Shannon Kennelly Architecture+Design Portfolio 2016

SHANNON ALEXANDRAKENNELLY

Portfolio 2016

University of WaterlooSchool of Architecture

Candidate for Honours Bachelor of Architectural Studies Co-op, University of Waterloo

S H A N N O N A L E X A N D R A K E N N E L LY

[email protected] . 923 . 9583

348 Regal Briar Street,Whitby, OntarioCANADAL1N 6N1

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HelloCurriculum Vitae

Time-lineTimescapes

On the EdgeUrban VeinRow House

Urban WeaveMuse

Scenography StudiesSchoolhouse

Clara Hughes P.S.Full Day Kindergarten

Personal Projects and Exploration

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My name is Shannon Kennelly and I am currently studying architecture in Cambridge, Ontario at the University of Waterloo. Having just completed my third year, I am presently seeking a six to eight month internship opportunity from January-August 2016, and I would love to work for you.

As a self-motivated and enthusiastic learner, I dig through an endless number of books and films. I am passionate about travel, history and literature, as well as scenography and production design. I love stories, and I look to meaningful connections and relationship to context as the most important factors in design. I am an eager and ambitious student with an open mind, a love of exploring new things and a very strong work ethic.

What follows in this portfolio is a compilation of my work, produced over the last three years. It is my intent to provide you with a better understanding of my interests, capabilities and character. It’s nice to finally meet you.

Thank you for your time and consideration.

Sincerely yours,

hel lo ,

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CVEDUCATION

University of Waterloo,September 2012 - Present

Cambridge, Ontario

Candidate for Honours Bachelor of Architectural Studies Co-op., Faculty of Engineering, School of Architecture

Ryerson UniversityFall 2014

Toronto, Ontario

Candidate for Certificate in Design for Arts and Entertainment,While on my co-op terms close to Toronto, I studied courses not available at the University of Waterloo in order to enrich my understanding of scenography:

- history of arts and scenography- art direction for f i lm and special events- production design for f i lm and theatre- combined media: art in the modern world (through OCAD University)

AWARDS

The Miller Thomson Foundation National ScholarshipAwarded for academic excellence and significant contributions to community programmes and extracurricular involvement

Schulich Leader NomineeEach school may nominate one student who exhibits academic excellence and outstanding community, business and entrepreneurial leadership

Whitby Mayor’s Medal for CitizenshipAwarded to a graduate who is a role-model for citizenship due to his/her significant contributions to the Whitby community, through dedication to extracurricular/community involvement

Station Gallery ScholarshipAwarded to a recipient pursuing post-secondary education who excelled in the arts

Victory in Europe 65th Anniversary Canadian Representative Student speaker and Canadian representative to France, Belgium, Germany and the Netherlands

President’s ScholarshipEntrance scholarship awarded to students with in-coming averages of 90-94.9%

University of Waterloo,September 2012

Station Gallery,September 2012

Anderson Collegiate,February 2012

Town of Whitby,October 2012

The Miller Thomson Foundation,

June 2012

Anderson Collegiate,May 2010

Courses include:

- comprehensive architectural design studios - visual and digital media studies - environmental design- cultural history, theory, and iconography- urbanism and landscape design- building construction and advanced structures - languages (Ital ian)

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WORK EXPERIENCE

June 2008 - September 2013

Au Pair for the Renosi FamilyBordighera, Liguria, Italy

- collected coniferous seeds for gene conservation and research- mapped and pruned orchards with a team of students lead by foresters

Ontario Ministry of Natural ResourcesMinden and Scugog Island, Ontario

June - September 2011- worked as a live-in caregiver for 2 girls (8 and 10 years old) for 40+ hours/week- provided 10 hrs of instruction, per week, per child, with continued practise day-to-day in order to help the girls prepare for international school

January - May 2014

September - December 2014

June - August 2015

- designed FDK classrooms, millwork, libraries, playgrounds, accessibility projects, community centre hubs, and proposals for outdoor ed. centres which were evaluated and subsequently implemented for tender/construction- assisted in project management, organized calendars of site visits, contracts and tenders- produced technical and construction drawings in AutoCAD for a variety of designers/project supervisors as well as for my own projects- conducted research and created proposal presentations for superintendents (graphic/communication projects) - conducted site visits with contractors or administration/staff- recorded site measurements for retrofits and re-designs

Durham District School BoardWhitby, Ontario

SHANNON ALEXANDRA KENNELLY289 . 923 . 9583 - [email protected] - 348 Regal Briar St., Whitby ON

TRADITIONAL SKILLS

TECHNICAL PROFICIENCY

PERSONAL SKILLS

INTERESTS World Literature, Art History, Set Design, Travel, World History, Iconography, Cartography, Fine Art, Mixed Media Studies, Athletics (Basketball, Rugby)

AutoCAD 2013, Adobe Creative Suite 6 (Photoshop, InDesign, Illustrator), Rhinoceros 5.0 + V-Ray, Google SketchUp, Revit, Microsoft Office, iWork, Mac OS and Windows Interface

Hand-drafting, hand-modelling, woodworking, drawing, painting, photography, oral presentation, excellent writing, editing and research skills

Hard working and dependableEager to learnEffective communicator

Team playerAble and willing to assume responsibilityDetail-oriented

TRAVEL Italy, Germany, France, the Netherlands, Belgium, Monaco, Switzerland, the United States (New York City, Boston, Orlando)

Major Projects Design Intern and Architectural Technologist

Orchard Worker

Cambridge, OntarioMay - July 2014

- directed the production of a full theatrical work produced by 70 architecture students working together to create meaning and tell a story. From writing the script and musical scores, to production design and set construction, advertising and finally acting - MUSE came together over the course of 10 weeks.

MUSE Director

Full Time English Tutor and Caregiver

The Beer Store, Second CupWhitby, Ontario

April- September 2013, November 2008 - June 2011- customer service, inventory, hiring/training of new staff, opening/closingPart Time Sales Associate

GOLDEN AGE OF HOLLYWOOD 1920-1960MPPC MONOPOLY 1900-1912SILENT FILM ERA 1900-1919

STUDIO BASED MONOPOLY 1920 - PRESENTCENTRAL PRODUCER SYSTEM 1920 - PRESENT

DIRECTOR SYSTEM 1800s -1920

OFFICES

SET-DESIGNDEPARTMENT

DRESSINGROOM

RESTAURANT

WATER-TANK

INDOOR STAGES,OUTDOOR SETS,

& PROCESSING FACILITIES

FLAT-ROOFSTAGE

FIREPROOFBASEMENT VAULT

SCENARIOWRITERS

COMISSIARY

PRODUCINGSTAFF

STABLES

CORRALS

TRAINERS

RESERVOIRE

TRANSPORTATION

ARSENAL

WARDROBE BUILDING

RESOURCES

OFFICEBUILDING

LIGHTING

EDISONʼS REVOLVING FILM STUDIO, BUILT IN WEST ORANGE, NEW JERSEY, BECOMES THE FIRST AMERICAN MOVIE STUDIO. IT IS A KINETOGRAPHIC THEATRE, DESIGNED TO MAKE FILM STRIPS FOR THE KINETOSCOPE. ITS DARK STUDIO IS COVERED IN TAR PAPER, WITH THE SET DRAPED IN BLACK FABRIC UNDERNEATH A RETRACTABLE ROOF.

FILMS SHIFT FROM ANIMATED PHOTOGRAPHS TO NARRATIVES INVOLVING:- STOP-MOTION PHOTOGRAPHY AND- BRIEF MULTI-SCENE FILMS (WHERE THE ONLY MEDIUM IS SPACE).

STAR FILMʼS LE VOYAGE DANS LA LUNE IS THE FIRST FILM TO BE DISTRIB-UTED INTERNATIONALLY.

1900

1900 - 1910

THE MAJOR FILM STUDIO TYPE SPREADS AS A PHYSICALLY SECURE COMPOUND WITH A HIGH WALL. MOVEMENT IN AND OUT OF THE STUDIO IS CONTROLLED AT THE GATES. WITHIN THE PREMIS-ES ARE MULTIPLE SOUND STAGES, A BACKLOT, AND OFFICES.

1950PRODUCTION COMPANIES, SUCH AS CHICAGOʼS SELIG POLYSCOPE, BEGIN TO MOVE PRODUCTION UNITS TO WARMER CLIMATES FOR CONTINUED PRODUCTION DURING THE WINTER MONTHS. THESE TEMPORARY STU-DIOS ARE THE PRECURSERS TO SELIG POLYSCOPEʼSFIRST PERMANENT STUDIOS, ESTABLISHED IN L.A.

1907

THE AMERICAN FILM INDUSTRY RAPIDLY BEGINS TO MOVE TO CALIFORNIA TO ACCOMMODATE YEAR-ROUND PRODUCTION, SETTLING IN A SMALL INDUSTRIAL TOWN TURNED LOS ANGELES SUBURB, CALLED HOLLYWOOD. ARRIVING COMPANIES BUY TENS OF THOUSANDS OF ACRES OF LAND FOR THEIR STUDIOS AND BACK-LOTS.15+ INDEPENDENT STUDIOS SET UP IN L.A. PROP-AGATING THE STUDIO-CITY TYPE.

1912

L.A. IS REORGANIZED AROUND ITS NETWORK OF FREEWAYS.

ITS GLOBAL AND POLITICAL IMPORTANCE IS STRENGTHENED.

PHOTOGRAPHIC COLOUR ENTERS THE CINEMA. FROM THE MID 1930S THROUGH TO THE 1940S PEOPLE HAND-COLOUR EACH FRAME.

THE OWENS VALLEY AQUEDUCT SYSTEM IS COMPLETED, USHERING IN A PERIOD OF EXPLOSIVE REGIONAL DEVELOPMENT THROUGH WWII. CONSTRUCTION OF THE FIRST L.A. AQUEDUCT EFFECTIVELY DE-STROYS THE SURROUNDING OWENS LAKE ECOSYSTEM AND ITS FARMING POTENTIAL.

1913

FARMING RESIDENTS ALLEGEDLY BLOW UP THE L.A. AQUEDUCT, SEIZING CONTROL OF A CRITICAL GATE LATER THAT SAME YEAR. ACTS OF SABOTAGE CONTINUE UNTIL 1928.

1924

THE MOST POPULAR STUDIOS IN THE U.S FORM THE MOTION PICTURE PATENTS COMPANY (MPPC OR THE TRUST), TO CREATE AN EXCLUSIVE CONTRACT WITH THE EASTMAN KODAK COMPANY FOR THE SUPPLY OF RAW FILM STOCK.

THE AIM IS TO CONTROL THE INDUSTRY BY SELLING RAW FILM STOCK TO ONLY THOSE WHO POSSESS LICENSES TO MINIMIZE THE CREATION OF NEW COMPETITION IN THE FILM INDUSTRY.

1908

U.S. JUSTICE DEPARTMENT WINS A LAWSUIT AGAINST THE MPPC FOR “RESTRAINT OF TRADE,” MEANWHILE IT IS UNABLE TO SLOW INDEPENDENT DISTRIBUTORS AND EXHIBITORS FROM ENTERING THE MARKET.

1912

THANHAUSER FILM CORPORTATION IS FOUNDED IN NEW RO-CHELLE, NEW YORK. THE ORIGINAL BUILDING IS DESTROYED BY FIRE, AND THE STUDIO ILLUSTRATED ABOVE IS THE 1913 RE-BUILD. THREE OR MORE SCENES OF SILENT FILMS COULD BE SHOT UNDER THE GLASS ROOF STUDIO COMPLEX.

SELIG POLYSCOPEʼS CHICAGO STUDIO FEATURES TWO STAGES IN GLASS BUILDINGS WHICH USE BRIGHT, DIFFUSED SUNLIGHT TO ILLUMINATE THE MAJORITY OF THE SPACE, SUPPLEMENTED WITH SOME ELECTRIC LIGHTING. NEW IRON AND GLASS BUILDING TECHNOLOGIES ARE EMPLOYED TO CREATE LARGER SPANS, CREATING MORE STUDIO SPACE UNENCUMBERED BY SUPPORT-COLUMNS AND THEIR SHADOWS. EMPHASIS IS PLACED ON BUILDING A RELATIONSHIP WITH THE PUBLIC AND CREATING A RECOGNIZABLE CORPORATE IMAGE FOR THE STUDIO AT STREET LEVEL.

1909

THE L.A. AQUEDUCT SYSTEM IS EXPANDED, WHILE THE FAMED HOLLYWOOD(LAND) SIGN IS ERECTED TO PUBLICIZE AN UPSCALE NEW HOUSING DEVELOP-MENT. MOVIE-INSPIRED HOTELS AND APARTMENTS FILL IN THE URBAN FABRIC ALONG LARGE BOULE-VARDS.

1923

DARK STUDIO RESURGENCE1930

FILM COULD BE PRODUCED SEPARATELY AND THEN DUBBED WITH SOUND LATER, ALLOWING FILMMAKERS TO MIX DIFFERENT TRACKS. POST SYNCHRONIZATION AND MULTIPLE-CHANNEL MIXING BECOMES STANDARD INDUSTRY PRACTISE, AND STUDIOS NEED TO BUILD SEPARATE FACILI-TIES INCLUDING SOUND ROOMS.

1930s

ʻBLIMP ̓SOUNDPROOF CAMERA HOUSINGS, BOOM CRANES, AND STEER-ABLE DOLLIES, ALLOW FILMMAKERS TO LEAVE THE ICE BOXES AND MOVE THE CAMERA IN SPACE.

1931

HOLLYWOOD EXPERIENCES ITS MOST STABLE YEARS YET, AS TWO THIRDS OF AMERICANS REPORT GOING TO THE MOVIES AT LEAST ONCE A WEEK.

1929

GLASS FILMING STUDIO

ON-SITE WATER RESERVOIR 5. INDEPENDANT PRODUCER SYSTEM

INDEPENDANT PRODUCER

SOURCED STUDIOS

WITH THE INFLUX OF TELEVISION WRITING, TELEVISION PROGRAM-MING GAINS POPULARITY, AND FILM STUDIOS ARE INCREASINGLY USED TO FILM THEM. STUDIO FACILITIES DIVIDE LARGE SOUNDSTAGES INTO SMALLER T.V. STUDIOS OR BUILD NEW STUDIOS SCALED TO THE SIZE OF STANDARD T.V. PROGRAMMING.

1954

AMERICAN MUTOSCOPE AND BIOGRAPHʼS STUDIO IS BUILT ON TOP OF THEIR OFFICE BUILDING.


ON-SITE POWER PLANT

POST-SOUND INTRODUCTION CAUSES GLASS SOUND STAGES TO QUICKLY FALL OUT OF FASHION IN FAVOUR OF CONCRETE STUDIO BUILDINGS. A NEW ERA OF STUDIO PREFERENCE OVER LOCATION SHOOTING MARKS A WITHDRAWAL FROM THE ʻREAL WORLD. ̓ PHONOFILM MAKES IT POSSIBLE TO SHOOT ʻTALKIES. ̓ PRODUC-

TION MOVES TO SILENT INDOOR ENVIRONMENTS. CAMERAS AND THEIR OPERATORS ARE ENCLOSED IN SOUNDPROOF GLASS-PAN-ELED BOXES REFERRED TO AS ICEBOXES. EARLY FILMS WITH SOUND ARE STATIC GIVEN THAT FILMMAKERS CANʼT TILT THE CAMERA BEYOND 30 DEGREES.

1919

SINGLE STUDIO

SCRIPT IS WRITTEN

DIRECTOR HIRES PRODUCERS & MANAGEMENT STAFF

CASTING &SET DESIGN

CAST REHEARSALS &SET CONSTRUCTION

SHOOTING

EDITING & MATTING

ADVERTISEMENT

PUBLIC RELEASETO THEATRES

STUDIO SUN&LAND

19 MILES

NEW YORK CITY

WEST ORANGE, NEW JERSEY

1000x SMALLER POPULATION THAN 20TH CENTURY NEW YORK CITY

HOLLYWOOD

RAPID INCREASE IN POPULATION

TORONTO

INSERTED INTO HIGH POPULATION AREA

THE THREE MAPS AT THE CONCLUSION OF THE TIMELINE DEPICT THE RELATIONSHIP BETWEEN THE STUDIO, NATURAL RESOURCES, AND URBANIZATION. WE HAVE DIVIDED THE STUDIO`S PROGRESSION INTO THREE TIME FRAMES: 1900-1915, 1915-LATE 20TH CENTURY, AND THE LATE 20TH CENTURY – PRESENT DAY.

THE FIRST MAP SHOWS THE STUDIO'S GEOGRAPHICAL LOCATION AT THE BEGINNING OF THE 20TH CENTURY. PIONEER STUDIOS, LIKE THE BLACK MARIA, WERE GENERALLY ERECTED IN RURAL COMMUNITIES ON AFFORDABLE PLOTS OF LAND. IN EXAMPLE, THE BLACK MARIA WAS PLACED IN WEST ORANGE, NEW JERSEY – A SMALL TOWN WITH A POPULATION 1000 TIMES SMALLER THAN ITS NEAREST CITY, NEW YORK CITY. IN THE EARLY 1900S FILMMAKERS WERE ATTRACTED TO INEXPENSIVE AVAILABLE LAND, AND NATURAL CONDITIONS THAT ALLOWED FOR LARGE SUN EXPOSURE AS THIS WAS THEIR ONLY

SOURCE OF LIGHT. CONNECTIONS TO THE CITY WERE NOT NECES-SARY, AND DID NOT CONSTITUTE A FACTOR IN GEOGRAPHICAL LOCA-TION.

NEAR 1915, THE CINEMA GAINED CULTURAL POPULARITY AND PRO-DUCTION NEEDS INCREASED, SO STUDIOS BEGAN TO MOVE SOUTH FOR THE WINTER FILMING SEASON. AS SEEN IN THE GRAPHIC, MANY STUDIOS WERE ATTRACTED TO LOS ANGELES FOR ITS YEAR-ROUND FILMING CONDITIONS AND EASILY ADAPTABLE, DIVERSE NATURAL EN-VIRONMENT. WITH TIME, STUDIOS PERMANENTLY ESTABLISHED THEMSELVES IN LOS ANGELES. A NEW ACQUEDUCT WAS CON-STRUCTED, FUELING THE GROWING BUSINESS, AND THE FAMED HOL-LYWOODLAND SIGN WAS ERECTED TO PUBLICIZE AN UPSCALE NEW HOUSING DEVELOPMENT SOON AFTER. LOT PRICES WERE INFLATED AS HOLLYWOOD GAINED PRESTIGE. AS SEEN IN THE DIAGRAM, THE

FILM INDUSTRY WAS FIRST ATTRACTED TO LOS ANGELES PURELY BASED ON ITS NATURAL CONDITIONS, BUT IN TURN ATTRACTED A RAPID URBANIZATION OF HOLLYWOOD FOLLOWING THE INDUSTRY`S CULTURAL BOOM.

THE LAST DIAGRAM DISPLAYS THE CURRENT SCENARIO OF STUDIO LOCATIONS. UNLIKE IN ITS BEGINNING YEARS, THE STUDIO NO LONGER ONLY NEEDS SUNLIGHT AND FREE LAND TO FUNCTION. CUR-RENT MOTION PICTURE COMPANIES OPERATE ON NUMEROUS SITES, SHARING INFORMATION AND TOOLS ON A GLOBAL NETWORK. MOST OFTEN, STUDIOS ARE `PLUGGED IN` INTO CURRENTLY URBANIZED SITES, SO THAT THEY CAN PROFIT FROM EXISTING MODERN RE-SOURCES. WHERE IN THE PREVIOUS PERIOD, THE STUDIO ATTRACT-ED URBANIZATION, THE URBANIZATION NOW ATTRACTS THE STUDIO.

MAJOR FILM STUDIOS CONTINUE TO DRASTICALLY INCREASE IN SCOPE AND SCALE. THEY BEGIN TO TRANSFORM INTO FINANCING AND DISTRIBUTION ENTITIES, RELYING ON PRO-DUCTION COMPANIES TO MANAGE THE CREATIVE AND PRODUCTION DETAILS OF THEIR FILMS. SOME STUDIOS BEGIN TO SELL LARGE PIECES OF THEIR VALUABLE BACKLOTS TO PRIVATE REAL-ESTATE DEVELOPERS.

2000

THE YELLOW SCREEN METHOD IS INTRODUCED, ILLUMINATED BY POWERFUL SODIUM VAPOUR LIGHTS WHICH ARE ORANGE IN COLOUR.

1955-1960

1955THE STUDIO SYSTEM BEGINS TO DECLINE AS INDEPENDENT PRODUCTIONS AND UNDERGROUND FILM MOVEMENTS GROW IN POPULARITY, FURTHER STRENGTH-ENING THE CITYʼS REPUTATION AS A DIVERSIFIED ENTERTAINMENT CAPITAL.

AERIAL VIEWS AND THE THREE STRIP TECHNICOLOUR PROCESS ARE INTRODUCED INTO CINEMA.

1940- 1960

STUDIO GATES GAIN POPULARITY, PROVIDING SECURITY, MINIMIZING DISRUPTIONS WHILE FILMING AND CREATING AN AIR OF EXCLUSIVITY SURROUNDING THE STUDIOS, THEIR FILMS AND THEIR STAR TALENT.

INDUSTRIALIZATION THROUGH TO THE 1950S SEES THE ARCHITECTURE OF STUDIO STAGES TRANSFORM FROM LIGHT AND ETHEREAL TO ENCLOSED, MECHANICAL AND PREFABRICATED SPACES OF PRODUCTION. NEW ATTEN-TION IS PAID TO ORGANIZING RELATIONSHIPS BETWEEN SPACES OF PRODUCTION AND THE ʻASSEMBLY-LINE ̓STUDIO SYSTEM IN HOLLYWOOD GROWS TO RELEASE 750 FEATURES EACH YEAR.

THE ENTERTAINMENT INDUSTRY FOLLOWS THE FILM INDUSTRY FROM NEW YORK TO L.A., WHICH EMERGES AS A CENTRE FOR CREATIVE PROFESSIONALS.

Late 1930s

ADVANCES IN FLOODLIGHT AND SPOT-LIGHT TECHNOLOGY MAKE FOR THE FIRST BLACKED-OUT STUDIOS, ALLOW-ING SHOOTING UNAFFECTED BY CHANGING DAYLIGHTING.

1920

SILENT FILM ERA STAGES ARE OF LIGHTWEIGHT AND TEMPORARY CHARACTER, INCLUDING BARE OPEN-AIR TIMBER PLATFORMS DRAPED IN MUSLIN 20 ̓ ABOVE THE STAGE TO DIFFUSE SUNLIGHT.

EMERGING TRENDS IN FILM STUDIO CONSTRUCTION WOULD PERSIST UNTIL WWII:

- LARGER LOTS- MORE SPECIALIZED BUILDINGS- LARGER STAGES PER STUDIO- HIGHER LOT DENSITIES

1905NEW YORK BASED AMERICAN FILM INDUSTRY

LOS ANGELES BASED AMERICAN FILM INDUSTRY

THE PAINTED GLASS TECHNIQUE, COMPOSITES ADDITIONAL VISUAL INFORMA-TION ONTO ACTION FOOTAGE WHERE A LARGE PIECE OF GLASS IS USED AS A MASK BETWEEN THE CAMERA AND THE ACTORS.

THE FILM STUDIO CAN BE DESCRIBED AS A HETEROTOPIA, A DISTINCTLY MODERN KIND OF SPACE THAT EMBODIES THE KINDS OF SPATIAL EXPERIMENTS IT MAKES POSSIBLE - JUXTAPOSING SIMULATED VERSIONS OF REAL AND IMAGINED SPACE IN A SINGLE LOCATION. THEY ARE INCREDIBLY DIVERSE SITES OF CULTURAL PRODUCTION, INTERESTING TO STUDY AS THEY ARE SPACES FOR PRODUCING AND MANIPULATING SPACE. THE RESULTING TIMELINE OF THIS COURSE OF STUDY HAS SITUATED EARLY STUDIOS AND THEIR VARIOUS EVOLVING TYPES (ABOVE) AMONG THE CINEMATIC TECHNICAL ADVANCEMENTS, BUILDING TECHNOLOGIES, POLITICAL CHANGES, AND THEIR RELATIONSHIPS TO URBAN CENTRES THAT HELPED INSPIRE THEIR EARLI-EST FORMS THROUGH THE MODERN SPATIAL AND BUSINESS STUDIO ENTERPRISES OF TODAY. STUDIO AR-CHITECTURE - RARELY VISIBLE BUT ALWAYS PRESENT JUST BEYOND THE FIELD OF VISION, PLAYED A KEY ROLE IN THE HISTORY OF FILMMAKING AND FRAMING THE CITIES THAT EMERGED ALONGSIDE THE FILM INDUSTRY. STUDIO PRACTISES HAVE ALWAYS REACHED BEYOND THE WALLS OF THE STUDIO, AS ESPECIALLY LARGE STUDIOS HAD RESEARCH FACILITIES AND DEVELOPMENT LABS FOR FILM AND NON-FILM TECHNOLO-GIES AS WELL AS FACTORIES FOR MANUFACTURING THEIR DEVICES. STUDIOS THEREFORE BECAME DIVERSE AND IMPORTANT SITES OF INTERACTION BETWEEN PROFESSIONALS AND WORKERS FROM ACROSS MANY CREATIVE DISCIPLINES AND DIVERSE INDUSTRIES, SLOWLY GIVING WAY TO THE CURRENT FILM STUDIO NETWORK OF INTELLECTUAL, POLITICAL AND CULTURAL DEVELOPMENT. OUR GOAL WAS TO INVESTIGATE THE EMERGENCE OF CINEMATIC SPACE, AS A RAPIDLY EVOLVING PLACE OF CULTURAL PRODUCTION, AND SHOW THE RELATIONSHIPS FORMED ACROSS HISTORY TO TECHNOLOGY, CULTURE AND THE URBAN FABRIC, AND HOW THESE THINGS INFLUENCED CHANGES IN STUDIO SPACE. WE ANALYZED URBAN DEVELOPMENT, SPECIFICALLY SURROUNDING HOLLYWOOD, AND THE EMERGENCE OF BRANDING THE STUDIO SPACE AND HOW ITS ARCHITECTURE COMMUNICATED WITH THE PUBLIC.

A BALANCE OF TECHNOLOGICAL AND AESTHETIC ORGANIZATION OF SPACE AND ENVIRONMENTAL CON-TROL, STUDIO TYPOLOGIES WERE FIRST DERIVED FROM FUNCTIONAL NEEDS (FOR MUCH OF THIS TYPEʼS HISTORY, MEANING TO CAPTURE SUNLIGHT) AND REFLECTED ITS PREDECESSOR BUILDING TYPES OF IMAGE MANIPULATION- WHETHER THEY WERE LABORATORIES OR PHOTO STUDIOS. THE DEVELOPMENT OF STU-DIOS WERE ABOUT CREATING TWO KINDS OF SPACES - THE REAL WORLD - WITH ITS PRACTICAL SPACES FOR PRODUCTION AND SCIENTIFIC EXPERIMENTS IN ENVIRONMENTAL CONTROL - AND ITS IMAGE WHERE THE FILMS WERE DEFINED BY THE SPATIAL NATURE OF THE SPACES IN WHICH THEY WERE CREATED.

THE EARLY BLACKBOX LABORATORIES EXPERIMENTED WITH CAPTURING THE DAYLIGHT NECESSARY TO PRODUCE SOME OF THE FIRST MOVING IMAGES.

OPEN-STAGES IN GARDENS AND ON ROOFTOPS WERE DESIGNED WITH EXPERIMENTAL TRACK TECH-NOLOGIES WHICH ALLOWED HEAVY CAMERA TECHNOLOGIES SOME RANGE OF MOTION, WHILE TAKING FULL ADVANTAGE OF THE AESTHETIC OF NATURAL LIGHT. IN ATTEMPTS TO CONTROL UNWANTED ENVIRONMENTAL FACTORS, THESE SPACES OF NATURAL LIGHT WERE EVENTUALLY ENCLOSED WITHIN GREENHOUSE-LIKE EN-VIRONMENTS AND ENHANCED WITH MIRROR APPARATUSES AND PRISMATIC GLASS PANELS WHICH OFFERED INCREASED ARTISTIC CONTROL OF THE QUALITIES OF SPACE WHILE INSPIRING NEW KINDS OF SPATIAL MA-NIPULATION THROUGH THEIR FLUIDITY OF FORM

AT THE SAME TIME FILMMAKERS CONTINUED TO LEAVE THE STUDIO TO SHOOT LANDSCAPES, TAKING WITH THEM THEIR STUDIO TECHNOLOGIES AND PRACTICES, FRAMING THE OUTSIDE WORLD AS IF IT WERE JUST ANOTHER STUDIO. COLLAPSIBLE STUDIOS EMERGED AS EASTERN PRODUCTION COMPANIES SENT SATELLITE PRODUCTION UNITS TO THE SOUTHERN AND WESTERN STATES FOR THEIR LONGER DAYS AND MORE CONSISTENT SUN, THAT ALLOWED THEM TO MEET THEIR INCREASINGLY IN DEMAND PRODUCTION SCHEDULES. EVENTUALLY THE AMERICAN FILM INDUSTRY WOULD COMPLETELY RELOCATE TO HOLLYWOOD, LOS ANGELES.

THE GLASS GREENHOUSES/PHOTOGRAPHY STUDIO TYPE EMERGED BASED ON EARLIER MODES OF CULTURAL IMAGE MAKING FOUND IN TURN OF THE CENTURY PHOTOGRAPHY STUDIOS. DESPITE TURN OF THE CENTURY TECHNOLOGICAL ADVANCEMENTS, FILMMAKERS, DIRECTORS AND CRITICS OFTEN PRE-FERRED NATURAL LIGHT - WHICH COMBINED WITH THE HIGH COST OF ELECTRICITY MEANT FEW STUDIOS COULD RELY ON ELECTRIC LIGHT EXCLUSIVELY. INHABITANTS OF THE NEW METROPOLIS ALSO PREFERRED ROMANTIC NATURAL SETTINGS WHEN COMPARED AGAINST THEIR DAY-TO-DAY ARTIFICIAL ENVIRONMENTS.

THE CONTINUED IMPROVEMENT OF LIGHTING TECHNOLOGIES PUSHED DARK STUDIOS TO RISE IN POP-ULARITY OVER THE GLASS BOX TYPE, MADE EVEN MORE ATTRACTIVE BECAUSE OF A CONCRETE STUDIOS IMPRESSIVE SOUND CAPABILITIES.

THE EMERGENCE OF THE STUDIO CITY MODEL MARKED A PERIOD OF FOCUS ON THE ORGANIZATION OF STUDIO SPACE WITHIN A LARGER NETWORK OF RESOURCES AND PRODUCTION FACILITIES WHICH GREW ALONGSIDE THE ESTABLISHMENT OF THE STUDIOS THEMSELVES. PHYSICAL LAYOUTS SHAPED FILM MAKING PRACTISES BY CREATING SPATIAL RELATIONSHIPS BETWEEN DIFFERENT PHASES OF PRODUCTION. SOUND STAGES WERE MADE LARGER WITH ADVANCES IN BUILDING TECHNOLOGY ALLOWING LARGER SPANS WHICH WERE NOW POSSIBLE TO ILLUMINATE WITH LARGER LIGHTS.

THE FLEXIBILITY OF LARGER STAGES HELPED STUDIOS MEET INCREASING DEMAND FOR LONGER, MORE DETAILED NARRATIVES AS THE CAMERA WAS GIVEN MORE RANGE OF MOTION, IN A SPACE WHICH COULD ACCOMMODATE MORE COMPLEX SETS NOW ILLUMINATED WITH ELECTRICITY AND IMPROVED SPOT-LIGHT AND SOUND TECHNOLOGIES. THE RISE OF GREENSCREEN TECHNOLOGIES AND THE INCREASING AFFORDABILITY OF CGI HAS THROWN STUDIO CULTURE INTO AN EXCITING AND EXPERIMENTAL STATE REMI-NISCENT OF THE FIRST DARK LABORATORIES IN A STUDIO-CENTRIC ENVIRONMENT. HOWEVER, THE STU-DIOS, NOW OPERATING UNDER THE BUSINESS NETWORK AND PRODUCER SYSTEM HAVE OPTIONS EARLY FILMMAKERS COULD HAVE ONLY DREAMED OF, AS PRESENT-DAY PRODUCERS ARE ABLE TO CHOOSE THEIR FILMING SPACE BASED ON A RAPIDLY INCREASING SPECIALIZATION OF STUDIOS TYPES. LARGER STUDIOS NOW OPERATE AS PART OF A NETWORK OF SATELLITE LOCATIONS, SOME ACROSS MANY COUNTRIES, WITH EACH LOCATION OFFERING SPECIALIZED SERVICES OR RESOURCES. STUDIO SETTINGS ARE NOW CHOSEN BASED ON THE NEEDS OF THE FILM NARRATIVE, DIRECTOR, OR EVEN ACTORS, WHETHER IT IS KNOWN FOR CLOSE PROXIMITY TO NATURAL LANDSCAPES, LARGE SOUNDSTAGES FOR COMPLICATED SHOOTS, OR EVEN CLOSENESS TO FAMILY LIFE, PRODUCERS ARE NOW CHOOSING LOCATIONS THAT MEET THE NEEDS OF EACH UNIQUE FILM PRODUCTION.WHEREAS THESE LARGE STUDIOS CULTIVATED MOTION-PICTURE CITIES, WITH SPECIALIZED AND PURPOSE-BUILT PRODUCTION FACILITIES AND COLLECTIONS OVER TIME, SMALLER PRO-DUCTION COMPANIES, AND INDEPENDENT FILM-MAKERS ARE TAKING ADVANTAGE OF A NEW FILM STUDIO MODEL, WHERE THEY CAN “PLUG-IN” TO AN EXISTING NETWORK OF CREATIVE INDUSTRY AND RESOURCES AVAILABLE IN MAJOR CITIES SUCH AS TORONTO, LONDON, AND BERLIN.

FIRST LARGE SCALE PURPOSE-BUILT SETS FOR FILM, RATHER THAN OVERLAYING IMAGES OR AUGMENTING SCENES FILMED IN EXISTING SET-TINGS.

STUDIO CITY TYPE:ORGANIZATION, PRODUCTION, SPECIALIZATION

EARLY STUDIO FORMS: LUMINOSITY, PLASTICITY, PRECISION

BLACK-BOX LABORATORY TYPE

BACKYARD ROOFTOP

DARK STUDIO TYPE

GLASS GREENHOUSES/ PHOTOGRAPHY STUDIO TYPE

COLLAPSIBLE STUDIOS

OPEN-AIR STAGE TYPE

BEGINNINGS OF STUDIO CITIES

MODERN STUDIO CITIES

NOTE: FIRST FIVE STUDIOS DRAWN HERE AT 400X THEIR ORIGINAL SIZE IN COMPARISON TO THE LAST TWO STUDIO CITIES.

THE HISTORY OF FILM PRODUCTION

STORAGE ROOM

PAINT SHOP

CARPENTRYSHOP

SHIPPINGOFFICES

OUTDOOR STAGE

POWERPLANT

DRESSING ROOM& LAVATORIES

KITCHEN

8-SET DARKROOM

TANK

PRODUCINGSTAFF


SCENARIOWRITERS

FLAT-ROOFSTAGE

ADMINISTRATIONOFFICES

TELEPROMPTING

RIGGING

LIGHTINGTECHNICIAN

LIGHTINGDESIGN


EDITORS

ADVERTISING

OFFICESPRODUCING

STAFF

SCENARIOWRITERS

MANAGEMENT

ASSISTANTS

SCREENINGROOM

CAMERAEFFECTS

VIDEOGRAPHY

AERIALSPECIALISTS

MULT-CAMERADIRECTING

TELEVISIONSTUDIOS

SCRIPTCOSTUME

MANAGEMENT

SEGMENTPRODUCER

LIGHTING

ADVERTISEMENT

SET DESIGN

AFTER-EFFECTS

COMISSIARY

COLORIST

MOTIONGRAPHICS

COMPUTEREFFECTS

ROTOSCOPETECHNICIAN

PHOTOGRAPHYSTUDIO

FILMDEVELOPMENT

DIGITALIMAGING

STOREY-BOARDARTIST

ANIMATIONSTUDIO

ANIMATORS

GRAPHIC/ TILEDESIGN

PHOTOGRAPHYSTUDIO

WEB-DEVELOPMENT

SATELITE TRUCKOPERATION

CONCEPTARTIST

POSTPRODUCTION

RESTAURANT

AUDIO-VISUALTECHNICIAN

BOOMOPERATION

RECORDING

SOUNDMIXING

SOUNDTRANSFERS

SOUNDSERVICES

STEREOGRAPHY

VOICE-OVERDEPARTMENT

DUBBING &MIXING

PROPERTYBUILDING

PRINTSERVICES

SIGN SHOP

STUDIO SUPPLY/EXPENDABLES

SET DESIGNDEPARTMENT

DRAPERY/UPHOLSTERY

PAINT SHOP

GRIP CANVAS/DIFFUSION

PROPS

CRAFTSERVICES DEVELOPMENT/

CONSTRUCTION

DRESSINGROOM

WARDROBEBUILDING

ARSENAL SPECIALIZEDEQUIPMENT RENTAL

RESOURCES

STABLES

TRAINERS

STUNTCREW

STUNTTRAINERS

MARINESPECIALISTS

ANIMALTRAINERS

BARNS/CORRALS

RESERVOIRE

TRANSPORTATION SHIPPING

PARKING LOTS

STORAGE

MUSICEDITING

TELEVISIONDEPARTMENT

PROCESSING

INDOORSTAGE

OUTDOORSTAGE

SHOOTING

PROCESSING

STORAGE & RESOURCES

MANAGEMENT & ADMIN.

COSTUME & SETS

LIGHTING & CAMERA

TELEVISION DEPARTMENT

SPECIAL EFFECTS & ANIMATION (POST PRODUCTION)

SOUND

STUDIO(SHOOTING & PORCESSING)

STUDIO SUN&LANDURBAN CONDITION

STUDIO URBAN CONDITION1893

1896

1900

THE BLACK MARIA

FIRST BUILT SETS

STANDARDIZATONL.A. STUDIO SHOOTS

STUDIO CITY L.A.

L.A. REDEFINED

L.A. AQUEDUCT

FARMING RESIDENTS BLOW UP AQUEDUCT

FORMATION OF ʻTRUSTʼ

COLLAPSE OF ʻTRUSTʼ

THANHAUSER STUDIO

ʻDAYLIGHT FACTORYʼ STUDIOS

HOLLYWOOD SIGN

POST-PRODUCTION SOUND AND COLOUR CINEMA

STUDIO GATES AND INDUSTRIALIZATION

LIGHTWEIGHT CAMERAS

THE DEPRESSION - WWII

STUDIO SUPPLY

GLASS ROOF STUDIOS

ANIMATION DEPARTMENTS

SMALLER TV STUDIOS

T.V. STUDIOS

ROOTOP STUDIOS

OFFICE BUILDING

TALKIES & THE ʻICEBOXʼSTUDIO MODEL SHIFT IN SCOPE

YELLOW SCREEN

RISE OF L.A. INDEPENDENTS

FILME-NOIR

CREATIVE NETWORKING

FLOODLIGHTS

SILENT ERA

FOUR TRENDS

EARLY MOTION-PICTURES

BLACK-BOXLABORATORY OPEN-AIR STAGE STUDIO CORPORATION STUDIO WAREHOUSE STUDIO GATED STUDIO

STUDIO CITY NO.1 STUDIO CITY NO.2

1905 PAINTED GLASS TECHNIQUE

TECHNOLOGIES OF VIDEO DELIVERY AND IMAGING ARE INTRODUCED, INCLUDING CABLE NETWORKS, DIRECT-BROADCAST SATELLITES, AND VIDEOCASSETTES.

1980 VIDEO DELIVERY

FILMS OF UNPRECEDENTED VISUAL SOPHISTICATION ARE CREATED EACH YEAR, THANKS TO RAPIDLY IMPROVING COMPUTER ANIMATION, COMPUTER-GENERATED GRAPHICS/SPECIAL EFFECTS, AND DIGITAL CAMERA TECHNOLOGIES. GREEN SCREEN AND DVD TECHNOLOGY ARE INTRODUCED. THE COMPUTER EMERGES AS A NEW PRODUCTION UNIT IN FILM, WHILE THE INTERNET REVOLUTIONIZES WORLD-WIDE CIR-CULATION AND ACCELERATES THE DEVELOPMENT OF TODAYʼS FILM CULTURE. MINI-DV CAMERAS AND RE-DUCED COSTS OF FILM EQUIPMENT ENCOURAGE SMALL, INDEPENDENT FILMMAKERS (NOW ABLE TO GAIN AUDIENCES THROUGH THE INTERNET).

1990 VISUAL ADVANCEMENT

1894 - THE FIRST KINETOSCOPE PARLOUR OPENS IN NEW YORK CITY. ADMIS-SION WAS 25 CENTS TO A BANK OF FIVE MACHINES. ONLY ONE PERSON COULD VIEW A FILM AT A TIME.

1895 - THE LUMIÈRE BROTHERS INVENT THE CINEMATOGRAPHE - BOTH A MO-TION-PICTURE CAMERA AND A PROJECTOR. IT GENERATES THE FIRST PUBLIC MOTION-PICTURES IN PARIS.

AT THIS TIME ONE 825 ̓ REEL IN LENGTH IS 14 MINUTES OF FILM WHERE THE ONLY MEDIUM IS SPACE - NARRATIVES WERE EMPHASIZED BY CLEAR SPATIAL RELATIONSHIPS.

1890 EARLY IMAGE TECHNOLOGY

THE GREAT TRAIN ROBBERY

MISADVENTURES OF A FRENCH GENTLEMAN

MARVELOUS MELBOURNE

THE BIRTH OF A NATION

BROKENBLOSSOMS

GOLD RUSH KING KONG THE WIZARD OF OZ EASTER PARADE SINGING IN THE RAIN BEN-HUR 2001: A SPACE ODYSSEY

EASY RIDER CHINATOWN STAR WARSEPISODE IV:A NEW HOPE

E.T. THE EXTRA-TERRESTRIAL

INDIANA JONES AND THE LASTCRUSADE

THE MATRIX MONSTERS INC.

MOVIES PRODUCED IN THE U.S. PER YEAR:

34

40 47 63

440479

394

541

749741

621

911846 836

1,141 1,1461,078

1,326

1,734

2,065

2,887

2,997

T H E H I S T O R Y O F F I L M P R O D U C T I O N A N D I T S S PA T I A L E V O L U T I O N

T I M E - L I N E 3B Studio: Visual Research in collaboration with Justyna MaleszykSeptember 2015

10

GOLDEN AGE OF HOLLYWOOD 1920-1960MPPC MONOPOLY 1900-1912SILENT FILM ERA 1900-1919

STUDIO BASED MONOPOLY 1920 - PRESENTCENTRAL PRODUCER SYSTEM 1920 - PRESENT

DIRECTOR SYSTEM 1800s -1920

OFFICES

SET-DESIGNDEPARTMENT

DRESSINGROOM

RESTAURANT

WATER-TANK

INDOOR STAGES,OUTDOOR SETS,

& PROCESSING FACILITIES

FLAT-ROOFSTAGE


SCENARIOWRITERS

COMISSIARY

PRODUCINGSTAFF

STABLES

CORRALS

TRAINERS

RESERVOIRE

TRANSPORTATION

ARSENAL

WARDROBE BUILDING

RESOURCES

OFFICEBUILDING

LIGHTING

EDISONʼS REVOLVING FILM STUDIO, BUILT IN WEST ORANGE, NEW JERSEY, BECOMES THE FIRST AMERICAN MOVIE STUDIO. IT IS A KINETOGRAPHIC THEATRE, DESIGNED TO MAKE FILM STRIPS FOR THE KINETOSCOPE. ITS DARK STUDIO IS COVERED IN TAR PAPER, WITH THE SET DRAPED IN BLACK FABRIC UNDERNEATH A RETRACTABLE ROOF.

FILMS SHIFT FROM ANIMATED PHOTOGRAPHS TO NARRATIVES INVOLVING:- STOP-MOTION PHOTOGRAPHY AND- BRIEF MULTI-SCENE FILMS (WHERE THE ONLY MEDIUM IS SPACE).

STAR FILMʼS LE VOYAGE DANS LA LUNE IS THE FIRST FILM TO BE DISTRIB-UTED INTERNATIONALLY.

1900

1900 - 1910

THE MAJOR FILM STUDIO TYPE SPREADS AS A PHYSICALLY SECURE COMPOUND WITH A HIGH WALL. MOVEMENT IN AND OUT OF THE STUDIO IS CONTROLLED AT THE GATES. WITHIN THE PREMIS-ES ARE MULTIPLE SOUND STAGES, A BACKLOT, AND OFFICES.

1950PRODUCTION COMPANIES, SUCH AS CHICAGOʼS SELIG POLYSCOPE, BEGIN TO MOVE PRODUCTION UNITS TO WARMER CLIMATES FOR CONTINUED PRODUCTION DURING THE WINTER MONTHS. THESE TEMPORARY STU-DIOS ARE THE PRECURSERS TO SELIG POLYSCOPEʼSFIRST PERMANENT STUDIOS, ESTABLISHED IN L.A.

1907

THE AMERICAN FILM INDUSTRY RAPIDLY BEGINS TO MOVE TO CALIFORNIA TO ACCOMMODATE YEAR-ROUND PRODUCTION, SETTLING IN A SMALL INDUSTRIAL TOWN TURNED LOS ANGELES SUBURB, CALLED HOLLYWOOD. ARRIVING COMPANIES BUY TENS OF THOUSANDS OF ACRES OF LAND FOR THEIR STUDIOS AND BACK-LOTS.15+ INDEPENDENT STUDIOS SET UP IN L.A. PROP-AGATING THE STUDIO-CITY TYPE.

1912

L.A. IS REORGANIZED AROUND ITS NETWORK OF FREEWAYS.

ITS GLOBAL AND POLITICAL IMPORTANCE IS STRENGTHENED.

PHOTOGRAPHIC COLOUR ENTERS THE CINEMA. FROM THE MID 1930S THROUGH TO THE 1940S PEOPLE HAND-COLOUR EACH FRAME.

THE OWENS VALLEY AQUEDUCT SYSTEM IS COMPLETED, USHERING IN A PERIOD OF EXPLOSIVE REGIONAL DEVELOPMENT THROUGH WWII. CONSTRUCTION OF THE FIRST L.A. AQUEDUCT EFFECTIVELY DE-STROYS THE SURROUNDING OWENS LAKE ECOSYSTEM AND ITS FARMING POTENTIAL.

1913

FARMING RESIDENTS ALLEGEDLY BLOW UP THE L.A. AQUEDUCT, SEIZING CONTROL OF A CRITICAL GATE LATER THAT SAME YEAR. ACTS OF SABOTAGE CONTINUE UNTIL 1928.

1924

THE MOST POPULAR STUDIOS IN THE U.S FORM THE MOTION PICTURE PATENTS COMPANY (MPPC OR THE TRUST), TO CREATE AN EXCLUSIVE CONTRACT WITH THE EASTMAN KODAK COMPANY FOR THE SUPPLY OF RAW FILM STOCK.

THE AIM IS TO CONTROL THE INDUSTRY BY SELLING RAW FILM STOCK TO ONLY THOSE WHO POSSESS LICENSES TO MINIMIZE THE CREATION OF NEW COMPETITION IN THE FILM INDUSTRY.

1908

U.S. JUSTICE DEPARTMENT WINS A LAWSUIT AGAINST THE MPPC FOR “RESTRAINT OF TRADE,” MEANWHILE IT IS UNABLE TO SLOW INDEPENDENT DISTRIBUTORS AND EXHIBITORS FROM ENTERING THE MARKET.

1912

THANHAUSER FILM CORPORTATION IS FOUNDED IN NEW RO-CHELLE, NEW YORK. THE ORIGINAL BUILDING IS DESTROYED BY FIRE, AND THE STUDIO ILLUSTRATED ABOVE IS THE 1913 RE-BUILD. THREE OR MORE SCENES OF SILENT FILMS COULD BE SHOT UNDER THE GLASS ROOF STUDIO COMPLEX.

SELIG POLYSCOPEʼS CHICAGO STUDIO FEATURES TWO STAGES IN GLASS BUILDINGS WHICH USE BRIGHT, DIFFUSED SUNLIGHT TO ILLUMINATE THE MAJORITY OF THE SPACE, SUPPLEMENTED WITH SOME ELECTRIC LIGHTING. NEW IRON AND GLASS BUILDING TECHNOLOGIES ARE EMPLOYED TO CREATE LARGER SPANS, CREATING MORE STUDIO SPACE UNENCUMBERED BY SUPPORT-COLUMNS AND THEIR SHADOWS. EMPHASIS IS PLACED ON BUILDING A RELATIONSHIP WITH THE PUBLIC AND CREATING A RECOGNIZABLE CORPORATE IMAGE FOR THE STUDIO AT STREET LEVEL.

1909

THE L.A. AQUEDUCT SYSTEM IS EXPANDED, WHILE THE FAMED HOLLYWOOD(LAND) SIGN IS ERECTED TO PUBLICIZE AN UPSCALE NEW HOUSING DEVELOP-MENT. MOVIE-INSPIRED HOTELS AND APARTMENTS FILL IN THE URBAN FABRIC ALONG LARGE BOULE-VARDS.

1923

DARK STUDIO RESURGENCE1930

FILM COULD BE PRODUCED SEPARATELY AND THEN DUBBED WITH SOUND LATER, ALLOWING FILMMAKERS TO MIX DIFFERENT TRACKS. POST SYNCHRONIZATION AND MULTIPLE-CHANNEL MIXING BECOMES STANDARD INDUSTRY PRACTISE, AND STUDIOS NEED TO BUILD SEPARATE FACILI-TIES INCLUDING SOUND ROOMS.

1930s

ʻBLIMP ̓SOUNDPROOF CAMERA HOUSINGS, BOOM CRANES, AND STEER-ABLE DOLLIES, ALLOW FILMMAKERS TO LEAVE THE ICE BOXES AND MOVE THE CAMERA IN SPACE.

1931

HOLLYWOOD EXPERIENCES ITS MOST STABLE YEARS YET, AS TWO THIRDS OF AMERICANS REPORT GOING TO THE MOVIES AT LEAST ONCE A WEEK.

1929


ON-SITE WATER RESERVOIR 5. INDEPENDANT PRODUCER SYSTEM

INDEPENDANT PRODUCER

SOURCED STUDIOS

WITH THE INFLUX OF TELEVISION WRITING, TELEVISION PROGRAM-MING GAINS POPULARITY, AND FILM STUDIOS ARE INCREASINGLY USED TO FILM THEM. STUDIO FACILITIES DIVIDE LARGE SOUNDSTAGES INTO SMALLER T.V. STUDIOS OR BUILD NEW STUDIOS SCALED TO THE SIZE OF STANDARD T.V. PROGRAMMING.

1954

AMERICAN MUTOSCOPE AND BIOGRAPHʼS STUDIO IS BUILT ON TOP OF THEIR OFFICE BUILDING.


ON-SITE POWER PLANT

POST-SOUND INTRODUCTION CAUSES GLASS SOUND STAGES TO QUICKLY FALL OUT OF FASHION IN FAVOUR OF CONCRETE STUDIO BUILDINGS. A NEW ERA OF STUDIO PREFERENCE OVER LOCATION SHOOTING MARKS A WITHDRAWAL FROM THE ʻREAL WORLD. ̓ PHONOFILM MAKES IT POSSIBLE TO SHOOT ʻTALKIES. ̓ PRODUC-

TION MOVES TO SILENT INDOOR ENVIRONMENTS. CAMERAS AND THEIR OPERATORS ARE ENCLOSED IN SOUNDPROOF GLASS-PAN-ELED BOXES REFERRED TO AS ICEBOXES. EARLY FILMS WITH SOUND ARE STATIC GIVEN THAT FILMMAKERS CANʼT TILT THE CAMERA BEYOND 30 DEGREES.

1919

SINGLE STUDIO

SCRIPT IS WRITTEN

DIRECTOR HIRES PRODUCERS & MANAGEMENT STAFF

CASTING &SET DESIGN

CAST REHEARSALS &SET CONSTRUCTION

SHOOTING

EDITING & MATTING

ADVERTISEMENT

PUBLIC RELEASETO THEATRES

STUDIO SUN&LAND

19 MILES

NEW YORK CITY

WEST ORANGE, NEW JERSEY

1000x SMALLER POPULATION THAN 20TH CENTURY NEW YORK CITY

HOLLYWOOD

RAPID INCREASE IN POPULATION

TORONTO

INSERTED INTO HIGH POPULATION AREA

THE THREE MAPS AT THE CONCLUSION OF THE TIMELINE DEPICT THE RELATIONSHIP BETWEEN THE STUDIO, NATURAL RESOURCES, AND URBANIZATION. WE HAVE DIVIDED THE STUDIO`S PROGRESSION INTO THREE TIME FRAMES: 1900-1915, 1915-LATE 20TH CENTURY, AND THE LATE 20TH CENTURY – PRESENT DAY.

THE FIRST MAP SHOWS THE STUDIO'S GEOGRAPHICAL LOCATION AT THE BEGINNING OF THE 20TH CENTURY. PIONEER STUDIOS, LIKE THE BLACK MARIA, WERE GENERALLY ERECTED IN RURAL COMMUNITIES ON AFFORDABLE PLOTS OF LAND. IN EXAMPLE, THE BLACK MARIA WAS PLACED IN WEST ORANGE, NEW JERSEY – A SMALL TOWN WITH A POPULATION 1000 TIMES SMALLER THAN ITS NEAREST CITY, NEW YORK CITY. IN THE EARLY 1900S FILMMAKERS WERE ATTRACTED TO INEXPENSIVE AVAILABLE LAND, AND NATURAL CONDITIONS THAT ALLOWED FOR LARGE SUN EXPOSURE AS THIS WAS THEIR ONLY

SOURCE OF LIGHT. CONNECTIONS TO THE CITY WERE NOT NECES-SARY, AND DID NOT CONSTITUTE A FACTOR IN GEOGRAPHICAL LOCA-TION.

NEAR 1915, THE CINEMA GAINED CULTURAL POPULARITY AND PRO-DUCTION NEEDS INCREASED, SO STUDIOS BEGAN TO MOVE SOUTH FOR THE WINTER FILMING SEASON. AS SEEN IN THE GRAPHIC, MANY STUDIOS WERE ATTRACTED TO LOS ANGELES FOR ITS YEAR-ROUND FILMING CONDITIONS AND EASILY ADAPTABLE, DIVERSE NATURAL EN-VIRONMENT. WITH TIME, STUDIOS PERMANENTLY ESTABLISHED THEMSELVES IN LOS ANGELES. A NEW ACQUEDUCT WAS CON-STRUCTED, FUELING THE GROWING BUSINESS, AND THE FAMED HOL-LYWOODLAND SIGN WAS ERECTED TO PUBLICIZE AN UPSCALE NEW HOUSING DEVELOPMENT SOON AFTER. LOT PRICES WERE INFLATED AS HOLLYWOOD GAINED PRESTIGE. AS SEEN IN THE DIAGRAM, THE

FILM INDUSTRY WAS FIRST ATTRACTED TO LOS ANGELES PURELY BASED ON ITS NATURAL CONDITIONS, BUT IN TURN ATTRACTED A RAPID URBANIZATION OF HOLLYWOOD FOLLOWING THE INDUSTRY`S CULTURAL BOOM.

THE LAST DIAGRAM DISPLAYS THE CURRENT SCENARIO OF STUDIO LOCATIONS. UNLIKE IN ITS BEGINNING YEARS, THE STUDIO NO LONGER ONLY NEEDS SUNLIGHT AND FREE LAND TO FUNCTION. CUR-RENT MOTION PICTURE COMPANIES OPERATE ON NUMEROUS SITES, SHARING INFORMATION AND TOOLS ON A GLOBAL NETWORK. MOST OFTEN, STUDIOS ARE `PLUGGED IN` INTO CURRENTLY URBANIZED SITES, SO THAT THEY CAN PROFIT FROM EXISTING MODERN RE-SOURCES. WHERE IN THE PREVIOUS PERIOD, THE STUDIO ATTRACT-ED URBANIZATION, THE URBANIZATION NOW ATTRACTS THE STUDIO.

MAJOR FILM STUDIOS CONTINUE TO DRASTICALLY INCREASE IN SCOPE AND SCALE. THEY BEGIN TO TRANSFORM INTO FINANCING AND DISTRIBUTION ENTITIES, RELYING ON PRO-DUCTION COMPANIES TO MANAGE THE CREATIVE AND PRODUCTION DETAILS OF THEIR FILMS. SOME STUDIOS BEGIN TO SELL LARGE PIECES OF THEIR VALUABLE BACKLOTS TO PRIVATE REAL-ESTATE DEVELOPERS.

2000

THE YELLOW SCREEN METHOD IS INTRODUCED, ILLUMINATED BY POWERFUL SODIUM VAPOUR LIGHTS WHICH ARE ORANGE IN COLOUR.

1955-1960

1955THE STUDIO SYSTEM BEGINS TO DECLINE AS INDEPENDENT PRODUCTIONS AND UNDERGROUND FILM MOVEMENTS GROW IN POPULARITY, FURTHER STRENGTH-ENING THE CITYʼS REPUTATION AS A DIVERSIFIED ENTERTAINMENT CAPITAL.

AERIAL VIEWS AND THE THREE STRIP TECHNICOLOUR PROCESS ARE INTRODUCED INTO CINEMA.

1940- 1960

STUDIO GATES GAIN POPULARITY, PROVIDING SECURITY, MINIMIZING DISRUPTIONS WHILE FILMING AND CREATING AN AIR OF EXCLUSIVITY SURROUNDING THE STUDIOS, THEIR FILMS AND THEIR STAR TALENT.

INDUSTRIALIZATION THROUGH TO THE 1950S SEES THE ARCHITECTURE OF STUDIO STAGES TRANSFORM FROM LIGHT AND ETHEREAL TO ENCLOSED, MECHANICAL AND PREFABRICATED SPACES OF PRODUCTION. NEW ATTEN-TION IS PAID TO ORGANIZING RELATIONSHIPS BETWEEN SPACES OF PRODUCTION AND THE ʻASSEMBLY-LINE ̓STUDIO SYSTEM IN HOLLYWOOD GROWS TO RELEASE 750 FEATURES EACH YEAR.

THE ENTERTAINMENT INDUSTRY FOLLOWS THE FILM INDUSTRY FROM NEW YORK TO L.A., WHICH EMERGES AS A CENTRE FOR CREATIVE PROFESSIONALS.

Late 1930s

ADVANCES IN FLOODLIGHT AND SPOT-LIGHT TECHNOLOGY MAKE FOR THE FIRST BLACKED-OUT STUDIOS, ALLOW-ING SHOOTING UNAFFECTED BY CHANGING DAYLIGHTING.

1920

SILENT FILM ERA STAGES ARE OF LIGHTWEIGHT AND TEMPORARY CHARACTER, INCLUDING BARE OPEN-AIR TIMBER PLATFORMS DRAPED IN MUSLIN 20 ̓ ABOVE THE STAGE TO DIFFUSE SUNLIGHT.

EMERGING TRENDS IN FILM STUDIO CONSTRUCTION WOULD PERSIST UNTIL WWII:

- LARGER LOTS- MORE SPECIALIZED BUILDINGS- LARGER STAGES PER STUDIO- HIGHER LOT DENSITIES

1905NEW YORK BASED AMERICAN FILM INDUSTRY

LOS ANGELES BASED AMERICAN FILM INDUSTRY

THE PAINTED GLASS TECHNIQUE, COMPOSITES ADDITIONAL VISUAL INFORMA-TION ONTO ACTION FOOTAGE WHERE A LARGE PIECE OF GLASS IS USED AS A MASK BETWEEN THE CAMERA AND THE ACTORS.

THE FILM STUDIO CAN BE DESCRIBED AS A HETEROTOPIA, A DISTINCTLY MODERN KIND OF SPACE THAT EMBODIES THE KINDS OF SPATIAL EXPERIMENTS IT MAKES POSSIBLE - JUXTAPOSING SIMULATED VERSIONS OF REAL AND IMAGINED SPACE IN A SINGLE LOCATION. THEY ARE INCREDIBLY DIVERSE SITES OF CULTURAL PRODUCTION, INTERESTING TO STUDY AS THEY ARE SPACES FOR PRODUCING AND MANIPULATING SPACE. THE RESULTING TIMELINE OF THIS COURSE OF STUDY HAS SITUATED EARLY STUDIOS AND THEIR VARIOUS EVOLVING TYPES (ABOVE) AMONG THE CINEMATIC TECHNICAL ADVANCEMENTS, BUILDING TECHNOLOGIES, POLITICAL CHANGES, AND THEIR RELATIONSHIPS TO URBAN CENTRES THAT HELPED INSPIRE THEIR EARLI-EST FORMS THROUGH THE MODERN SPATIAL AND BUSINESS STUDIO ENTERPRISES OF TODAY. STUDIO AR-CHITECTURE - RARELY VISIBLE BUT ALWAYS PRESENT JUST BEYOND THE FIELD OF VISION, PLAYED A KEY ROLE IN THE HISTORY OF FILMMAKING AND FRAMING THE CITIES THAT EMERGED ALONGSIDE THE FILM INDUSTRY. STUDIO PRACTISES HAVE ALWAYS REACHED BEYOND THE WALLS OF THE STUDIO, AS ESPECIALLY LARGE STUDIOS HAD RESEARCH FACILITIES AND DEVELOPMENT LABS FOR FILM AND NON-FILM TECHNOLO-GIES AS WELL AS FACTORIES FOR MANUFACTURING THEIR DEVICES. STUDIOS THEREFORE BECAME DIVERSE AND IMPORTANT SITES OF INTERACTION BETWEEN PROFESSIONALS AND WORKERS FROM ACROSS MANY CREATIVE DISCIPLINES AND DIVERSE INDUSTRIES, SLOWLY GIVING WAY TO THE CURRENT FILM STUDIO NETWORK OF INTELLECTUAL, POLITICAL AND CULTURAL DEVELOPMENT. OUR GOAL WAS TO INVESTIGATE THE EMERGENCE OF CINEMATIC SPACE, AS A RAPIDLY EVOLVING PLACE OF CULTURAL PRODUCTION, AND SHOW THE RELATIONSHIPS FORMED ACROSS HISTORY TO TECHNOLOGY, CULTURE AND THE URBAN FABRIC, AND HOW THESE THINGS INFLUENCED CHANGES IN STUDIO SPACE. WE ANALYZED URBAN DEVELOPMENT, SPECIFICALLY SURROUNDING HOLLYWOOD, AND THE EMERGENCE OF BRANDING THE STUDIO SPACE AND HOW ITS ARCHITECTURE COMMUNICATED WITH THE PUBLIC.

A BALANCE OF TECHNOLOGICAL AND AESTHETIC ORGANIZATION OF SPACE AND ENVIRONMENTAL CON-TROL, STUDIO TYPOLOGIES WERE FIRST DERIVED FROM FUNCTIONAL NEEDS (FOR MUCH OF THIS TYPEʼS HISTORY, MEANING TO CAPTURE SUNLIGHT) AND REFLECTED ITS PREDECESSOR BUILDING TYPES OF IMAGE MANIPULATION- WHETHER THEY WERE LABORATORIES OR PHOTO STUDIOS. THE DEVELOPMENT OF STU-DIOS WERE ABOUT CREATING TWO KINDS OF SPACES - THE REAL WORLD - WITH ITS PRACTICAL SPACES FOR PRODUCTION AND SCIENTIFIC EXPERIMENTS IN ENVIRONMENTAL CONTROL - AND ITS IMAGE WHERE THE FILMS WERE DEFINED BY THE SPATIAL NATURE OF THE SPACES IN WHICH THEY WERE CREATED.

THE EARLY BLACKBOX LABORATORIES EXPERIMENTED WITH CAPTURING THE DAYLIGHT NECESSARY TO PRODUCE SOME OF THE FIRST MOVING IMAGES.

OPEN-STAGES IN GARDENS AND ON ROOFTOPS WERE DESIGNED WITH EXPERIMENTAL TRACK TECH-NOLOGIES WHICH ALLOWED HEAVY CAMERA TECHNOLOGIES SOME RANGE OF MOTION, WHILE TAKING FULL ADVANTAGE OF THE AESTHETIC OF NATURAL LIGHT. IN ATTEMPTS TO CONTROL UNWANTED ENVIRONMENTAL FACTORS, THESE SPACES OF NATURAL LIGHT WERE EVENTUALLY ENCLOSED WITHIN GREENHOUSE-LIKE EN-VIRONMENTS AND ENHANCED WITH MIRROR APPARATUSES AND PRISMATIC GLASS PANELS WHICH OFFERED INCREASED ARTISTIC CONTROL OF THE QUALITIES OF SPACE WHILE INSPIRING NEW KINDS OF SPATIAL MA-NIPULATION THROUGH THEIR FLUIDITY OF FORM

AT THE SAME TIME FILMMAKERS CONTINUED TO LEAVE THE STUDIO TO SHOOT LANDSCAPES, TAKING WITH THEM THEIR STUDIO TECHNOLOGIES AND PRACTICES, FRAMING THE OUTSIDE WORLD AS IF IT WERE JUST ANOTHER STUDIO. COLLAPSIBLE STUDIOS EMERGED AS EASTERN PRODUCTION COMPANIES SENT SATELLITE PRODUCTION UNITS TO THE SOUTHERN AND WESTERN STATES FOR THEIR LONGER DAYS AND MORE CONSISTENT SUN, THAT ALLOWED THEM TO MEET THEIR INCREASINGLY IN DEMAND PRODUCTION SCHEDULES. EVENTUALLY THE AMERICAN FILM INDUSTRY WOULD COMPLETELY RELOCATE TO HOLLYWOOD, LOS ANGELES.

THE GLASS GREENHOUSES/PHOTOGRAPHY STUDIO TYPE EMERGED BASED ON EARLIER MODES OF CULTURAL IMAGE MAKING FOUND IN TURN OF THE CENTURY PHOTOGRAPHY STUDIOS. DESPITE TURN OF THE CENTURY TECHNOLOGICAL ADVANCEMENTS, FILMMAKERS, DIRECTORS AND CRITICS OFTEN PRE-FERRED NATURAL LIGHT - WHICH COMBINED WITH THE HIGH COST OF ELECTRICITY MEANT FEW STUDIOS COULD RELY ON ELECTRIC LIGHT EXCLUSIVELY. INHABITANTS OF THE NEW METROPOLIS ALSO PREFERRED ROMANTIC NATURAL SETTINGS WHEN COMPARED AGAINST THEIR DAY-TO-DAY ARTIFICIAL ENVIRONMENTS.

THE CONTINUED IMPROVEMENT OF LIGHTING TECHNOLOGIES PUSHED DARK STUDIOS TO RISE IN POP-ULARITY OVER THE GLASS BOX TYPE, MADE EVEN MORE ATTRACTIVE BECAUSE OF A CONCRETE STUDIOS IMPRESSIVE SOUND CAPABILITIES.

THE EMERGENCE OF THE STUDIO CITY MODEL MARKED A PERIOD OF FOCUS ON THE ORGANIZATION OF STUDIO SPACE WITHIN A LARGER NETWORK OF RESOURCES AND PRODUCTION FACILITIES WHICH GREW ALONGSIDE THE ESTABLISHMENT OF THE STUDIOS THEMSELVES. PHYSICAL LAYOUTS SHAPED FILM MAKING PRACTISES BY CREATING SPATIAL RELATIONSHIPS BETWEEN DIFFERENT PHASES OF PRODUCTION. SOUND STAGES WERE MADE LARGER WITH ADVANCES IN BUILDING TECHNOLOGY ALLOWING LARGER SPANS WHICH WERE NOW POSSIBLE TO ILLUMINATE WITH LARGER LIGHTS.

THE FLEXIBILITY OF LARGER STAGES HELPED STUDIOS MEET INCREASING DEMAND FOR LONGER, MORE DETAILED NARRATIVES AS THE CAMERA WAS GIVEN MORE RANGE OF MOTION, IN A SPACE WHICH COULD ACCOMMODATE MORE COMPLEX SETS NOW ILLUMINATED WITH ELECTRICITY AND IMPROVED SPOT-LIGHT AND SOUND TECHNOLOGIES. THE RISE OF GREENSCREEN TECHNOLOGIES AND THE INCREASING AFFORDABILITY OF CGI HAS THROWN STUDIO CULTURE INTO AN EXCITING AND EXPERIMENTAL STATE REMI-NISCENT OF THE FIRST DARK LABORATORIES IN A STUDIO-CENTRIC ENVIRONMENT. HOWEVER, THE STU-DIOS, NOW OPERATING UNDER THE BUSINESS NETWORK AND PRODUCER SYSTEM HAVE OPTIONS EARLY FILMMAKERS COULD HAVE ONLY DREAMED OF, AS PRESENT-DAY PRODUCERS ARE ABLE TO CHOOSE THEIR FILMING SPACE BASED ON A RAPIDLY INCREASING SPECIALIZATION OF STUDIOS TYPES. LARGER STUDIOS NOW OPERATE AS PART OF A NETWORK OF SATELLITE LOCATIONS, SOME ACROSS MANY COUNTRIES, WITH EACH LOCATION OFFERING SPECIALIZED SERVICES OR RESOURCES. STUDIO SETTINGS ARE NOW CHOSEN BASED ON THE NEEDS OF THE FILM NARRATIVE, DIRECTOR, OR EVEN ACTORS, WHETHER IT IS KNOWN FOR CLOSE PROXIMITY TO NATURAL LANDSCAPES, LARGE SOUNDSTAGES FOR COMPLICATED SHOOTS, OR EVEN CLOSENESS TO FAMILY LIFE, PRODUCERS ARE NOW CHOOSING LOCATIONS THAT MEET THE NEEDS OF EACH UNIQUE FILM PRODUCTION.WHEREAS THESE LARGE STUDIOS CULTIVATED MOTION-PICTURE CITIES, WITH SPECIALIZED AND PURPOSE-BUILT PRODUCTION FACILITIES AND COLLECTIONS OVER TIME, SMALLER PRO-DUCTION COMPANIES, AND INDEPENDENT FILM-MAKERS ARE TAKING ADVANTAGE OF A NEW FILM STUDIO MODEL, WHERE THEY CAN “PLUG-IN” TO AN EXISTING NETWORK OF CREATIVE INDUSTRY AND RESOURCES AVAILABLE IN MAJOR CITIES SUCH AS TORONTO, LONDON, AND BERLIN.

FIRST LARGE SCALE PURPOSE-BUILT SETS FOR FILM, RATHER THAN OVERLAYING IMAGES OR AUGMENTING SCENES FILMED IN EXISTING SET-TINGS.

STUDIO CITY TYPE:ORGANIZATION, PRODUCTION, SPECIALIZATION

EARLY STUDIO FORMS: LUMINOSITY, PLASTICITY, PRECISION

BLACK-BOX LABORATORY TYPE

BACKYARD ROOFTOP

DARK STUDIO TYPE

GLASS GREENHOUSES/ PHOTOGRAPHY STUDIO TYPE

COLLAPSIBLE STUDIOS

OPEN-AIR STAGE TYPE

BEGINNINGS OF STUDIO CITIES

MODERN STUDIO CITIES

NOTE: FIRST FIVE STUDIOS DRAWN HERE AT 400X THEIR ORIGINAL SIZE IN COMPARISON TO THE LAST TWO STUDIO CITIES.

THE HISTORY OF FILM PRODUCTION

STORAGE ROOM

PAINT SHOP

CARPENTRYSHOP

SHIPPINGOFFICES

OUTDOOR STAGE

POWERPLANT

DRESSING ROOM& LAVATORIES

KITCHEN

8-SET DARKROOM

TANK

PRODUCINGSTAFF


SCENARIOWRITERS

FLAT-ROOFSTAGE

ADMINISTRATIONOFFICES

TELEPROMPTING

RIGGING

LIGHTINGTECHNICIAN

LIGHTINGDESIGN


EDITORS

ADVERTISING

OFFICESPRODUCING

STAFF

SCENARIOWRITERS

MANAGEMENT

ASSISTANTS

SCREENINGROOM

CAMERAEFFECTS

VIDEOGRAPHY

AERIALSPECIALISTS

MULT-CAMERADIRECTING

TELEVISIONSTUDIOS

SCRIPTCOSTUME

MANAGEMENT

SEGMENTPRODUCER

LIGHTING

ADVERTISEMENT

SET DESIGN

AFTER-EFFECTS

COMISSIARY

COLORIST

MOTIONGRAPHICS

COMPUTEREFFECTS

ROTOSCOPETECHNICIAN

PHOTOGRAPHYSTUDIO

FILMDEVELOPMENT

DIGITALIMAGING

STOREY-BOARDARTIST

ANIMATIONSTUDIO

ANIMATORS

GRAPHIC/ TILEDESIGN

PHOTOGRAPHYSTUDIO

WEB-DEVELOPMENT

SATELITE TRUCKOPERATION

CONCEPTARTIST

POSTPRODUCTION

RESTAURANT

AUDIO-VISUALTECHNICIAN

BOOMOPERATION

RECORDING

SOUNDMIXING

SOUNDTRANSFERS

SOUNDSERVICES

STEREOGRAPHY

VOICE-OVERDEPARTMENT

DUBBING &MIXING

PROPERTYBUILDING

PRINTSERVICES

SIGN SHOP

STUDIO SUPPLY/EXPENDABLES

SET DESIGNDEPARTMENT

DRAPERY/UPHOLSTERY

PAINT SHOP

GRIP CANVAS/DIFFUSION

PROPS

CRAFTSERVICES DEVELOPMENT/

CONSTRUCTION

DRESSINGROOM

WARDROBEBUILDING

ARSENAL SPECIALIZEDEQUIPMENT RENTAL

RESOURCES

STABLES

TRAINERS

STUNTCREW

STUNTTRAINERS

MARINESPECIALISTS

ANIMALTRAINERS

BARNS/CORRALS

RESERVOIRE

TRANSPORTATION SHIPPING

PARKING LOTS

STORAGE

MUSICEDITING

TELEVISIONDEPARTMENT

PROCESSING

INDOORSTAGE

OUTDOORSTAGE

SHOOTING

PROCESSING

STORAGE & RESOURCES

MANAGEMENT & ADMIN.

COSTUME & SETS

LIGHTING & CAMERA

TELEVISION DEPARTMENT

SPECIAL EFFECTS & ANIMATION (POST PRODUCTION)

SOUND

STUDIO(SHOOTING & PORCESSING)

STUDIO SUN&LANDURBAN CONDITION

STUDIO URBAN CONDITION1893

1896

1900

THE BLACK MARIA

FIRST BUILT SETS

STANDARDIZATONL.A. STUDIO SHOOTS

STUDIO CITY L.A.

L.A. REDEFINED

L.A. AQUEDUCT

FARMING RESIDENTS BLOW UP AQUEDUCT

FORMATION OF ʻTRUSTʼ

COLLAPSE OF ʻTRUSTʼ

THANHAUSER STUDIO

ʻDAYLIGHT FACTORYʼ STUDIOS

HOLLYWOOD SIGN

POST-PRODUCTION SOUND AND COLOUR CINEMA

STUDIO GATES AND INDUSTRIALIZATION

LIGHTWEIGHT CAMERAS

THE DEPRESSION - WWII

STUDIO SUPPLY

GLASS ROOF STUDIOS

ANIMATION DEPARTMENTS

SMALLER TV STUDIOS

T.V. STUDIOS

ROOTOP STUDIOS

OFFICE BUILDING

TALKIES & THE ʻICEBOXʼSTUDIO MODEL SHIFT IN SCOPE

YELLOW SCREEN

RISE OF L.A. INDEPENDENTS

FILME-NOIR

CREATIVE NETWORKING

FLOODLIGHTS

SILENT ERA

FOUR TRENDS

EARLY MOTION-PICTURES

BLACK-BOXLABORATORY OPEN-AIR STAGE STUDIO CORPORATION STUDIO WAREHOUSE STUDIO GATED STUDIO

STUDIO CITY NO.1 STUDIO CITY NO.2

1905 PAINTED GLASS TECHNIQUE

TECHNOLOGIES OF VIDEO DELIVERY AND IMAGING ARE INTRODUCED, INCLUDING CABLE NETWORKS, DIRECT-BROADCAST SATELLITES, AND VIDEOCASSETTES.

1980 VIDEO DELIVERY

FILMS OF UNPRECEDENTED VISUAL SOPHISTICATION ARE CREATED EACH YEAR, THANKS TO RAPIDLY IMPROVING COMPUTER ANIMATION, COMPUTER-GENERATED GRAPHICS/SPECIAL EFFECTS, AND DIGITAL CAMERA TECHNOLOGIES. GREEN SCREEN AND DVD TECHNOLOGY ARE INTRODUCED. THE COMPUTER EMERGES AS A NEW PRODUCTION UNIT IN FILM, WHILE THE INTERNET REVOLUTIONIZES WORLD-WIDE CIR-CULATION AND ACCELERATES THE DEVELOPMENT OF TODAYʼS FILM CULTURE. MINI-DV CAMERAS AND RE-DUCED COSTS OF FILM EQUIPMENT ENCOURAGE SMALL, INDEPENDENT FILMMAKERS (NOW ABLE TO GAIN AUDIENCES THROUGH THE INTERNET).

1990 VISUAL ADVANCEMENT

1894 - THE FIRST KINETOSCOPE PARLOUR OPENS IN NEW YORK CITY. ADMIS-SION WAS 25 CENTS TO A BANK OF FIVE MACHINES. ONLY ONE PERSON COULD VIEW A FILM AT A TIME.

1895 - THE LUMIÈRE BROTHERS INVENT THE CINEMATOGRAPHE - BOTH A MO-TION-PICTURE CAMERA AND A PROJECTOR. IT GENERATES THE FIRST PUBLIC MOTION-PICTURES IN PARIS.

AT THIS TIME ONE 825 ̓ REEL IN LENGTH IS 14 MINUTES OF FILM WHERE THE ONLY MEDIUM IS SPACE - NARRATIVES WERE EMPHASIZED BY CLEAR SPATIAL RELATIONSHIPS.

1890 EARLY IMAGE TECHNOLOGY

THE GREAT TRAIN ROBBERY

MISADVENTURES OF A FRENCH GENTLEMAN

MARVELOUS MELBOURNE

THE BIRTH OF A NATION

BROKENBLOSSOMS

GOLD RUSH KING KONG THE WIZARD OF OZ EASTER PARADE SINGING IN THE RAIN BEN-HUR 2001: A SPACE ODYSSEY

EASY RIDER CHINATOWN STAR WARSEPISODE IV:A NEW HOPE

E.T. THE EXTRA-TERRESTRIAL

INDIANA JONES AND THE LASTCRUSADE

THE MATRIX MONSTERS INC.

MOVIES PRODUCED IN THE U.S. PER YEAR:

34

40 47 63

440479

394

541

749741

621

911846 836

1,141 1,1461,078

1,326

1,734

2,065

2,887

2,997

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Executive Producer: Dr. Tracey Eve Winton Producer: Jason McMillan Director: Shannon Kennelly

http://waterlooarchitecture.com/bridge/blog/2015/01/14/muse-play/

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C R E A T I N G A N D F A B R I C A T I N G R E A L I T I E S , W H E R E T H E U N K N O W N I S N O T S O M E T H I N G T H A T L I E S O U T S I D E T H E C I T Y, B U T W I T H I N O U R M I N D S

M U S E in collaboration with the entire Waterloo Architecture Class of 20172B Iconography Play It is New York City, 1906, with all the wonder and wealth of the new American aristocracy. But

beneath the city’s gilded surface simmers a volatile and frenzied world - a world fueled by raw impulse, obsession, and sensuality. This is a story of doomed love constructed like the fevered and fragmented images created in the imagination; at its centre, the artist’s model and muse, Evelyn Nesbitt. She inspires desire from the richest man in America, Harry Thaw, New York’s most famous architect, Stanford White, and a young artist, John Barrymore. The players in this game are moving sculptures: proto-architecture that re-interprets form by creating and fabricating realities, where the unknown is not something that lies outside the city, but within our minds.

http://waterlooarchitecture.com/bridge/blog/2015/01/14/muse-play/

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It is New York City, 1906, with all the wonder and wealth of the new American aristocracy. But beneath the city’s gilded surface simmers a volatile and frenzied world - a world fueled by raw impulse, obsession, and sensuality. This is a story of doomed love constructed like the fevered and fragmented images created in the imagination; at its centre, the artist’s model and muse, Evelyn Nesbitt. She inspires desire from the richest man in America, Harry Thaw, New York’s most famous architect, Stanford White, and a young artist, John Barrymore. The players in this game are moving sculptures: proto-architecture that re-interprets form by creating and fabricating realities, where the unknown is not something that lies outside the city, but within our minds.

MUSE

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SCENE 1 - Memories are Killing

Before the play begins, a quote remains projected on the fabric hanging in the atrium.

It reads: “Memories are killing. So you must not think of certain things, of those that are dear to you, or rather you must think of them, for if you don’t there is the danger of finding them, in your mind, little by little.”

-Samuel Beckett

A white screen hangs in front of the stage.

Music plays. Silhouettes move behind a row of screens. Chorus girls dance, a man in a large coat stands off to the side, watching two other men (who also walk in and sit at tables), who watch the chorus girls (voyeurism). Perhaps Evelyn stands apart from the chorus girls at first (putting on make-up, getting dressed etc.), and then she moves across the panels to rejoin the chorus. Three gunshots staccato in the building music. As each shot goes off, a red ink drop hits and bleeds across the screens - paint is dragged along the mylar screens by the chorus girls. Eventually, the pull back the ‘red curtains’ and lead the audience up the stairs and into the loft. Music continues to build, and recorded quotes from the play to comes are worked into the echoes, building a tense soundscape that maintains ambiance and prevents talking during the transition of sets.

[reset cabaret on loft stage - superstructure curtains dropped and layered, imprinted with projections of swirling smoke]

The chorus girls lead the audience into their seats and will reset in the central superstructure bay - their silhouettes obstructed by translucent screens. Cue music.

[Fabric screens are torn back] This is New York City. 1906.

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SCENE 11 - The Mirror Scene Evelyn stands centre stage, lighting is ghostly and dark, as she stands in front of a mirror triptych. She wears a warped or perverse version of the chorus girl (or kimono) garment, dark in nature (red or black - no veils). She walks slowly towards the mirrors (her steps echo, slow and deliberate), which stand at approximately double her height. All three faces stare back at her (possibility for video manipulation in order to give some allusion of a mirror depth). A voice over echoes: Evelyn [voiceover]: [monotone/eerie] Have you ever seen a photograph of yourself, when you didn’t know it was being taken, or seen an odd angle reflection in a mirror… and you think “That’s me. [pause]... And that's ALSO me. Do you know what I’m talking about? As she moves, the projections accurately reflect her movements. Right Evelyn: So are you surprised at yourself? [reminiscent of John] Left Evelyn: Please don’t spoil it, I can get ANYTHING I want. [reminiscent of Harry] Centre Evelyn: [whispers] The eye sees not itself, but by reflection, some other things [reminiscent of

Stanford] Original Evelyn: We are not responsible for the things we come to be. As she stares at it, the right-hand projection slowly turns away from the real Evelyn, slowly the copy’s turns to stare at the audience, and stops. Next, the center projection slowly turns her back to the audience, walks a few paces, turns and smiles. The right projection cautiously looks left, then right, observing all that surrounds her, contemplates the real Evelyn, and then walks off of the screen and disappears. The center projection walks through the left hand mirror and then exits in the same direction as the first. Evelyn is left staring at the right-hand projection. End Scene

During the final days of production, each development, although managed separately, merged together into a harmonious whole. Every rehearsal tied each component together progressively, connecting elements in order to seamlessly portray the sequence of key events.

Tonight’s performance will showcase all our hard work and creative efforts. The true design project aspect of MUSE, gave us the chance to contribute our creative skills and craft. Each prop, costume, and projection displayed tonight, was created or carefully selected by talented members of our class. We hope you enjoy tonight’s performance.

DEBUT

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MUSE is an amazing project of collaboration where for the only time in our architectural education an entire class of 71 individually talented and collectively inspired peers work together towards the spatial realization of an idea. In the fabrication of spaces that create and communicate meaning, we explore the processes of problem solving, shifting designs and perspectives as architectural ideas become tangible, corporeal, and human. Focusing on people and their experience of space, we have used contradictions and layers to stimulate an environment which draws out tension and creates voltage which we use to inspire. Muse is about the idea of making, exploring the moment of creation, fantasies, self-re-making and the process of turning ideas into reality.

Throughout the play, transformations of characters are not only anchored in their choices, but also in how different sets of realities fabricate ideas that when projected onto a Muse can become twisted. In the end, we wonder whether the idea of a Muse, or the Muse itself inspires creation and manipulates the events unfolding on the stage. Creating meaning is a choice, and those meanings, created by or for another, evolve as distinct operations to control the outcome of the play.

My goal from day one was to involve as many people in our class as possible in a single project, and encourage excitement in what the potential a project built by 70+ architecture students could be. I’d like to thank the entire Class of 2017, who contributed an amazing amount of time and effort towards the success of MUSE, and it is undoubtedly because of their commitment above and beyond the call of duty that the ambition of the project was able to materialize.

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V I S U A L R E S E A R C H

S C E N O G R A P H Y S T U D I E SHistory of Scenography (Ryerson University)January 2014

The above sketches are from a series of over 70 pages of visual research into different periods of history - and how performance art and stagecraft have evolved over time, across many cultures. These studies have influenced my perspective on set design, and greatly changed how I think about how one experiences architecture in general.

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I N K , A C R Y L I C , C O N T E , M U L T I M E D I A , S C R A T C H B O A R D A N D P H O T O G R A P H Y

P E R S O N A L P R O J E C T S 2012-2016

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Portfolio 2016

Thank you for your time

[email protected] . 923 . 9583

Shannon Kennelly Architecture+Design Portfolio 2016

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