry. Performance art was anticipated, if not explicitly formulated, by Japan's Gutai group of the 1950s. aprow had coined the term Happening describing a new artform, at the beginning of the 1960s. A Happening allows the artist to experiment with body motion, recorded sounds, written and spoken texts, and even smells. In the 1960s a variety of new works, concepts and the increasing number of artists led to new kinds of performance art. Prototypic for the art form later explicitly labelled "performance art “.

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Performing Arts Branches: There are many branches that are considered under performing arts umbrella, they are divided into major forms: Opera, Circus, dance and theatre And minor forms: puppetry and magic (figure4).

Music An art form which medium is sound and silence. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts; tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The creation, performance, significance, and even the definition of music varies according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Within "the arts", music may be classified as a performing art, a fine art, and

FIGURE 4 PERFORMING BRANCHES .

ARTS

MAJOR

AND

MINOR

auditory art.

Theatre Theatre is the branch of the performing arts concerned with acting out stories in front of an audience using combinations of speech, gesture, music, dance, sound and spectacleâ&#x20AC;&#x201D;indeed any one or more elements of the other performing arts. In addition

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to the standard narrative dialogue style of plays, theatre takes such forms as plays, musicals, opera, ballet, illusion, mime, improvisational theatre, stand-up comedy, pantomime, and non-conventional or art house theatre. Theatre is a way of expressing human feelings and reflection of its inside in addition to cultural value, that indeed enhanced by interactive with audience so they can be a part of the show.

Dance Dance generally refers to human movement either used as a form of expression or presented in a social, spiritual or performance setting. Dance is also used to describe methods of non-verbal communication (see body language) between humans, Choreography is the art of making dances, and the person who does this is called a choreographer. Definitions of what constitutes dance are dependent on social, cultural, aesthetic artistic and moral constraints and range from functional movement (such as folk dance) to codified, virtuoso techniques such as ballet.

History of performing art in middle east The earliest recorded theatrical event dates to 2000 BC with the passion plays of Ancient Egypt. This story of the god Osiris was performed annually at festivals throughout the civilization, marking the known beginning of a long relationship between theatre and religion. The most popular forms of theatre in the medieval Islamic world were puppet theatre (which included hand puppets(figure5), shadow plays and marionette productions) and live passion plays known as ta'ziya, where actors re-enact episodes from Muslim history.

FIGURE 5 PUPPETRY PERFORMING ARTS .

FORM

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Music in Jordan The traditional music of Jordan has a long history. Rural zajal songs, with improvised poetry played with a Mijwiz, Tableh, Arghul, Oud, rabab and reed pipe ensemble accompanying is popular. Recently Jordan has seen the rise of several prominent Ojs and pop stars. In Amman there has been a movement of alternative music in the last two decades, other genres of art started immerging during to the influence the new generation had from the western culture, an increasing number of bands has gained popularity by playing new forms of non-traditional music such as Rock, indie Rock, metal pop, old school,..etc..

Dancing in Jordan Dancing has always been an important indication in expressing the national identity of countries, this is well represented in Jordan in a form of common traditional dance called Dabkeh. (figure 6) Since new forms of international contemporary form of dance were also introduced to the Jordanian art culture, which opened doors freely for many dance studios to teach other forms of dance such as Salsa, ballet,etc. FIGURE 6 DABKEH : JORDANIAN TRADITIONAL

Theatres in Amman

The palace of culture

Al Balad Theatre

Performing art center

Amount theatre

Osama Al Mashini theatre

The royal cultural center

Al Hussein cultural center

Roman amphitheatre

FIGURE 7 T HE IN

LIST

WAY

DANCING .

THEATRES

THAT

ARE

AMMAN.

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Filmmaking Background Filmmaking (or, in an academic context, film production) is the process of making a film, generally in the sense of films intended for extensive theatrical exhibition. Filmmaking involves several discrete stages including an initial story, idea, or commission, through screenwriting, casting, shooting, sound recording and pre-production, editing, and screening the finished product before an audience that may result in a film release and exhibition. Filmmaking takes place in many places around the world in a range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Typically, it involves many people, and can take from a few months to several years to complete.

Filmmaking Vs Theatre acting Unlike the theatre actor, who gets to develop a character during a two- or three-hour performance, the film actor lacks continuity, forcing him or her to come to all the scenes (often shot in reverse order in which they'll ultimately appear) with a character already fully developed. The stage is more friendly to the unattractive, the overweight, and the flawed, while filmâ&#x20AC;&#x201D;despite the advantages of makeup, lighting, soft focus, etc.â&#x20AC;&#x201D;is relentlessly cruel to any sign of imperfection in the actor or actress. The performance of emotion is the most difficult aspect of film acting to master: While the theatre actor can use exaggerated gestures and exclamations to express emotion, the film actor must rely on subtle facial tics, quivers, and tiny lifts of the eyebrow to create a believable character.

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Historical Background Ever since the first movie made in 1887 the need of film making facilities under single roof was felt so that it would be easy for the film makers to make films. In 1893 in West Orange, New Jersey Thomas Edison build first movie studio called “Black Maria”. Till early 1900s movies were shot outdoor in sunlight although there were facilities for electric bulbs. The reason behind this was inappropriate and inadequate lighting of these electric bulbs. Till this date indoor shooting was not preferred for film making. It was only in 1920s, some good production companies like 20th Century Fox, RKO pictures etc were established and started their own studio, distribution division, theatres and contracted with performers and other film making personnel. Since then the film studio started growing technologically and in facilities too.

Historical Background in Arab World In its inception, Arab cinema was mostly an imitation of Western Cinema. However; it has and continues to constantly change and evolve. Arabic cinema is dominated by films from Egypt Three quarters of all Arab movies are produced in Egypt. According to Chapter1: Theoretical BackgroundRoy and Literature Review film critic and historian Arms, the Cinema of Lebanon is the only other cinema in the Arabic-speaking region, beside Egypt's, that could amount to a national cinema. today, most of the film production in countries like Bahrain, Libya, Saudi Arabia, Sudan, and the United Arab Emirates is limited to television or short films the Arab cinema did not flourish before the national independence of each of them, and even after, the films production of the Arab cinema was restricted to short-length films. For example, Egypt scored more than 2,500 feature films. During the 1950s and 1960s Lebanon produced 180 feature films. Two full-length Kuwaiti films were produced at the end of 1970s, and a full-length Bahraini film was produced in the 1989.Syria produced around 150 films, Tunisia approximately 130, 100 films produced from each of Algeria and Iraq, Morocco almost 70, and Jordan’s productions were less than 12

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Introduction to motion picture ▪ ▪ ▪ ▪

A film studio consists of all the equipment and facilities required for pre-production, production and post productions plus a primer theatre. Animation techniques such as green screen technology and development of sound system had given the touch of reality. In film studio we can find all the facilities required including office spaces, residence facilities for actors and other technicians. Here in film studio one can shoot a movie in a very fast pace as one can construct different indoor and outdoor scenes quickly by using the workshop facilities available here. Workshop facilities consist of wood and metal workshop, painting workshop and plastering workshop. Mostly these workshops are used for the construction of indoor sets.

Motion Pictures Motion picture is a series of still pictures which, when shown on screen, creates the illusion of moving image. The credit of origination of motion picture can be given to the early plays and dances. They used to have elements common to motion pictures like scripts, sets, costumes, direction, actors, audiences, storyboard and scores. Despite this due to the lack of technology, plays and dances could not be recorded for future. During mid-19th century invention of devices like pinakistoscope and zoetrope showed that a carefully designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects moving if Chapter1: Theoretical Background and Literature Review they were displayed one after the other at a sufficiently rapid rate. Limitation of these devices were that, they could show limited number of drawings usually twelve, so it could only show endlessly repeating cyclical motions. The earliest films were simply one static shot that showed an event or action with no editing or other cinematic techniques. Around 20th century, films started stringing several scenes together to tell a story.

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The scenes were later broken up into multiple shots photographed from different distances and angles. Other techniques such as camera movement were developed as effective ways to tell a story with film

Till this time sounds in motion pictures could not be heard and were purely visual arts. It was only in late 1920s, sound recording technologies were invented for motion pictures and incorporation of dialogue and sound effects became possible. Although the combination of sound and picture became possible motion pictures were not considered to gain its full height because motion pictures could only be viewed in black and white. The introduction of natural colour in the field of motion picture brought revolution. Audiences could now see motion pictures in the colour that they can see around them. (figure8) show the timeline of motion pictures.

FIGURE 8 TIME MOTION

LINE PICTURES .

HISTORICAL

DEVELOPMENT

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Filmmaking Process Film making is the process of making a film. Filmmaking involves several discrete stages including an initial story, idea, or commission, through scriptwriting, casting, shooting, editing, and screening the finished product before an audience that may result in a film release and exhibition. Filmmaking takes place in many places around the world in a range of economic, social, and political contexts, and using a variety of technologies and cinematic techniques. Typically, it involves many people, and can take from a few months to several years to complete. Making of movie consists of complex processes with different individuals or departments working. All these individuals and department works together under a film director and is also known captain of ship. ll the processes are divided into three steps according to their execution i.e.(figure9)     

Development Pre-production Production Post-production Distribution

Development: The first stage in which the ideas for the film are created, rights to books/plays are bought etc., and the screenplay is written. Financing for the project has to be sought and obtained.

Pre-production: Arrangements and preparations are made for the shoot, such as hiring cast and film crew, selecting locations and constructing sets.

Production: The raw footage and other elements for the film are recorded during the film shoot.

Post-production: The images, sound, and visual effects of the recorded film are edited and combined into a finished product.

Distribution: The completed film is distributed, marketed, and screened in cinemas and/or released to home video.

FIGURE 9 FILMMAKING development, and

PROCESS

pre-production,

production,

post-production

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Crew member Involved Hiring of crew members entirely depends upon the budget of the movie. If the budget of the film is low, then crew members are hired on the individual basis as per necessity and if the film is of big budget then department heads are hired, and they hire rest of the crew members as per the necessity of film.(figure 10) shows the whole crew. Key department heads are:  Director of photography  Production manager  Assistant director  Production designer

F IGURE 10 USERS

THE

FILMMAKING

PROCESS .

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Needed Facilities

Pre-production facilities

Production facilities

Offices spaces:

Workshops

Management

Dressing room

Finance

Animation studio

Sale

Equipment rental

General

services

Photography

Other • • •

facilities: Screening room Restaurant Post room

Postproduction studio

Backlot

Technical services

Sound stage

Production

Post-production facilities

T ABLE 1: FILMMAKING

Post-production studio

NEEDED

Film

development

lab

FACILITIES .

Control Rooms and Considerations Each studio is provided with four control room for vision, sound, lighting and camera controls. An apparatus room is also provided. Vision, sound and lighting control rooms are arranged in a suite and must have good visual link through observation windows to the studios. Camera control and apparatus roan does not require arty visual connection to the studio and can only be located near the control roans to avoid long runs of intercom circuit links.

Other rooms: Make up rooms, changing roans and property stores must be provided close to the studio. The provision for audience may require public access, toilet facilities, cloak rooms, foyers and even associated bars and restaurants

THE SCENOGRAPHIUM

Chapter1: Theoretical Background and Literature Review

PERFORMING ART AND FILMMAKING COMPLEX

Consideration Lighting Lighting in a television studio influences the viewers interpretation of size, shape, distance, texture and even pictorial environment o f the overall picture. A lighting gallery, a system of catwalks or even a gridded floor over the whole studio should be designed to give access for adjustment of the different types of Luminant's used in the studio lighting.

Ventilation The powerful lighting system used in the television studios dissipate a lot of heat to the studio. This heat output must be reduced by effective artificial ventilation system. It therefore becomes essential to use chilled air supply air - conditioning system to lower down the temperatures to comfortable levels.

Acoustics It is very important to have acoustic consideration in recording studio for better quality of sound. For acoustic treatment and consideration various acoustic properties and treatment materials should be known.

THE SCENOGRAPHIUM

Chapter1: Theoretical Background and Literature Review

Following materials can be used to keep away the air borne noise in the space so that the quality of sound inside the studio improves •

Acoustic plaster

•

Composite or assembled unit

•

Prefabricated boards and tiles

•

Vibration isolation

PERFORMING ART AND FILMMAKING COMPLEX

To prevent standing waves and acoustic interference from affecting the frequency response of recording studios and listening rooms.

To reduce reverberation time in large studios and auditorium

To absorb or diffuse sound in the room to avoid ringing and flutter echoes

(figure 11) shows acoustical aims that are needed To be achieved. To keep room.

sound from leaking into or out of a

FIGURE 11 ACOUSTICAL

GOALS

that are needed to be achieved for a comfortable environment.

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Chapter1: Theoretical Background and Literature Review

PERFORMING ART AND FILMMAKING COMPLEX

Standards

FIGURE 12 GENERAL

STANDARDS

Standards needed in designing theatres and cinemas, shapes, seating dimensions, cinema requirements THE SCENOGRAPHIUM

Chapter1: Theoretical Background and Literature Review

FIGURE 13 PERFORMING

FIGURE 14 S HOOTING

PERFORMING ART AND FILMMAKING COMPLEX

AND CINEMA THEATRES STANDARDS ,

STUDIOS DIMENSIONS AND FUNCTIONAL REQUIREMENTS .

THE SCENOGRAPHIUM

Chapter1: Theoretical Background and Literature Review

PERFORMING ART AND FILMMAKING COMPLEX

FIGURE 15 VISUAL

AND ACOUSTICAL STANDARDS AND ANGLES .

FIGURE 16 SECONDARY

SPACES STANDARDS

dressing rooms, rehearsal rooms and projection rooms

THE SCENOGRAPHIUM

Chapter1: Theoretical Background and Literature Review

FIGURE 17 T HEATRE

PERFORMING ART AND FILMMAKING COMPLEX

STUDY AND ANALYSIS , VISUAL AND ACOUSTICAL ASPECTS STUDY.

THE SCENOGRAPHIUM

PERFORMING ART AND FILMMAKING COMPLEX

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Chapter 2: Site Analysis Site size

Criteria

Most important criteria

Area m2

weight

Site Selection Criteria Selection criteria was chosen according project needs and requirements. The sections were divided into: most criteria and desirable criteria. The criteria is

most

the

Location relative to service area User access

important

Good site shape

To the relation of surroundings potentials for development. (table2) shows the chosen the three proposal sites.

Absence pollution

and

site Economic development

criteria to evaluate

Proximity to other community facilities image Desirable criteria

Ease of orientation Existing facilities capable of use Topography Compatibility with present and future land uses views

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Table 2 Site selection criteria table

Site 1: The site is

located

airport

st. ,

this

site

Was chosen because of its location in a potential spot for economical and development investment, in addition to being close to Petra University and school which gathers the potential ages that would work the complex up.

Site size

Criteria

Most important criteria

Area m2

weight

Location relative to service area User access Good site shape Absence pollution Economic development Proximity to other community facilities image

Desirable criteria

Ease of orientation Existing facilities capable of use Topography Compatibility with present and future land uses views

Amman

Airport st

Al Bunayyat

High

T ABLE 3 S ITE SELECTION CRITERIA FOR THE FIRST P ROPOSED SITE

Medium Low High Medium Low

F IGURE 18 P ROPOSED SITE 1 LOCATION

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Site 2:

Site size

Criteria

Most important criteria

Area m2 Location relative to service area User access

The second site suggested is located at Huriyyah street and Abdoun corridor, making this site is the merging point between the west and east of Amman. This area doesnâ&#x20AC;&#x2122;t have weakens this site.

weight

Good site shape Absence pollution Economic development

development projects which

Proximity to other community facilities image Desirable criteria

Ease of orientation Existing facilities capable of use Topography Compatibility with present and future land uses views

T ABLE 4 SITE 2 Amman

Corridor abdoun

Hurriyah St.

SELECTION CRITERIA

High Medium Low High Medium Low

FIGURE 19 SITE 2

LOCATION

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX S ITE SIZE

C RITERIA

M OST

A REA M2

IMPORTANT

Site 3:

CRITERIA

WEIGHT

L OCATION RELATIVE TO SERVICE AREA

This site is located in al Madina al Tabiyyah district, sqweezed between it and al Hussein business park district.

U SER ACCESS

Further surroundings are al Hussein park.

A BSENCE POLLUTION

G OOD SITE SHAPE

E CONOMIC DEVELOPMENT

This location In addition to high accessibility is a great

P ROXIMITY TO OTHER

Potential for future development in such variety of facilities that enhance the chance of projects’ success

COMMUNITY FACILITIES IMAGE

D ESIRABLE

This site was the chosen one due to meeting the criteria

CRITERIA

E ASE OF ORIENTATION E XISTING FACILITIES CAPABLE OF USE

Sections.

T OPOGRAPHY C OMPATIBILITY WITH PRESENT AND FUTURE LAND USES

Site 3: `

This site is located in al Madina al Tabiyyah district, Hay Al Madinah Amman Wadi Al sqweezed between it and al Hussein business park district. Seir Further surroundings are al Hussein park.

VIEWS

Al Tibbeyah

TABLE 5S ITE SELECTION CRITERIA FOR SITE3

High

This location In addition to high accessibility is a great

Medium

Potential for future development in such variety of facilities that enhance the chance of projects’ success

High Low Medium Low

This site was the chosen one due to meeting the criteria Sections.

F IGURE 20 S ITE 3 LOCATION THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Location

FIGURE 21 L OCATION

THE

CHOSEN

SITE

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Site connection to cities The site has a mediator location between other cities Having an average distance between major arterial Roads.(figure 15) The site is located on the edge between Wadi al Seir And Sweileh - between al Salt and Amman, the most populated cities of Amman.

FIGURE 22 SITE DISTANCE

CONNECTION

OTHER

CITIES WITH

IN KILOMETERS .

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Approach and Transportation

FIGURE 23 T RANSPORTATION AROUND

THE

SYSTEM

SITE .

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Main Streets and Circles

FIGURE 24 STREETS

AND

CIRCLES

CONNECTION

TO THE

SITE ,

SPECIFYING

EACH

STREET LOCATION

AND

WIDTH

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Travel Time Study Time travel is estimated from different destinations of Amman, west Amman (Abdoun), East Amman(Yajouz), South Amman ( al Yassmein), and al Dakhleyyeh Circle. (figure18).

FIGURE 25 TIME BE

TRAVEL

NEEDED

FROM

DIFFERENT

REGIONS

AMMAN

SHOWING

THE

STREET

SHOULD

TAKEN

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Circulation From King Abdullah Street through The business park The site is accessed through Four different streets.

The site is reached by Walking through sub streets but this Needs to be included in the Design.(figure19)

FIGURE 26 VEHICLE’S

AND

PEDESTRIANS ’

CIRCULATION

AROUND

THE

SITE

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Solid and Void

(Figure 20)

FIGURE 27 S OLID

AND VOID

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Landmarks

FIGURE 28 L ANDMARKS

AND

THEIR

EXPECTED

INFLUENCE

THE

PROJECT .

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Land use The site is not legally has specific land use (others), which makes take the closest land use. The site neighboring are residentials and commercials. (figure22)

FIGURE 29 L AND

USES

AROUND

THE

SITE

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Topography

FIGURE 30 T OPOGRAPHY

REGION

SURROUNDING

SITE

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Sections Sections Figure(24) Figure(24)

FIGURE 31 REGION BUSINESS

SECTIONS

SHOWING

THE

SURROUNDING

RESIDENTIAL

AND

COMMERCIAL -

ZONES

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Contour Contour

FIGURE 32 CONTOUR IN ADDITION

OF THE SITE SHOWING SECTION IN THE SITE .

DIMENSIONS OF

THE

SITE

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Arial Views Arial Views

FIGURE 33 ARIAL MACRO

VIEWS OF MICRO SCALE .

THE

SITE

FROM

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Climate Study – climatic charts Climate Study – climatic charts

FIGURE 34 CLIMATE

CHARTS OF THE AREA

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Climate Study â&#x20AC;&#x201C; sun and wind

FIGURE 35 CLIMATE

STUDY

(

SUN

AND WIND

)

THE

SITE

IN DIFFERENT

TIMES

THE

YEAR.

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Vegetation

FIGURE 37 VEGETATION

STUDY

SITE

Sensory â&#x20AC;&#x201C; Noise Study

FIGURE 36 NOISE OF

THE

STUDY

SITE

THE SCENOGRAPHIUM

THE

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Sensory â&#x20AC;&#x201C; Views in

FIGURE 38

VIEWS OUT

Views out-in the site studying the visibility of the site by different means of reaching the site, with suggestions accordingly.

THE SCENOGRAPHIUM

Chapter2: Site Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Sensory â&#x20AC;&#x201C; Views out

FIGURE 39

VIEWS IN

Views from the site (in-out) evaluating the resultant views and suggesting zones accordingly.

THE SCENOGRAPHIUM

Chapter2: Site Analysis

FIGURE 40

PERFORMING ART AND FILMMAKING COMPLEX

SWOT ANALYSIS

THE SCENOGRAPHIUM

PERFORMING ART AND FILMMAKING COMPLEX

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Chapter 3: Precedents Analysis Logan Centre For the Creative and Performing Arts, University Of Chicago F IGURE 41 L OGAN CENTER

Project outline: Architect: Riva and Divid – competition winner project Year : 2006 Location: Chicago

Case study objectives: • • •

Better understanding of functions of both film production, arts, and performances spaces and all their needed facilities , which is the vision of our project. Both staff and public circulation is well studied and organized. The project is one of the fewest projects that gather these forms of art in one place in this highly connected way

Public Spaces Public spaces are accessible to anyone during public hours. Café Logan offers an eclectic menu, coffee from local roasters Counterculture, and wine and craft beer Logan Centre Exhibitions presents contemporary art programming at the Logan Centre Gallery and throughout the building Our courtyard, third-floor outdoor mezzanine, and two elevated lounges are comfortable spaces for studying and socializing Exhibition, performance, and screening spaces hold programs throughout the year. Most are open to the public, and many are free.

Students facilities Reserve our facilities and spaces for events and performances. The Logan Media Centre provides audio-visual equipment, software, and training for faculty, students, and staff.

THE SCENOGRAPHIUM

Chapter3: Precedents analysis

FIGURE 42 L OGAN CENTER A NALYSIS SITE

PERFORMING ART AND FILMMAKING COMPLEX

PLAN AND BASEMENT ANALYSIS

Logan Center - functions and public-private analysis and explanation of the functions and entrances.

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

FIGURE 43 L OGAN CENTER G ROUND

PERFORMING ART AND FILMMAKING COMPLEX

AND FIRST PLAN ANALYSIS

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

simplifications of form and material changes that happened as the design progressed. But our concept throughout was to create a tower of the arts with different disciplines of the visual and performing arts in a vertical building connected by stairs that were beautiful, varied, and fun to use

Penthouse, a tall space for performances and rehearsals with an amazing view over the city

FIGURE 44 L OGAN CENTER U PPER LEVELS

ANALYSIS

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Section Analysis

FIGURE 45 SECTION

ANALYSIS

showing function instead with photos of those functions

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Elevations and Materials We have envisioned a 12-story towers connected to a horizontal building housing three professionally-equipped theatres and arts studios under saw-toothed skylights. In terms of materials, while steel is perhaps best known in the region, we chose concrete and masonry because it too has a history in the region and the campus. Limestone was used in dimensions that gives sense of horizontality in neo-gothic style.(figure38) Windows are placed based on internal use and logic rather than from the idea or images relayed to the exterior. The building verticality gives an impression of different function than the spirit of performing arts and film production. And chosen way of designing the void is formal.

FIGURE 46 L OGAN

CENTER ELEVATIONS ANALYSIS

(SOLID

AND VOID ).

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Red Sea Institute of Cinematic Arts â&#x20AC;&#x153;RSICAâ&#x20AC;? Project Outlines: ARCHITECT: Symbiosis Designs Completed: 2008 Land Area: 20,200 Sq.M Built-up Area: 30,000 Sq.M Location: The red Sea.

Case study objectives: Functional approach: the spatial organization shows a clear sequence of filmmaking procedures. Mechanical needs: The light has been studied and used as a main element which vital in photography and shooting spaces. Community involvement: the encourage the community to join their products and be a part of the project.

Project Aim: It is an architectural and spatial interpretation of the explorative and creative process of film-making and producing, designed specifically to encourage reflection on oneself and observation of the world outside oneself. Sharing the campus with the main RSICA complex is a luxurious boutique concept hotel offering a unique experience about film and film-making with a film museum connecting back to the film school, and state-of-the-art three screen public cinemas on the other side of the campus..

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Landscape: In order to claim most of the property to landscape, many functions were pushed to sub-grade levels, in turn, giving a nonabrasive sculptural disposition of buildings above. The landscape theme is a minimalistic one and where oasis are introduced as sub-grade light wells, rocks from the Rum desert are staged as mystical elements and reflective pools capture sun rays and passing clouds above. The architecture of the school is an explorative and didactic ground-scape environment capturing deduced emulations of the layers that make up film. The building stages different conditions that allow the student to understand a great measure of intangibles through experience.

Dynamic motion The building forms descend into the ground and ascend out and over the ground creating paths and spaces in flux, roaming, and encouraging motion from different unconventional vantage points to allow students to explore spatial paradigm shifts necessary to understanding and planning scenography.(figure 40)

Exchange domain Great films are a by product of collaborative and synergetic team effort. Most circulation spaces and open outdoor ones are articulated to become social and celebratory domains where conversations and exchange of ideas are not only welcomed but enhanced and promoted. (figure39) FIGURE 47 RSD SEA

FIGURE 48 E XCHANGE DOMAIN

INSTITUTE DYNAMIC MOTION

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Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Light and Shadow study Light as a matter Natural light conditions are exploited in the buildings creating ranges between washed out and intense. The lighting is staged to allow students the opportunity to observe the nature of light. Light showers down on many areas and often in intense slices through sculptural skylights(figure41) Shadows as matter Like light, shadows are enhanced as a matter in a variety of form; dark areas percolate both still and moving shadows while other forms cast vivid and textured ones. (figure41).

FIGURE 50: LIGHT

AND SHADOWS STUDY

Layering Like montage in filming, different spaces and building forms were juxtaposed as single layers; however the student can perceive different compositions from different points depending on their position in space. Long visual axes inlayed with a variety of compositional elements are staged as Forced Perspectives offering the students explorative grounds of visual montage.(figure42).

FIGURE 49 L AYERING

IN THE INSTITUTE

LEVELS AND MASSING

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Basement Floor analysis The building facilities that entail preparatory and technical works in the pre-production, production and post-production chronology are laid out in plan in a clear sequence. Not only students, but also visitors, will be able to clearly read the sequence of film making in actual plan, especially where some functions are exposed through transparency to circulation areas.(figure43) Interactive environment: locating semi-public (editing area) with students and public cinema. Flow work stages: the writer needs to keep writing scripts and shooting indoor and outdoor then editing and modifying for final product. Circulation: clear circulation is achieved by glass transparent thin walls, to keep a visual connection between different stages beside physical.

FIGURE 51 B ASEMENT

FLOOR PLAN ANALYSIS

plan functions, bubble diagrams and public-private relations.

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Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Ground floor analysis

The gallery shows the history of filmmaking and materials. The walls are provided with screens show short films.

The integration of sounds: water, wind and breezes, the different users' footsteps are integrated into a dramatic scenario and theme.

FIGURE 52 G ROUND

FLOOR ANALYSIS

Bubble diagram, functions analysis, public-private analysis and interior shots of some main functions.

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

First Floor Analysis

FIGURE 55

FIRST FLOOR FUNCTION ANALYSIS

F IGURE 53SECTION ANALYSIS

FIGURE 54

SECOND FLOOR

ANALYSIS

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Elevations

FIGURE 57 ELEVATIONS

ANALYSIS

Solid and void analysis and massing analysis FIGURE 56 ELEVATIONS

WITH SCREENS

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

The Marshall Family Performing Arts Centre Project Outlines:  Architects: Weiss/ Manfredi  Area: 6038.6 ft2  Year: 2016

 Location: USA Case study objectives:

FIGURE 58 MARSHAL

 It shows clear connection between performing arts sections in spaces and orienting

FAMILY

CENTER

 The centre is directed to al l the family which we aim in our project as targeted users.  The design establishes a dialogue between building and campus: the building’s configuration creates a sequence of spaces that shape an outdoor courtyard and frame views out.

Performing Arts Centre's commitment is to advance teaching, performance , and production across the boundaries of individual performing arts disciplines.(figure54) Designed to be an ascending gallery of collaborative spaces, the lobby connects all the performance venues and creates a destination for informal performances and spontaneous interactions.(figure57)

The exterior brick collaborates chromatically with the materials of the campus.(figure58)

FIGURE 59 MARSHAL

CENTER

MASSING

Relation with the campus

F IGURE 60 L OBBY Interior lobby acts as the point of spreading To other functions

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

FIGURE 61

PERFORMING ART AND FILMMAKING COMPLEX

GROUND FLOOR ANALYSIS

Ground floor functions analysis, public-private analysis and bubble diagram

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

FIGURE 62

PERFORMING ART AND FILMMAKING COMPLEX

SECOND FLOOR ANALYSIS

Second floor analysis: functions. Public-private analysis and bubble diagram

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

FIGURE 63 SITE

PERFORMING ART AND FILMMAKING COMPLEX

PLAN, ELEVATIONS AND SECTION ANALYSIS

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Bollywood Museum in Film City

FIGURE 64 B OLLYWOOD MUSEUM ANALYSIS Concept, model development and final image.

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

FIGURE 65 B OLLYWOOD MUSEUM

PERFORMING ART AND FILMMAKING COMPLEX

ANALYSIS , PLANS ZONING , AND INTERIOR SHOTS .

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

The Fuzhou Strait culture and art center

FIGURE 66 T HE FUZHOU S TRAIT

CULTURE AND ART CENTER ANALYSIS :

PLANS

AND ELEVATION STUDY.

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

FIGURE 67 MATERIALS

PERFORMING ART AND FILMMAKING COMPLEX

AND ELEVATIONS DETAILS ANALYSIS

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

New world Center

FIGURE 68 NEW W ORLD

CENTER AUDITORIUM AND PARK CINEMA .

THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

Starlight theatre

FIGURE 69 STARLIGHT

THEATRE ANALYSIS

section and construction of the moving panels. THE SCENOGRAPHIUM

Chapter3: Precedents Analysis

PERFORMING ART AND FILMMAKING COMPLEX

House of art and culture

FIGURE 70 H OUSE

OF ART AND CULTURE ANALYSIS

concept, model development and main functions included THE SCENOGRAPHIUM

PERFORMING ART AND FILMMAKING COMPLEX

THE SCENOGRAPHIUM

Chapter 4: Pragmatic thinking approach

PERFORMING ART AND FILMMAKING COMPLEX

Chapter 4: Programmatic Thinking Approach Case Studies Programs

T ABLE 6 CASE

STUDIES PROGRAMS

functions name with quantity and net area: Logan center, Red sea institute and Marshal center respectively .

THE SCENOGRAPHIUM

Chapter 4: Pragmatic thinking approach

PERFORMING ART AND FILMMAKING COMPLEX

The Complex Suggested Program

F IGURE 71 AREAS â&#x20AC;&#x2122;

PERCENTAGES OF THE MAIN PROJECT SECTIONS

T ABLE 7 RECEPTION

AND ADMINISTRATION PROGRAM AND BUBBLE DIAGRAM

THE SCENOGRAPHIUM

Chapter 4: Pragmatic thinking approach

T ABLE 8 PERFORMING

PERFORMING ART AND FILMMAKING COMPLEX

SECTION AND PUBLIC DEPARTMENT PROGRAM AND BUBBLE DIAGRAMS

THE SCENOGRAPHIUM

Chapter 4: Pragmatic thinking approach

T ABLE 9 FILMMAKING

PERFORMING ART AND FILMMAKING COMPLEX

AND SERVICES PROGRAM AND BUBBLE DIAGRAMS

THE SCENOGRAPHIUM

Chapter 4: Pragmatic thinking approach

PERFORMING ART AND FILMMAKING COMPLEX

Bubble Diagram (figure57) shows the main functions of the complex Showing their areas, connections, relationships , Taking into consideration public-private matter.

FIGURE 72 B UBBLE DIAGRAM

OF THE COMPLEX AND THEIR RELATIONSHIPS

THE SCENOGRAPHIUM

Chapter 4: Pragmatic thinking approach

PERFORMING ART AND FILMMAKING COMPLEX

Design diagram for zoning in site Zones are defined in each ellipse with its supplementary facilities, the path that design the user scenario in the project and the in-out functions relationships. The Figure 73 shows the sequence of functions the user will go through starting from theatre, through production to the cinema with connections to the outdoor activities.

FIGURE 73

ZONING

Zoning on site explaining main functions, entrances and the main path.

THE SCENOGRAPHIUM

PERFORMING ART AND FILMMAKING COMPLEX

THE SCENOGRAPHIUM

Chapter 5: Conceptual Approach and Design

PERFORMING ART AND FILMMAKING COMPLEX

Chapter5: Conceptual Approach and Design Pursue The Ultimate Image... Change The Stereotype ..... Explore Beyond The Scene â&#x20AC;Ś

Concept and Theory Used to refer to a method of filming very slow actions by taking a series of single CONCEPT: TIME pictures over a period of time and then putting them together to show the action happening very quickly. Also it can be applicable in theatre, as the whole performance can be divided into a CONCEPT: TIME series of scenes when fastening them we gain the whole performance. In a further definition it means the idea of graduate development in scenes to eventually obtain the ultimate image.

LAPSE LAPSE

Concept Application The concept was reflected on the design, architecturally and functionally.

Architectural Reflection 1. Gestalt Principle of continuity and closure : This is an artistic reflection of time lapse, as these principles indicates having different elements, each has its own identity yet when you look at them you observe them as a whole unit. This was reflected at the massing by choosing the element of gradating ellipses, each was preserved the whole the geometric shape and kept its identity, and then gathered visually by an upper mesh so the image is completed, achieving the principles explained above.

THE SCENOGRAPHIUM

Chapter 5: Conceptual Approach and Design

PERFORMING ART AND FILMMAKING COMPLEX

2. Unit The chosen geometrical shape is ellipse, it was chosen over circles due to its more flexibility and more sense of movement and less rigidity. Ellipse symbolism : These rounded shapes tend to send a positive emotional message of harmony and protection. The ellipse is often used to represent unity, love or community. Ellipses have no beginning or end, they represent life and the lifecycle. As each shape is a whole universe. Ellipses have a free sense of movement. Due to their curved lines, ovals and circle are graceful and complete. They give a sense of integrity and perfection.

3. Units quantity Three units were chosen to represent the three basic developments in the complex to eventually achieving the ultimate image and experience. Three units : Theatre, film production and cinema. Time lapses : the scene of the past, the scene of the present and the scene of the future. Gradating functions was designed in the plan so the scenario will achieve the concept.(figure59)

cinema Production Theatre the scene of past

FIGURE 74 UNITS

the scene of present

the scene of future (ultimate scene )

QUANTITY REPRESENTATION

THE SCENOGRAPHIUM

Chapter 5: Conceptual Approach and Design

PERFORMING ART AND FILMMAKING COMPLEX

Functional Reflection Flow and Immersion Theory Immersion means to engage wholly or deeply, to occupy fully attention, to become deeply involved and to be enveloped completely. In order to reach the level of immersion you have to go through four main steps: curiosity, exploring, realizing, and finally immersion. (figure75). Achieving immersion can be simplified by the following: • • • • •

Clarity of ideas and experiences. The sense of control by the user. Body moving without thought. Connection. Losing the sense of time.

Exploring

• Motivation to go through the project.

• Gradating in the project functions reaching the whole Experience completing the ultimate image.

Curiousity

FIGURE 75 B ASIC

• Being a part of the project functions. • Going through the elemnts sound lights colors spirit......

Immersion • Get involved get enveloped fully engaged full attention

Realising

STEPS OF REACHING IMMERSION ..

THE SCENOGRAPHIUM

Chapter 5: Conceptual Approach and Design

PERFORMING ART AND FILMMAKING COMPLEX

“Flow Theory: a theory of optimal experience based on the concept of flow- the state in which people are involved in an activity that nothing else seems to matter, the experience itself is so enjoyable that people will do it even at great cost, for sheer sake doing it”i Architecture flow is about helping the users to transit From space to another, so you can process what you’ve seen and be prepared to what’s coming next. Appropriate flow achieves immersion. When watching a film, the audience experience a cinematic flow so they immerse in the story of the movie and narrative from scene to scene. In architecture it flows from feature to feature with transitional space.

Flow design primary questions: (figure76) Growth

1. As an occupant, do they grow or improve through out the journey? 2. What is the story or narrative am I building the users? 3. What are the key features and spatial functions needed? FIGURE 76 B ASIC 4.

Narrative

Spatial relations

ELEMENTS OF SUCCESSFUL FLOW.

Sequence in functions putting the image in pieces as going through the project. This is reflected on the sequenced scenes (functions) the user will go through as they are a part of a movie or play.

FIGURE 77 FUNCTIONS

SEQUENCE IN THE COMPLEX

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Chapter 5: Conceptual Approach and Design

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Form Development The form was initially started from dominating the main three functions (scenes of frames ): Theatre, Production and cinema as an ultimate point at the end of the journey. Initially the massing started by placing three ellipses with different sizes according to the area needed for each major function. These ellipses are maintained their geometrical shape in the whole prosses to preserve the identity. Secondly, a mesh was added to bring the sense of unity, continuity and closure, by taking a path connecting and merging the three main shape into one unit and full image . (figure78) shows form development.

Mesh importance: Concept wise: achieving the needed unity, continuity and closure establish in the concept, visual merging the massing without changing in their basic identity. Function wise: defining entrances, visual estimation for the experience, merging into the roofing system and adds visual value and experience to the functions under. Aesthetic wise: this shape is different than the surrounding which makes it even more eye-catchy and attractive for the users. Also adding aesthetic effect to the form and presenting a piece of art in the building it self..

FIGURE 78FORM

DEVELOPMENT .

Three ellipses representing a major function with strong identity, merged by a mesh structure achieving unity and full image.

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Chapter 6: Final Design

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Chapter 6: Final Design

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Chapter 6: Final design Site Plan The project was oriented toward the street due to the importance of accessibility to the project. Figure 79 shows the massing and geometrical relationships to one another, in addition to the variation of outdoor activities that thrives the inner experience.

Scale 1:1400 FIGURE 79 SITE PLAN Site plan showing main outdoor functions and entrances. THE SCENOGRAPHIUM

Chapter 6: Final Design

Plans

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The project plan was designed to achieve the concept of time lapse, as the user gradually complete their experience by going through the project’s functions as they are designed to, circulation was designed to be a hallinteractive VR galleries. Figure 80 shows the project’s two levels plans with details and functions names.

Figure 80 plans

Scale 1:1000

Ground and first floors plan in details and a key of functions names.

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Chapter 6: Final Design

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Sections

FIGURE 81 SECTIONS Section A-A, B-B passing through the whole project, showing functions, structure, and vertical circulation.

Scale 1:1000

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Chapter 6: Final Design

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Elevations Elevations designed to achieve the concept visually, harmony, and movement. The used materials are a mixture of reinforced concrete, glass and plastic panels with screens fixed on them. Figure82,83,84, and 85 show east, west, north and south elevations.

F IGURE 83 EAST - FRONTAL ELEVATION

F IGURE 82 WEST ELEVATION

Scale 1:1000 THE SCENOGRAPHIUM

Chapter 6: Final Design

FIGURE 84

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NORTH ELEVATION

FIGURE 85 SOUTH

ELEVATION

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Chapter 6: Final Design

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visitor’s scenario

FIGURE 86 VISITOR' S SCENARIO Visitor’s experience shown in sequence, from gallery, theatre. Production, ending with cinema in the main functions and interior shots showing the functions THE SCENOGRAPHIUM

Chapter 6: Final Design

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Structure Analysis The structure is a shell structure: Steel skeleton with glass, solid panels and screens. Truss system is used for large spans. Figure 87. Materials : • • • •

Steel skeleton Glass Reinforced concrete Horceboard panels and screens.

FIGURE 87 STRUCTURE ANALYSIS Structure study shows structural elements and their impact and how they work in parallel.

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Chapter 7: : 3 Dimensional illustrations and Perspectives

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Chapter 7: 3 dimensional illustrations and perspectives Exterior Shots

FIGURE 88 EXTERIOR SHOT 1

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Chapter 7: : 3 Dimensional illustrations and Perspectives

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Shows the mesh and the sense of movement and unity it brings.

FIGURE 89 SHOT 2 Exterior shot shows the whole building and masses and outdoor activities.

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Chapter 7: : 3 Dimensional illustrations and Perspectives

FIGURE 90 NIGHT

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SHOT

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Chapter 7: : 3 Dimensional illustrations and Perspectives

FIGURE 91 EXTERIOR

PERFORMING ART AND FILMMAKING COMPLEX

SHOTS

Showing the building from different angles.

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Chapter 7: : 3 Dimensional illustrations and Perspectives

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FIGURE 92 EXTERIOR SHOTS Shots showing the building at different times of the day. THE SCENOGRAPHIUM

Chapter 7: : 3 Dimensional illustrations and Perspectives

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Activities

FIGURE 93 OUTDOOR

ACTIVITIES : OUTDOOR CINEMA - AMPHITHEATER , DRIVE IN AND CINEMATIC KIOSKS

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Chapter 7: : 3 Dimensional illustrations and Perspectives

FIGURE 94 OUT DOOR FUNCTIONS :

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OUTDOOR THEATRE AND OUTDOOR SHOOTING .

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Chapter 7: : 3 Dimensional illustrations and Perspectives

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Interior shots

FIGURE 95 INTERIOR

SHOTS OF THEATRE AND SHOOTING STUDIO .

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Chapter 7: : 3 Dimensional illustrations and Perspectives

FIGURE 96 INTERIOR

SHOTS OF MAKE UP ROOM , INTERACTIVE HALLS CIRCULATION AREAS .

PERFORMING ART AND FILMMAKING COMPLEX

SPACES , CENTRAL DIGITAL GALLERY AND GALLERY -

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References

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References 1.Arnio, J.(2017). The Virtuous Cycle of Immersion. Retrieved from medialabamsterdam.com/sense-vr/2017/10/24/the-virtuous-cycleof-immersion/. 2.Francisca, M. (2016). The Marshall Family Performing Arts Center. Retrieved from www.archdaily.com/788399/the-marshallfamily-performing-arts-center-weissmanfredi?ad_source=search&ad_medium=search_result_all&fbclid=IwAR3hK873xByOXJTuwQn4_skuZR_0tbtDuNygLOA51_Gs g9DS9sJotQXwbdA. 3.Francisca, M. (2016). The Marshall Family Performing Arts Center. Retrieved from www.archdaily.com/788399/the-marshallfamily-performing-arts-center-weissmanfredi?ad_source=search&ad_medium=search_result_all&fbclid=IwAR3hK873xByOXJTuwQn4_skuZR_0tbtDuNygLOA51_Gs g9DS9sJotQXwbdA. 4.Hannah, H. (2016). Designing for Optimal States of Consciousness. Retrieved from www.interactivearchitecture.org/softinteractive-architecture-with-optimal-state-of-consciousness-for-immersion-experience.html. 5.Khalifa, D.(2013). Performing Arts Center. (Unpublished bachelor thesis). German jordan university, Amman, Jordan. 6.Laylin, T. (2011). Starlight Theatre. Retrieved from inhabitat.com/incredible-origami-shaped-starlight-theater-opens-and-closes-likeflower-petals/?fbclid=IwAR2sAVKQf1xuQbJzyVYCczkW2qxVTM8-uFEdoh1QSV9NmF3pG2RKb_dNogQ. 7.Lehman, M. (2017). How To Design For Architectural Flow. Retrieved from marialorenalehman.com/post/how-to-design-forarchitectural-flow. 8.Lehman, M. (2017). Using Architectural Flow To Innovate Your Design Concept. Retrieved from marialorenalehman.com/post/using-architectural-flow-innovate-design-concept. 9. Long,M. (2005). Architectural acoustic (2nd ed.). California :Elsevier

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References

PERFORMING ART AND FILMMAKING COMPLEX

10. Neufert, E. (1936). Ernst neufert architectâ&#x20AC;&#x2122;s data (2nd ed.). USA: Bauwelt-Verlag 11.Rosenfield, K.(2011). Design Concept for Bollywood Museum in Film City / Yazdani Studio of Cannon Design. Retrieved from www.archdaily.com/186500/design-concept-for-bollywood-museum-in-film-city-yazdani-studio-of-cannondesign?ad_source=search&ad_medium=search_result_all. 12.Shahin,B.(2016). Filmmaking and photography institution. (Unpublished bachelor thesis). University of Jordan, Amman, Jordan. 13.Shrestha, P.(2014). Film studio design. (Unpublished bachelor thesis). Nepal Engineering College, Nepal, Indea. 14. Shuang, H.(2018). He Fuzhou Strait Culture and Art Centre / PES-Architects. Retrieved from www.archdaily.com/904225/the-fuzhoustrait-culture-and-art-centre-pes-architects?ad_source=search&ad_medium=search_result_al 15. Thomas, M. (2017). New World Center. Retrieved from www.nws.edu/new-world-center/overview/. 16. Unknown.(2015). Acoustic and Viewing Angle Analysis of an Auditorium Building. Unpublished. 17. unknown. (2016). Auditorium Seating Layout & Dimensions â&#x20AC;&#x201C; The Complete Guide. Retrieved from www.theatresolutions.net/auditorium-seating-layout/. 18. unknown. (2012). House of Arts and Culture. Retrieved from mikoustudio.com/projects/house-of-arts-and-culture/. 19. Vinnitskaya, I. (2011). Red Sea Institute of Cinematic Arts RSICA. Retrieved from www.archdaily.com/124343/red-sea-institute-ofcinematic-arts-%25e2%2580%259crsica%25e2%2580%259d-s-y-m-b-i-o-s-i-sdesign?ad_source=search&ad_medium=search_result_all&fbclid=IwAR1VND8JYpusFNawzyB21tkZ1YMGthFe1FotQLbVPbui_axMzEQ09rJ070. 20.WAQAR, M. (2016) auditorium literature study & design considerations. Unpublished..

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