DUMBO: Framing with the Artifact by CJ Armstrong

framing with the artifact

brooklyn film festival

DUMBO

OBMUD

lavitsef mlfi nylkoorb

The initial project intent stated that the framing of views could be the driving force behind the development of the program and building. Unfortunately, the concept was given an only superficial treatment when it finally emerged in the Schematic Design. Be virtue of having an opening in a solid, opaque wall one is “framing” (i.e. something is controlling the shape and direction of the image that you see). If framing is going to truly be a primary instigator of programming and form, it is necessary to step back and determine just what needs framing and the myriad ways to do so. From the standpoint of broader city views, this is fairly straightforward (openings in the skin). There is possibly a more powerful means of conveying this same idea from a programmatic level. There can be moments when public and private spaces have an indirect dialogue with each other, in essence framing the program which can be achieved through material changes, manipulation of the floor plates and direct views. The original exploration of “guerilla” the-

aters for the viewing of films was an interesting experiment (i.e. failure), which opened up the many possibilities in which theaters can engage buildings and park spaces. A combination of indoor and outdoor screening spaces is still very important, though their transformative nature may become more figurative, rather than literal. This leads into my treatment of the existing building. It is, by virtue of its age, an artifact of an era that shaped New York and the country. Yet, it is still a building with the ability to provide for a new use beyond the one it was originally meant for. All program elements will now occur either “inside” the Empire Stores building or directly North of it in the park. The existing building was not intended to house a film center, though it can be adapted to the new use while still maintaining its historical fabric; this suggests that the structural systems of the building may be just as important, historically, as the exterior of the building. The new program that will be housed in the Empire Stores will either hold it-

self back from the existing façade (requiring a secondary façade behind the original) or will push through and manipulate surface. This allows the Empire Stores to exist as both an artifact and film center. The amount of space required by the program is enough to occupy the first structural bay of the Empire Stores building as well as activate the park space behind. The way in which the new program manipulates and conforms to the existing building can become the seed for which any future development is modeled. By finding means of bringing light and air into the deeper confines of the building in a way that is genetically repeatable, the film center becomes a catalyst for the Empire Stores.

But it so happens that , instead, you must stay in Phyllis and spend the rest of your days there. Soon the city fades before your eyes, the rose windows are expunged, the statues on the corbels, the domes. Like all Phyllis’ inhabitants, you fol-

low zigzag lines from one street to another, ou distinguish the patches of sunlight from the patches of shade, a door here, a stairway here, a stairway there, a bench where you can put down your basket, a hole where your foot stumbles if you are not careful. All the rest of the city is invisible. Phyllis is a space in which routes are drawn between points suspended in the void: the shortest way to reach that certain merchant’s tent, avoiding that creditor’s window. Your footsteps follow not what is outside the eyes, but what is within, buried, erased. If, of two arcades, one continues to seem more joyous, it is because thirty years ago a girl went by there, with broad, embroidered sleeves, or else it is only because that arcade catches the light at a certain hour like that other arcade, you cannot recall where. Millions of eyes look up at windows, bridges, capers, and they might be scanning a blank page. Many are the cities like Phyllis, which elude the gaze of all, except the man who catches them by surprise.

city in m i n d italo calvino

When you have arrived at Phyllis, you rejoice in observing all the bridges over the canal, each different from the others: cambered, covered, on pillars, on barges, suspended, with tracery balustrades. And what a variety of windws looks down on the streets: mullioned, Moorish, lancet, pointed, surmounted by lunettes or stained-glass roses; how many kinds of pavement cover the ground: cobbles, slabs, gravel, blue and white tiles. At every point the city offers surprises to your view: a caper bush jutting from the fortress’ walls, the statues of three queens on corbels, an onion dome with three smaller onions threaded on the spire. “Happy the man who has Phyllis before his eyes each day and who never ceases seeing the things it contains,” you cry, with regret at having to leave the city when you can barely graze it with your glance.

DUMBO - Down Under the Manhattan Bridge Overpass The DUMBO Historic District is located along the East River waterfront in Brooklyn and is one of New York City’s most significant industrial waterfront neighborhoods.Some of the important manufacturing businesses in Brooklyn include: “Arbuckle Brothers, refiner and packager of sugar and coffee; Robert Gair, manufacturer of paper boxes; the Hanan & Son shoe company; the Kirkman & Son soap company; the John W. Masury & Son paint works; the Jones Brothers/Grand Union grocery business; the E. W. Bliss machine works; and the Brillo steel wool firm.” (Dumbo Designation Report 2007.) By the early twentieth century, Brooklyn was the fourth largest manufacturing center in the entire country and a major portion of this industry occurred in the DUMBO ar. (Dumbo Designation Report 2007.)

STREETSCAPES The DUMBO Historic District is enhanced by its industrial streetscapes. Many of the streets and sidewalks retain their original granite Belgian block paving as well as the network of train tracks. The railroad was laid out by the Jay Street Connecting Railroad and in some areas the tracks run into individual buildings. (Dumbo Designation Report 2007.) The Brooklyn Bridge and Manhatten Bridge provide the DUMBO distrcit with a specifc sense of place and character. They generate the backdrop for the particular architecture quality of the area and allow for the site’s individual presense to be known. WAREHOUSES These buildings typically have simple brick facades with rhythmically placed window openings and large entrances at the ground level for vehicular access. The internal structural system is composed of massive wooden columns, beams, and joints, which is because of their size provide of form of fire protection. During the twentieth century the structural system becomes entirely of reinforced concrete. The first warehouse made of this new structure is the B Robert Gair’s factory at 4149 Washington Street. While the district consists primarily of large, multi-story factory and warehouse buildings, it also contains other buildings that are related to the industrial area such as residential housing for the workers and small foundry buildings.

Man n Br

ta hat e

idg

rid

nB Water St.

MainSt.

. k St

Doc

Old Dock St.

New

RAILROAD The Brooklyn City Railroad ran 12 different horse-car lines to the landing to connect residents with the ferry. The Union Ferry Co., which had grown out of Fulton’s business, built a grand ferry terminal at the foot of Fulton St. in 1865. The building of the Brooklyn Bridge began only four years later and, once it opened in 1883, was soon moving people more efficiently across the river. More lines grew up to feed the bridge traffic and soon overshadowed the area.

kly oo Br

FULTON FERRY LANDING New York City Historic District Construction Date: 1814-date The ferry service began here in 1642. A local farmer carried passengers in a rowboat to Peck Slip in Manhattan from present-day Fulton and Front Street and by 1793, the ferryboats were heavily used by farmers taking animals and produce to market. In 1814 Robert Fulton iniatiated steam-powered ferry service and Ferry Road was re-named Fulton Street. The new ferries could carry several hundred passengers, as well as horses and wagons. The trip across the East River took about eight minutes and the boats were capable of forty crossings per day. Historic Use: Manufacturing District Current Use: Commercial and Residential District Stylistic development of the architecture within the District can be seen in the examples on Water Street and later qualites appear in the Long Island Insurance Company Building on Front Street and in the Cadman Plaza West row. The Empire Stores located on our site are great examples of the vernacular and functional architecture of the 19th century, while the much later Eagle Warehouse is nearby and is the only building in the District designed by a noted architect, Frank Freeman.

East River

Front St.

4 WATERFRONT ZONING Article VI - Special Regulations Applicable to Certain Areas Chapter 2 - Special Regulations Applying in the Waterfront Area Special Regulations Applying in the Waterfront Area • 62-00 General Purposes • 62-10 General Provisions • 62-20 Special Use Regulations • 62-30 Special Bulk Regulations • 62-40 Requirements for Waterfront Public Access and Visual Corridors • 62-50 Special Parking and Loading Regulations • 62-60 Design Standards for the Waterfront Area • 62-70 Special Review Provisions • 62-80 Waterfront Access Plans • Appendix A Waterfront Plant List 62-00 GENERAL PURPOSES The provisions of this Chapter establish special regulations which are designed to guide development along the City’s waterfront and in so doing to promote and protect public health, safety and general welfare. These general goals include, among others, the following purposes: (a) to maintain and reestablish physical and visual public access to and along the waterfront; (b) to promote a greater mix of uses in waterfront developments in order to attract the public and enliven the waterfront; (c) to encourage water dependent uses along the City’s waterfront; (d) to create a desirable relationship between waterfront development and the water’s edge, public access areas and adjoining upland communities; (e) to preserve historic resources along the City’s waterfront; and (f) to protect natural resources in environmentally sensitive areas along the shore. 62-416 SPECIAL REGULATIONS FOR ZONING LOTS THAT INCLUDE PARKS In M2 and M3 Districts (Special Use Regulations for Public Parks, Playgrounds or Private Parks) provided that: (1) such park is comprised of a minimum of nine acres of land above water and having at least 600 feet of shoreline; (2) such park provides a continuous paved walkway along the entire portion of the zoning lots occupied by such use with a minimum clear width of no less than 12 feet, within 40 feet of the shoreline for at least 75 percent of those portions of the park that abut the shoreline; (3) such walkway connects with all other shore public walkways; (4) such walkway shall be open and accessible from public access areas, a public street, park or other public place at intervals over the length of the park, with a minimum clear width of not less than 10 feet; (5) such park is open and accessible to the public from dawn to dusk; (6) a maintenance and operation agreement providing for the maintenance and operation of the park in good condition is entered into with the Department of Parks

and Recreation (DPR); and (7) visual corridors shall be provided in accordance with Section 62-42.

ZONING

62-40 REQUIREMENTS FOR WATERFRONT PUBLIC ACCESS AND VISUAL CORRIDORS

The M3 Manufacturing Districts are for heavy industries which generate noise, traffic and pollutants. Typical uses include chemical and power plant foundries. The districts are usually loated near the waterfront and buffered from residential areas. Even in M3 areas, certain uses with nuisance effects are required to conform to minimum performance standards. There are two M3 districts, which differ only in parking requirements.

All developments on zoning lots within waterfront blocks shall be subject to the provisions of this Section and the review provisions of Section 62-71 (1) comprised of docks for non-commercial pleasure boats, ferries, sightseeing, excursion or sport fishing vessels; boatels; or commercial beaches; or (2) on piers or platforms that involve existing buildings or other structures that are either New York City-designated landmarks or have been calendared for consideration, or are listed or eligible to be listed in the National or New York State Registers of Historic Places; or (3) an amount of floor area less than 30 percent of the maximum floor area permitted. 62-41 REQUIREMENTS FOR WATERFRONT PUBLIC ACCESS Waterfront public access shall be provided for all developments on waterfront zoning lots. 62-411 REQUIREMENTS FOR SHORE PUBLIC WALKWAYS All developments on waterfront zoning lots meeting the criteria set forth in the following table or on floating structures shall provide a shore public walkway along the entire length of the shoreline, including the water edge perimeter of a platform projecting from a portion of the shoreline. Such shore public walkway shall be: (1) located along the seaward edge of the waterfront yard as established in Section 62-332 (2) permitted to be reduced in width on shallow portions of the zoning lot or narrow portions of platforms using the same method as set forth for waterfront yards in Section 62-332. The reduction factor, in all cases, shall be one foot for each two feet that the dimension is less than 150 feet, provided no shore public walkway is reduced to less than ten feet; and (3) at a level not higher than the level of the waterfront yard. Special Notes for M-2 Districts HEIGHT LIMITS FOR FLOATING STRUCTURES M2 Maximum Structure Height- 40 feet M2 Maximum Height of Converted Vessels – 60 feet 40 feet WATERFRONT YARD DEPTH requirement HEIGHT AND SETBACK FOR ALL BUILDINGS IN MEDIUM AND HIGH DENSITY NON-CONTEXTUAL DISTRICTS* Maximum building height 110 feet

M3-1 - Heavy Manufacturing -- Low Performance

Our site is zoned M3-1 for Heavy manufacturing use. FAR: 2.0 Parking is required. Maximum Floor Area Ratio: In all districts, as indicated, for any building on any zoning lot, the maximum floor area ratio shall not exceed the floor area ratio set forth at 2.0, except as otherwise provided in the following Sections: Section 43-121 Expansion of existing manufacturing buildings In all districts, as indicated, where a building or other structure used for a conforming manufacturing use was in existence prior to December 15, 1961, such building or other structure may be expanded. Such an expansion may consist of an enlargement or additional developemnt of: “Not more than 50 percent of the floor area existing on December 15, 1961, or an amount resulting in a total floor area of not more than 10 percent above the maximum floor area” otherwise permitted of 2.0 (or a maximum floor area limited to 2.4 times the lot area whichever is greater).

EMPIRE STORES

New York City Landmark Construction Date: western - 1869; eastern - 1884-1885 Architect: western - Nesmith & Sons; eastern - Thomas Stone Currently: Vacant The original Empire Stores were built just north of Fulton Ferry landing in 1854. They were used for the storage of sugar and coffee. By 1840, congestion and high real estate costs were forcing shipping and manufacturing activities out of Manhattan and many of these operations found a home on Brooklynâ&#x20AC;&#x2122;s waterfront spurring the development of warehousing to support the transfer of cargo to and from ships.

TOBACCO STORES

New York City and National Register Construction Date: ca. 1870s Built by the Lorillard family, the warehouse was used for the inspections of tobacco. Now part of Empire-Fulton Ferry State Park, the roofless structure is used to hold special events. The Romanesque characteristic of the Brooklyn area are evident in these long, narrow brick warehouses. They were characterized by their simple functional appearance with semicircular openings in the long walls used to move freight in and out. Iron shutters were used instead of glass in order to help with fire safety. Heavy sills at each opening accommodated the heavy pallets or slings of materials that would be swung onto or pushed out from them using cables and pulleys attached to rooftop winches cranked by hand or hoists powered by electric motors. The openings also admitted light and ventilation into buildings that were unheated to reduce the chance of fire. (Municipal Art Society of New York.)

NOMADIC THEATER Site: New York, New York Designer: Shigeru Ban Client: Gregory Colbert

Designed as the first of a series of Nomadic Theaters / Museums, the structure creates a space of about 45,000sf for the display of up to 100 images of Gregory Colbertâ&#x20AC;&#x2122;s work. Subsequent iterations of the Nomadic Thater have been installed in California, Mexico City and Brazil; each designed by a different architect using similar yet slightly different material pallets.

CAIXAFORUM

Site: CaixaForum, Madrid Designer: Herzog and deMeuron

Herzog and de Meuron filled in the buildings existing openings with bricks salvaged from the demolition of the interior walls. They punched out a few new openings, including one that allows visitors to view the activity in the plaza from the lobby. They placed the main entry point underneath the buildings suspended volume and enhanced the sense of compression in this space with a facedtged ceiling. The massing of the added cast-iron-clad levels is organized into bays and sloping plane sympathetic to the surrounding roofscapes.

STIM 2

Site: Rotterdam, Netherlands Designer: Jones Partners The STIM 2 is an immersion device meant to be transported to any location within a city and provide users complete isolation from their surrounding. This concept was developed in response to Rotterdamâ&#x20AC;&#x2122;s call for a mobile, public theater. STIM 2 is also able to expand and show up to 4 films at any given time. This precedent is paricularly interesting in that it begins to address one of films typical drawbacks; spaces for viewing tend to be large, immobile and private.

LA PRINCESSE

Site: Liverpool, England Designer: ???

The embodiment of the spectacle! Built for the La Machine festival in England’s “Cultural Capital” of Liverpool, the giant spider spent a week roaming the streets and exploring the city. Operated by a large crew of drivers and mechanics, the spider created an interactive spectacle that engaged the entire city. Rather than leaving the spectacle in one place, what better a way to create a mobile experience than through this artifact.

FILM TRANSFER In this concept work, I was exploring the thought and practical processes associated with filmmaking. Everything begins with sketch work of the scenes and basic settings, then the actuall filming, post production and finally into the film reels and onto the silver screen. By using a process of Acrylic Lifts, I was able to take a composite image of one of the main characters, reverse the image and transfer it onto a different medium altogether.

EDHI"EGD8:HH>C<

6Xgna^X A^[ih

IgVch[Zg Ndjg >c`_Zi Eg^cih 7n 7ajZ B^iX]Zaa There are many methods used to create acrylic lifts, but this process is the most successful for my imagery. I mirror (flip) my images in Photoshop and print them with Epson K3 inks on Ultra Premium Presentation paper. This process can also be used to transfer other inkjet, magazine, and toner images. Hjeean A^hi • Inkjet print (image ﬂipped) • Acrylic matte medium gel • Wide foam brushes • Gesso (optional) • Baltic birch plywood used for painting or printmaking • Kitchen sponges

• Clamp or press system • Two pieces of plywood or MDF • UV gloss ﬁnish varnish • Wide paint brush • Rolling pin or burnishing tools • Warm water

E]VhZ DcZ '$ Using a foam brush, coat a thin layer of acrylic medium on the back of the printed image. Cover the image surface entirely. Let dry. Recoat the image but in the opposite direction of the previous coat. This creates a crisscross weave that strengthens the gel’s surface. ($ Repeat 8 to 12 times and let dry. )$ Apply a thin layer of gesso onto the birch plywood. Use just enough so that you can still see the wood grain.* *$ Once the gesso and gel have dried, recoat both surfaces once more with the acrylic gel. Flip and sandwich the image over onto the birch panel while the gel is still wet. +$ Burnish with the rolling pin or tools to flatten and adhere the paper and birch panel together. ,$ Clamp the panel between the two pieces of plywood. Make sure the plywood overlaps the image. Let dry overnight.

E]VhZ Ild '$ Unclamp. ($ With warm water and a sponge, moisten the surface of the upside-down paper. )$ Rub the paper in a circular motion with the sponge so the paper begins to ball up and deteriorate. Eventually the image will begin to show through. Be careful not to rub too hard or the gel will split or buckle (unless this is your desired effect). You can also use your fingers to peel up the paper residue for a more controlled rub. However, be aware that your fingers may become raw. *$ Once the majority of the paper has been removed, rinse off and let dry. You should be able to make out your imagery in the wet state but it may look foggy. For faster drying, place the panel in front of a space heater or use a blow dryer. When the panel is dry, you may want to remove more of the paper as it seems to reappear after it dries. +$ Repeat steps three and four to achieve your desired results. Small bits of the paper can be left for atmospheric effects or you can remove all the paper. Dry. ,$ Once the panel is completely finished and dried, apply a few coats of the UV varnish. This will protect the image from light and add a final gloss to the image. This will bring out the blacks and saturate the image. The final image will slightly reveal the wood grain or gesso white—mostly in the image highlights.

Mo a pi and pho true Aft the acc mat to u sha pho ties film I don bec you gua S mes and eac with whe bec fou we we to h

*Optional: Personal preference dictates how the final image will look. If you add gesso, the highlight in your image will be more white and less wood color. I sometimes fully coat to white and sometimes do not gesso at all depending on the imagery. Try transferring to canvas, watercolor paper, glass, or even threedimensional objects! 7ajZ BîX]Zaa bV`Zh ]^h ]dbZ VcY Vgi ^c EdgiaVcY! DgZ# =Z Xdch^YZgh VcY ^beaZbZcih bVcn e]did\gVe]^X iZX]c^fjZh ^c ]^h ldg` ^cXajY^c\ idn XVbZgVh! e^c]daZ! [âb! VcY Y^\îVa XVbZgVh Vh lZaa Vh i]Z jhZ d[ VaiZgcVi^kZ egdXZhhZh! V\ZY eVeZg! lVm! XdaaV\Z! ]VcY YgVl^c\! E]didh]de! VcY ^chiVaaVi^dc# _e\bV\#Xdb$eZdeaZ$WaVX`ZbeZgdg 108

:e oek :?O5 H]VgZ ndjg ^YZVh Vi/ _e\bV\#Xdb$lg^iZ$edhi"egdXZhh^c\

=ej

Antikythera Viewer

line with the subject; however, the image is now backwards and inverted.

5.Inverter: similar to the Focuser, the image is projected on a matte screeen in

of a particular subject within the view.

4.Magnifier: secondary lens enables viewer to make critical adjustments to the focus

viewer from the perceived reality of the subject; left is right, right is left

3.Focuser: main mirror reflects image from the primary lens 90Âş, removing the

to help give the viewer an understanding of space within a 2d scene.

2.Rangefinder: collection of mirrors and lensâ&#x20AC;&#x2122; split view based on subject and dist.

to provide an unfettered understanding of the subject.

1.Framer: no intermediate lens or screen, used as a means of framing the view

SUBJECT:

ANTIKYTHERA STANDARD

In effort to explore how many ways a single view can me manipulated or subverted, I took to creating a device using spare camera parts to create an artifact capable of taking a single image and manipulating it into 5 separate images. The artifact is fully functional and produces images reversed, magnified, rotated, split and unfettered.

2 3

13 OLDFATHER STUDIO

The KU Film Department is housed in Oldfather Studios, a fullyequipped film and video production facility featuring a soundstage, sound and editing suites, screening rooms and classrooms. Here students have the opportunity to plan, produce and edit film and video using state of the art technologies. FILM SPACE Production Studio 65’X100’X25’H: 6500 sqft The main focus of the building as this is where students carry out their projects. The space has no windows or daylight of any sort. The walls are acoustically treated with 4” thick insulation. There is a loading door that is 12’ X 15’. The back half of the studio is treated as a classroom with chalk board and desks. There is scaffolding float along the open floor always changing their position. A large white back drop curves for evenly flushed light to surround the film stage area. Almost the entire ceiling is fixed with a grid of stage lights. Film Storage 9X12: 108 sqft This is just a small closet that holds various film equipment for checkout. Storage Shelves are placed along the walls leaving the center open. Film Editing 8X16: 128 sqft This is a small room with three to four computers along the walls. There are no windows or special treatment for acoustics. Sound Editing 1 OF THREE AT 12X22: 264 sqft These are small rooms with heavy acoustic treatment on the floor, walls, and ceiling. There are microphones, tables, chair, computer, speakers, and sound board for recording. EDUCATION SPACE Conference Room 25X15: 375 sqft This is a windowless room with a large table at the center. There is a project screen on one wall and flat screen TV at the other for film review.

LIBERTY HALL

As a meeting house, an opera house, movie theatre and music hall, Liberty Hall has hosted countless events throughout its rich 142 year history. Liberty Hall contains a large theatre space, small theatre, concessions, box office, office space, and video rental. The large theatre host concert venues, major motion pictures, can be rented out for group events/gatherings/parties. The hall is locally owned and operated and also owns La Prima Taza Café which is a major source of Liberty Hall’s income. SALES SPACES Box Office 18’ X 22’: 396 sqft After entering from Massachusetts Street, one is immediately greeted with the ticket office partition, nine feet behind the door. Therefore, not enough space is provided if there was ever a long line. Behind the partition is the employee area, which includes a storage room and three small aisles for more organization. From the box office, there is a direct connection to the main lobby of the theater. Similar to the video store, the box office’s windows are used for displaying present and upcoming films to be shown. Video Store (23’ X 30’) + (22’ X 12’): 954 sqft The video store is located right on the corner of Massachusetts and 7th Streets. If traveling north on Massachusetts Street, the store is one’s first encounter with Liberty Hall. Also, pedestrians who are stopped while waiting for the crosswalk signal are likely to look or walk into the store. The display windows at the south and west corners allow one to view in and provide a large amount of daylighting. There is one small unisex bathroom located in the back. Along with the five aisles, every possible wall surface is covered with movie rentals. The 10’-5” high ceilings further allude to an intimate space. The checkout is located in the opposite corner of the entrance. The store holds 13,266 film titles. PERFORMANCE SPACES Little Theatre 50’ X 30’: 1500 sqft New addition to Liberty Hall on the north side above La Prima Tazza Café. Main entrance travels through concessions area up the main stairway. There are 3 exits, main entrance stair way at southeast corner, staircase leading directly to Mass. Street at northwest corner, janitor closet leading to central main staircase. The theatre holds 125 seats, 12 rows with 12 seats max across and 4 seats min. The little theatre is not handicap accessible. The space behind the screen is 5 feet deep allowing room for speakers and small walking path. Exterior wall has window that are boarded to prevent natural light from penetrating. There are no windows; the space is light by 2 lights, one in the southwest corner and the other in the northeast corner. Emergency lights and exit signs are placed above the Mass. Street staircase and the main entrance to the theatre. Sides walls are hard, uneven surfaces with the back wall having very minimal acoustic treatment. There is a double level projection room each at 12’ X 12’. The top room contains projector for film reel. The bottom room provides chair as a small lounge area for employees, was also originally intended to be second projection area that would have fed into what is now Free State Brewery back seating area.

14 PROGRAM: The Brooklyn Film Forum is established as a state-of-the-art, publiclyaccessible, nonprofit film center. This building is seen as a power plant that generates independent media on a local and national level—a facility created to promote and preserve public-interest media within an increasingly homogenous telecommunications landscape. It is seen as having these major components as part of its program: 1. Public Programs 2. Educational/Technical Support Spaces 3. Artists-in-Residence Spaces 4. Building Services 5. Outdoor Programs Public Program: The Forum needs (3) public screening rooms which also serve as halls for public events and lectures (one for 300-person audience, the other two for 125-person audiences, include projection rooms); exhibit space(s) for traveling exhibits, exhibition of artists’ work, film festival event support, etc. all administered by a receptionist and one staff member (who will also sell film tickets); bookshop/media rental where the public can browse, rent and purchase books and media; and a café to serve events. Both the media rental shop and the café are to be configured so that they can be accessed during evenings and weekends when the gallery and screening rooms are closed. Educational/Technical Support Program: The Forum will require two offices, one for a director and another for an administrator; (4) offices for partner agencies; (6) editing rooms for filmmakers in post-production; and, flexible work areas to accommodate extra staff and volunteers for production, during festivals and general collaborative efforts. Media groups, festival organizers, grant panels, community forums, educational programs, etc. will share (2) meeting/ conference rooms designed to hold 12 people comfortably, each; (2) classrooms for 25 students each; and a computer lab for 20 students engaged in class instruction. Several of organizations will need to house print and video collections; this room needs to be climate-controlled and approximately 1200sf. Include a small library for access to books, digital, video and film media (approx. 1500sf). The Forum also provides a “Studio PASS,” which allows for production access—providing professional production facilities for artists and independents at affordable prices. The Forum will provide a production studio space for artists to use (includes a cyc wall, provide 3000sf) and a surround-sound recording studio (provide 1000sf) for mixing and monitoring; also, provide (3) offices for technicians who will assist artists with their work and manage all equipment and facilities. Storage space is required to secure rental cameras, lights, other equipment and media supplies; a photocopy and supply room; and shipping and fulfillment services for distribution of films and DVD’s.

Artists-in-Residence Program: The Forum is part of a large, existing network of artist residency programs, representing the interests of more than 200 centers and organizations in 50 countries worldwide that offer to international artists facilities and conditions conducive to making documentary films. It is intended to provide a critical forum for the residents and a place where international meetings and conferences provide an arena for the exchange of ideas; as a result, cultural assumptions are tested and the participants’ worldviews are broadened. The individual artist benefits by this association and the Forum benefits by their insightful input, lectures and exhibits. Resident artists are provided private rooms with studio equipment, access to all facilities and provided meals during their stay. The facility shall contain six residency suites (to include bed, working space and a small, private bathroom), a resident-common area including a small kitchen and pantry, dining (for 12) a living area and a laundry room. (A chef prepares meals each day.) An outdoor, roof-terrace, dining area is desired (or some reasonable alternative, private-access to the outdoors.) Building Services: It needs to be emphasized that interstitial spaces are a high-priority for success of the organization. These serve to connect different users of the building: the public, the staff, the artists-in-residence, the students and the volunteers. Other required spaces are public restrooms, mailroom/ receiving, garbage/recycling, mechanical/elevator/electrical closet(s)/ telecommunication closets, janitorial, etc. Outdoor Programs: The Forum wishes to be connected and contribute to the nearby, alreadyestablished urban spaces. Descriptions and links to some of the parks and local institutions are cited on the Google Group site. It is up to each of you to expand this compiled list as you believe relevant to your own programming interests.

Brooklyn Compared to New York

2000 Census

Brooklyn

NY CityN

Y State

Total population

2,465,326

8,008,278

18,976,457

Population density

34,920/sq mi

26,403/sq mi

402/sq mi

Median household income

$32,135

$38,293

$43,393

Per capita income

$16,775

$22,402

$23,389

Bachelorâ&#x20AC;&#x2122;s degree or higher

22 %2

24 %

Foreign born

38 %

36 %

20 %

White

41 %

45 %6

Black

36 %2

16 %

Hispanic (any race)

20 %2

15 %

10 %6

Asian

(Brooklyn Chamber of Commerce)

DESIGN CHARRETTE OPT.1 Conceptual arrangement of program spaces placed the “spectacle” spaces in the roofless Tobacco Warehouse where they sit like jewels in the landscape. This placement allows the Tobacco Warehouse to retain the permeable essence to which New Yorker’s had come to love. Production and service spaces are located in the Empire Stores building, allowing the public to “window shop” the inner workings of an active film institute. The filmmaker residences are hung off the West wall of the Empire Stores, putting them directly in the public’s eye. The new Wetern facade created by these residences allows for a traditional “marquee”, where each filmmakers current work is projected on the facade.

DESIGN CHARRETTE OPT.1 (cont) Of particular interest on this site is the “gutted” Tobacco Warehouse; it’s ability to be permeable while at the same time act as a vessel or container. Once inside, the sounds of the city drop away except for traffic along the Brooklyn bridge. This restructuring and framing of the experience of the city is very powerful, and begins to inform my conceptual designs from this point on. In filmmaking, the director takes the real, or perceived “real”, world and modulates, manipulates and macerates this perception into a framed reality. The director (filmmaker) is then the sole agent who can move between both worlds and this role is signified by their location above the boardwalk between the Tobacco Warehouse and the Empire Building.

DESIGN CHARRETTE OPT.2 This design option takes a reverse position to OPT.1 in that the program within the Tobacco Warehouse is for the purpose of Production, Editing and Living. The program sits above the walls of the Tobacco Warehouse, not touching but gliding over the walls like mechanical Baobab tree. The machine has six apertures, five gesturing toward one of the Five Buroughs and one gesturing toward the Brooklyn Bridge. These aperture arms contain program specific to the service and production of films. The base of the machine is anchored by the production studio and is “fed” by the services and mechancal spaces below. The residences take on the same role as they did in OPT.1, though their significance as a “marquee” is somewhat diminished. The actions of film viewing take place within the dark and solid walls of the Empire stores with smaller theaters stacked above larger theaters.

DESIGN CHARRETTE OPT.2 (cont)

The aperturtures of the production machine act as â&#x20AC;&#x153;visual vacuumsâ&#x20AC;?, drawing in the sights, sounds and emotions of the city as food for the eventuall creation of films. Of particular interest in this concept is the idea of how a building within the Tobacco Warehouse must engage its host. Does it hover, does it touch, does it break? These questions were important to the overall formal character of this concept as well as further iterations.

DESIGN CHARRETTE OPT.3 This option explores the possibility of placing all of the program inside the Tobacco Warehouse and how much stacking is required to do so. Inspired by the axial power of the existing alley between the Empire Stores and the Tobacco Warehouse, I strived to place the program in a series of self similar bands to create multible artificial alleys between the buildings. Each building contains a specific program typology requiring its own level of opacity / transparency and suggestive location. Residences and Theaters are located on the East and West flanks of the Tobacco Warehouse, with transparent facades addressing their respective existing alleys. The production space fills in the central bar, protected and blind, except for views up to the sky.

DESIGN CHARRETTE OPT.3 (cont)

In this option the plan becomes largely unimportant. Each programmatic band is one structural bay wide in an attpempt to replicate the vertical stacking that is so ubiquitous in New York. The section takes precedence over all other means of graphic description. Each building floats over the walls of the Tobacco Warehouse. Ideas of what becomes of the space inbetween the existing and the new. Compression and release as a means of framing not only views but experience.

DESIGN CHARRETTE COMPOSITE The purpose of the Technical Analysis Worksheet is to bring ideas of systems and structure into the design at a very early stage of the design. Much of this information is based off of existing conditions, codes analysis and systems review. This helps to bring several things to mind, how thick do interior walls need to be, what is the ideal rest room layout, what are my maximum structural spans, &c., &c. By adopting these standards, the design can move forward without being compromised by technical requirements.

DESIGN CHARRETTE COMPOSITE (cont) The purpose of the Technical Analysis Worksheet is to bring ideas of systems and structure into the design at a very early stage of the design. Much of this information is based off of existing conditions, codes analysis and systems review. This helps to bring several things to mind, how thick do interior walls need to be, what is the ideal rest room layout, what are my maximum structural spans, &c., &c. By adopting these standards, the design can move forward without being compromised by technical requirements.

TECHNICAL ANALYSIS WORKBOOK The purpose of the Technical Analysis Worksheet is to bring ideas of systems and structure into the design at a very early stage of the design. Much of this information is based off of existing conditions, codes analysis and systems review. This helps to bring several things to mind, how thick do interior walls need to be, what is the ideal rest room layout, what are my maximum structural spans, &c., &c. By adopting these standards, the design can move forward without being compromised by technical requirements.

1. 5 story structure 2. Total Building Area: 51,000 s.f. 3. Building Floor Area: 8,700 s.f. 4. Floor to Floor Heights: LVL G: 14.1’ LVL 2: 12.2’ LVL 3: 10.3’ LVL 4: 10.3‘ LVL 5: 10.3’ 5. Fully Sprinklered Building: Yes 6. What are the Occupancy Groups A-1: Assembly uses, usually with fixed seating, intended for the production and viewing of the performing arts or motion pictures including, but not limited to: Motion picture theaters Theaters A-3: Assembly uses intended for worship, recreation or amusement and other assembly uses not classified elsewhere in Group A, including, but not limited to: Art Galleries Exhibition Halls Museums M: Mercantile Group M occupancy includes, among others, build ings and structures or a portion thereof, for the display and sale of merchandise, and involves stocks of goods, wares or merchandise incidental to such purposes and accessible to the public. Mercantile occupancies shall include, but not be limited to, the following: Wholesale or Retail Stores R-2: Residential occupancies containing more than two dwelling units where the occupants are primarily permanent in nature, including: Apartment Houses S-1: Buildings occupied for storage uses which are not classified as Group S-2 including, but not limited, to storage of the following: Books and Paper in Rolls or Packs Cardboard and Cardboard Boxes Photo Engravings 7. Building Occupancy Load: 800 min. At this early stage of the design the exact occupancy load cannot be determined. What is known is that we can assume that a minimum of 800 people could be in the building at any one time if all three screening rooms are in use.

8. Construction Types Possible: Type I (A & B): Types I and II construction are those types of co struction in which the building elements listed in Table 601 are of noncombustible materials: Structural Frame: 3hr / 2hr Bearing Walls: 3hr / 2hr Non-Bearing Walls / Partitions: 2hr Floor Construction: 2hr / 2hr Roof Construction: 1.5hr / 1hr 9. Structural System Type: Cast in place concrete columns & decking. Due to the acoustic sensitivity of program elements inside the Empire Stores building, Cast in place concrete is the most appropriate material for preventing sound “pollution” due to reverberation of structural ele ments. 10. Structural System Lateral Stability: Composite Shear Wall. As a means of acheiving lateral bracing for the existing walls of the Em pire Stores and new construction as well as a parti wall, a composite wall consisting of dimensionally deep X-braces runs the broad length of the existing Empire Stores. 11. Structural System Sizing: Columns / Walls: “Public” Space: Round 2’ Diameter “Private” Space: Square 1’ x 1’ Interior Walls (Std): 8” Interior Walls (Sound Iso): 17” Exterior Walls: 24” Decking: Cast in place concrete floor. Bay Framing: “Public” Space: 30’ x 20’ “Private” Space: 15’ x 10’ Floor Slab: Cast in place concrete floor 8” thick. Beams / Girders: 8” Cast in place concrete floor has a clear span of 30’, no need for beams. 12. Daylighting Strategy: The Composite Shear Wall acts as a daylight reflector and radiator, projecting light into the hardest to reach places. Vertical circulation paths follow “stacks” which provide concentrated moments of light and sound. 13. Passive Strategy: Sound and Light “Stacks” act as passive ventilation chimney’s, drawing warm air up and out of the stack, pulling cool air in. 14. Mechanical / Electrical Equipment Strategy: Mechanical rooms and shafts follow the “stacks” throughout the building. Space has been given for air plenums, water and electrical lines, ventilation, etc. On Levels 2 & 3 the horizontal ditribution is handled via a raised flooring system (Haworth TecCrete), on all other levels there is a more conventional dropped ceiling plenum.

15. Restroom Layout Restrooms are located on each floor (LVL G - LVL 2), stacked above one another with three mens stalls and 4 womens stalls in each. In the umbilical theaters outside of the Empire Stores there will be a restroom with 12 mens stalls and 14 womens stalls to handle full occupancy of the two theaters. 16. Egress and Circulation Egress is handled through two exit stairs (44 inch wide) at the North and South ends of the Empire Stores building. A pressurization shaft 2’ x 8’ wide provides positve fresh air pressure to the exit stairs ensuring smoke free exiting. 17. Egress Stairs: 18. Fire Separation The “Public” / “Private” dividing wall acts as an additional fire wall between larger open air spaces and the more hazardous storage spaces. The existing firewalls within the empire stores will be used to maintain separation from future uses in the Empire Stores. 19. Noise Pollution Mitigation As a means of reduciong sound “pollution” of the more sensitive program areas, an aerated structural concrete system will be used in the floors between levels, and in the “extremely sensitive” areas, a sound isolating double wall will be used.

LEED ACCREDITATION

From the outset the intent of the project is to attain a LEED rating of Platinum. Considering the bulk of the building program is enveloped in the existing Empire Stores building, many of the SS credits are easily attainable, and many more credits can be attained by management purposes and materials specifications. After completing the LEED 2.2 checklist it should be possible to attain LEED Platinum. By adopting these principals early on in the design process they can become integral to the design rather than merely additive components (i.e. the ubiquitous green roof).

SCHEMATIC DESIGN REVIEW From the outset the intent of the project is to attain a LEED rating of Platinum. Considering the bulk of the building program is enveloped in the existing Empire Stores building, many of the SS credits are easily attainable, and many more credits can be attained by management purposes and materials specifications. After completing the LEED 2.2 checklist it should be possible to attain LEED Platinum.

SITE PLAN 1/128” = 1’

LVL 1 THEATER / RETAIL / SERVICE 1/32” = 1’

SCHEMATIC DESIGN REVIEW (cont.)

LVL 2 ARCHIVAL / PRODUCTION 1/32” = 1’

LVL 3 EDITING / ADMINISTRATION 1/32” = 1’

LVL 2 RESIDENTIAL 1/32” = 1’

SCHEMATIC DESIGN REVIEW (cont.) From the outset the intent of the project is to attain a LEED rating of Platinum. Considering the bulk of the building program is enveloped in the existing Empire Stores building, many of the SS credits are easily attainable, and many more credits can be attained by management purposes and materials specifications. After completing the LEED 2.2 checklist it should be possible to attain LEED Platinum.

NORTH / SOUTH SECTION THE SPECTACLE STACK 1/32” = 1’

SCHEMATIC DESIGN REVIEW (cont.)

EAST / WEST SECTION THE MOBILE SPECTACLE 1/32” = 1’