Download - NOLA film institute catalog
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1New Orleans
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North by Northwest, 1959
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New OrleansInstitute for Film
missionNOLAprecedentprogramschematic design"&7')*,&/"#'!"#$!$%$&'()*'+,-
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The mission of The New Orleans Institute for Film (a fictitious organization), is that it be a non-profit organization dedicated exclusively to supporting independent documentary- and independent-film art-ists, creating an indigenous entertainment industry. NO Center serves as a support facility and research center. It provides an ideal site for students and faculty to explore film and other media and plays a vital role in fostering serious interdisciplin-ary film scholarship. The Center supports classroom teaching, curricular film screen-ing, and individual research in dedicated screening room and media classrooms, and through the development of its archi-val film collection. In addition to provid-ing curricular support, NO Center hosts an array of public events, programming, archival film screenings, conferences and symposia, workshops and programs with visiting artists and film scholars.
NO Center also sees part of its mission as collecting and preserving the audio-visualheritage of New Orleans and making it available to as many users as pos-sible. The Institutes collections forms an important part of the New Orleans cultural heritage. The archive is a unique source of information for research, not only for students and academics, but also for jour-nalists, international production companies and broadcasting organizations. New material is added to the collection on a daily basis. Digitalization is an essential part of this preservation, both for efficient
long-term management and for making the collection accessible.
The institute intends to help artists create new works through the use of new and evolving technologies while also creating a place for a diverse group of artists to meet. The program is intended to create a hybrid program, where different situ-ations and events sponsor unexpected meetings and create a synergy that keeps this place socially and economically vital. It is a non-profit media arts collaborative organization. Its goals are to create an environment that supports the creation and dissemination of independent media that promotes democracy, community participation, cultural preservation, access and lifelong learning to a diverse commu-nity of artists and audiences; create an environment where artists can make work inspired and achieved by electronic media; to create a responsive public context for the appreciation of new work by presenting and disseminating the finished works; and to bring together in-novative practitioners from all branches of the art collaborating in the use of electronic media. It is the belief that independent media has the capacity to give voice to underrepresented communi-ties and individuals, and to broaden the way people see themselves and others. The Forum assists with commissions and residencies, production services, educa-tion and information programs, and the presentation and distribution of work.
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History repeatedly points to the importance of great storytelling in chronicling and in-
fluencing human affairs. Even today, a powerful, authentic narrative can foster trust and
respect between disparate cultures and mitigate the social and psychological impact of
cultural prejudice. In recent times, no medium has been as effective at communicat-
ing the range and diversity of the worlds cultures as the cinematic arts. But this vital
contribution to cultural diversity has been threatened by shifting economic conditions in
the areas of film financing and distribution, a situation largely prompted by the interna-
tional success of the American film industry. [...] Ironically, it is the United States, and
especially its youth, that suffers disproportionately from this lack of exposure to other
cultures. [...] A comprehensive effort to give value to stories from every corner of the
world plays a vital role in promoting tolerance in all areas of human behavior.
- Global Film Initialtive http://www.globalfilm.org/about.html
Down by Law, 1986
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7The Third Man, 1949
She was never able, after her education in the movies, to look at a face and not
assign it some category in the scale of absolute beauty, and the scale was one she
absorbed in full from the silver screen. There at last were the darkened woods, the
lonely roads, the river banks, the gentle knowing eyes. There the flawed became
whole, the blind sighted and the lame and halt threw away their crutches. There death
was dead, and people made every gesture in a cloud of music. There the black-and-
white images came together making a magnificent whole -- all projected through the
ray of light from above and behind.
- Toni Morrison, The Bluest Eye
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We have lived in the age of film. Holly-
wood has always been a given for us, yet
it seeks always to renew its novelty, its
initial draw. Films constant rebirth hasnt
slowed in the past few decades, so much
so that the media for which it was named
is becoming less and less an integral
part of the craft. As film, like other fields
is changing to a digital profession its
becoming not only more fantastic and
explosive, but also more accessible and
affordable to produce. Children can cre-
ate their first films on their parents com-
puter in an afternoon. Films, once viewed
on an evening out in suits and gowns
at a large cinema can now be rented
with the click of a button on Netflix and
viewed by the individual on his or her
nearest i-device.
But what does this mean for the craft of
film? Will we suffer an influx of mediocre,
but easy to produce material? But per-
haps its a pendulum swing back to the
dilemas of the first filmmakers. With so
many new creative mediums, the explora-
tion is only about to begin.
One of the beautiful Things about the first
films, however, were also their limitations.
Not only technologically, but politically,
films of the early 20th century were
bounded and thus forced to invoke the
imagination. Perhaps some of our films
have lost these characteritics, which begs
the questions: Which is more powerful,
the implication of an event or its full
rendering?
Roman Holiday,1953 +,-
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9Such are the questions and concerns
which a film insitute in new Orleans could
explore; a center for film to become again
a gathering event. The center would be a
school as well as community archive. The
school would function on a monthly basis.
In this way, film classes could be more
affordable for students, who wouldnt have
to commit to a full year of study. At the
end of each month, a small film festival
would occur, open to the local com-
munity, during where the students would
showcase their months work.
The films would be short and stress would
be given plot, dialogue, and the frame.
The school would be completely digital,
however CGI and special effects would
be untaught. The school would pose a
challenge to its students to invoke the
school The Philedelphia Story, 1940 imagination of the viewer through the set-
tings and surroundings they find through
their lens, not their computer.
Hopefully, by limiting the school to the
digital realm, the school will remain af-
fordable for the students. Allowing them
the opportunity to think more freely of
their craft. They would also have oppor-
tunities to travel or work between courses.
The center would also function as an
archiving site; changing films into digital
formats so as to preserve them. While the
center serves as a model and promoter of
the digital media, it would also stress the
importance of film as a storytelling
device, one which explores the human
condition and concerns itself with the
events and issues of the present.
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Films viewed on an
evening out...
10
The Haunting, 1963
opposite page: Town Theatre,Los Angeles, 1926
Signs, 2002
Which is more powerful, the implication of an event or its full rendering?
The classic horror film, the Haunting, creates tension and suspense through the viewers experience of empathy. We empathize with the terror of the charac-ters. Yet, one never sees the ghost creat-ing the terror. Signs begins in much the same way, M. Knight Shyamalan creates suspense through the implication. But in the end the build up to the fully rendered alien seems anti-climatic.
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Films viewed on an
evening out...
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12
NO
LA new
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ans,
loui
ssia
na
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13NO
LA
ClimateCultureDemographicsWarehouse DistrictSiteMateriality
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14NO
LA
New Orleansmonthly temperature,precipitation, wind direction, sun angle, and heating/cooling days
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15
New Orleans temperatures reamain close to the comfort zone throughout most of the year. However, humitidy is also quite high, requiring energy effecient cooling systems in order to reduce building costs.
recommendations from Climate Consultant:
screened porches and patios can provide comfort cooling by ventilation and prevent insect problems.
high mass interior surfaces like stone, brick, tile, or slate, feel naturally cool on hot days and can reduce day to night temperature swings
raising the indoor comfort temperature limit will reduce air conditioning energy consumption
use light colored building materials and cool roofs (with high emissivity) to mini-mize conducted heat gain.
climatescreened portches
and patios
thermal mass
raised indoor comfort temperatures
light colored materials
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16NO
LA
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17
culturemusic
-%#!0!/"#';)0from social clubs to funeral marches life is celebrated through music, food, and friends...and exhibited on parade or a second line
the french past is prevelent in the old city quarter, from the architecture to the street names, one cant easily forget the citys roots.
cafes can be found throughout the city, another aspect of the street culture in new orleans
rebuilding most devestated com-munities with help from organiza-$!)"#',!#'!"'$2&',#'/(;%&"$'neighborhoods provide a sence of 0)--%"!$A'/"C'$*/C!$!)"'$!&C'>/0
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18NO
LA
0
20
30%
Educational attainm entbachelors degree or higher for the population 25 years and older
New Orleans Metro
1720
23
United States
16
20
24
28
19801 9902 0002 008
23n.s.
10
Sources: US Census Bureau, Decennial Census & Am erican Comm unity Survey 2008
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19
0
10
20
30
40
Registered arts and culture nonpro t organizationsper 100,000 population, Orleans Parish
071990 2000 04
United States
Orleans Parish
9
6
14
10
18
11 13
30200481 organizations461,915 population
200786 organizations288,113 population
50 per 100,000 population200676 organizations208,548 population
Sources: National Center for Charitable Statistics and Census Bureau Population Estimates Program
Regional export jobs for the 10 largest export specializationsNew Orleans 10-parish region
10
20
30
40
Tourism
Oil & Gas
Shipping
0
50 thousand jobs
1980 1990 2000 0904Source: Mo ody's Econom y.com Database (U.S. Bureau of Labor Statistics: CES, QCEW )
demographics
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20NO
LA
major streets
institutions art galleries, museums, restaurants
vegetation
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21
relationships of the site to larger landmarks, major streets, and the river
warehouse district
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22NO
LA
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site materiality
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prec
eden
t
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Old Father Studios - KU Film StudiesHochschule der Medien
Art House - LTLLa Halle du Robin - AP5 Architects
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26prec
eden
t
upper left:classroom space
upper right:relationship of production studio toteaching space
center right:production space
center left:screening room
lower left:editing room
lower right:film storage
old father studios
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We see film and media as ways of ordering, clarifying, and understanding human
experience. We are humanists, sharing the general goal of discovering and putting into
communicable form hypotheses about human beings and the world as they interact
with it.
- KU Film & Media Studies
Old Father Studios is the facility of the Film School at the University of Kansas. Unfortunately, the school has long out-grown its facilities and is struggling to fit into inflexible spaces. Editing rooms are ideally reserved for one editing group at a time, but due to facility issues, two and in some cases three editing stations occupy one space. Classroom space is also highly valued, but no enclose classrooms exists at Old Father. Classes are held incon-veniently either in a convergent space behind a makeshift wall and ramp or in the production stage facility. Flexibility for growth as well as specific ideals of task lighting and acoustics were helpful lessons from our visit.
programatic precedent
studio spaceHochschule der Medien
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28prec
eden
t
Art House is a retrofit project in Austin, Texas. The building, designed by L.T.L uti-
lizes program in order to assign multiple funcitons for a single space. For exampe;
the screen of the movie theater becomes a projection out towards the city, a film
billboard. The roof terrace also allows views of the city while functioning as another
screeing space
longitudinal section
section at the central stair
Art House - by L.T.L.
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street entrance andfacade
lobby and central stair
roof terrace
architectural precedent Art House - by L.T.L.
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30prec
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31program
CATEGORY A: PUBLIC SPACES !"#$%&'(")*%%+,-.&&/0+1"23'4/"567"%+"89:'';':$.&"/?"@ABB"3C".3"D&.(/=*&:/0E The public face of the center for the person coming in for the first time. Should facilitate public outreach function of the center. Highly visible from both inside and outside, includes Office for Theater !"F.CG,F*CC//""2P,J"QABB"3C"I*I.&E" CATEGORY B: PRIVATE SPACES !"6&.(R"6*S".&&"I=/.I/0"3D.(/?"ABB"3CE"*0"HABB"3C"library for film and video !"Y>D&*+//")*$9M/1"2HABB"3C"I*I.&E""Private space for employees; include shower and locker rooms !"D3I/0"T"7/&';/0+"U0/."!"Y&/;.I*0"["3"!"F'0($&.I'*9_"
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32prog
ram
&*%%+,(.C/,%**R3I*0/"
4,000 sf
library
2,000 sf
movie theater
2,500 sf
production studio I
2,500 sf
/:'I'9M"0**>3"HH"XHAB"/.(=
1,650 sf
production studio II
1,500 sfterrace
5.000 sf
public spaces private spaces
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*CC'(/3_"e"XH@A"/.(= 750 sf
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classrooms, W"X"ABB"3C"
1,500 sf
archiving room
250 sf
actu
al....
3(0//9'9M,conference room
1,500 sf
workroom
1,250 sf
shop yard
5.000 sf
admnistration
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34prog
ram
conditioned space 19,400 sf
grossing factor 1.25
>/(=Z,('0(Z,3/0;'(/3"""A_BBB"3C 24,400 sf
P
x
gross sqft 30,500 sf
GSF
SF Cost
City Cost Factor
Weighted SF Cost
Size Modifier
Adjusted Unit Cost
Use
Escalation
Unadjusted Construction Estimate
A. Adjusted building costs
B. Fixed Equipment
C. Site Development
sub total
escalation
D. Total Construction (direct)
E. Site Aquisition
F. Movable Equipment
G. Professional Fees
H. Contingencies
I. Administrative
30,000
$118.00
1.37
$161.66
.90
$144.90
$145.00
eb
$3,540,000
$4,350,000
$435,000
$652,500
$5,437,500
$326,250
$5,763,750
$500,000
$576,375
$345,825
$576,375
$57,637
median GSF cost (Means 2007)
New Orleans (Means 2010)
1.37 x $118.00
30,0000/33,400 (Means 2007)
$161.66 x .90
4% per year x 1.5 years
30,000 x $145.00
10% of building cost
15% of buildng cost
A+B+C
subtotal x 6%
subtotal + escalation
variable upon market
10% of construction cost
6% of construciton cost
10% of construciton cost
1% of construction cost
add D+E+F+G+H+I
cost estimate EF=G5H=F6I
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35
0.00
1.00
2.00
3.00
4.00
5.00
6.00
7.00
8.00
9.00
10.00
11.00
12.00
13.00
14.00
15.00
16.00
17.00
18.00
19.00
20.00
21.00
22.00
23.00
timeMon. Fri.
users public spaces private spaces
shop
yard
arch
iving
roo
m
clas
sroo
ms
prod
uctio
n stud
io
editing
roo
ms
offic
esscreen
ing/
conferen
ce roo
m
workroom
time-usecu
stod
ial staff
stud
ents
teac
hing
and
adm
in. staff
even
t pa
tron
cafe p
atron
cafe staff
lobb
y/ca
fe/b
ookstore
mov
ie the
ater
terra
ce
library
conditioned space 19,400 sf
grossing factor 1.25
>/(=Z,('0(Z,3/0;'(/3"""A_BBB"3C
median GSF cost (Means 2007)
New Orleans (Means 2010)
1.37 x $118.00
30,0000/33,400 (Means 2007)
$161.66 x .90
4% per year x 1.5 years
30,000 x $145.00
10% of building cost
15% of buildng cost
A+B+C
subtotal x 6%
subtotal + escalation
variable upon market
10% of construction cost
6% of construciton cost
10% of construciton cost
1% of construction cost
add D+E+F+G+H+I
cost estimate EF=G5H=F6I
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36prog
ram
needs...
... connection to street level
... acoustic separation
... daylight
lobby/cafe/bookstore
libraryproduction studio
production studio
shop yard
movie theater
editing rooms
offices
editing rooms
lobby/cafe/bookstore
library
classrooms
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37
shop yard
st. joseph street
cafe
library
a.r.studio I
studio IItschoupitoulas
north diamond
street connection
first floor
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38prog
ram
shop yard
shop yard
shop yard
cafe
library
a.r.studio I
studio II
studio II
studio I
screenin
g
wk roomcafe
theater
classroom
terrace
first floor
second floor
third floor
daylight
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shop yard
cafe
library
a.r.studio I
studio II
business occupancy
accoustic and fire separation
assembly occupancy
supp
ort
supp
ort
accoustic separation
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40
sche
mat
ic d
esig
n
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41shcem
atic design
+'*#$'1!"J%1schematic design reviewrevised schematic review
K&>*%/*A'6HK&>*%/*A'4H
L/*02'6H
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42sc
hematic d
esign
Schematic design began after the analysis of our site in the Warehouse district and a trip to New Orleans. My first steps were to cluster programmatic spaces into private, public, and institutional masses and fit these within the given site and context. The basic guiding principles included a desire to engage the sites northwest corner, maintain a connection between the production studios and shop yard on the first floor, and to offer an occupiable roof space within the sites roofscape. Another early strategy was the idea of the building creating both an interior and exterior fixed corridor be-tween two streets and a flexible function within the studios to absorb the streets causing the building to become more permeable. A driving force of the project from these first weeks was the idea of film as media historically evoked through implicative methods of storytelling as opposed to the explicit visual communication found in contemporary film. This idea trans-lated to the programing of the spaces as views and glimpses of activity were either denied, displayed, or revealed and concealed subtly. After the first February 18th pin-up, I preceded to continue to develop in
smaller clusters the programmatic swaths of the project. Initial feedback from the first pin-up was to draw more informa-tion and architecture from the context of the site as well as to allow more views between the areas of production and ar-eas open to the public. Plan and section development occurred through an itera-tive process until our review on February 28th. At the February 28th review, ideas of improving the massing of the roof led to a more contained form and section. Ideas of connecting views from within the building to specific buildings around the site were suggested. For the March 18th jury, I further de-veloped the project resulting in a fairly finalized plan and sections, but with ques-tions and ideas of facade and materiality. Consequently much of the feedback I re-ceived was directed toward the materiality and placement of the facade elements. It was suggested to use the materials in a simpler way to articulate the broader stroke of the buildings masses. Another comment suggested to capitalize on the voyeuristic qualities of cinema and open up views from one space through another.
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43
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44sc
hematic d
esign
A
B
C
C
1
2
3
4
5
5
5
6
6
7
4 1
8
2
3
4
5
5
5
6
6
7
4
6
5
6
5
1
2
3 3
3
4
5
6
67
41 1
2
1
iteration
first level second level third level fourth level
2
3
4
5
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45
sche
me
deve
lopm
ent
fourth level
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46sc
hematic d
esign
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(&>*%/*A'4H
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48sc
hematic d
esign
production productionproductionproductionproductionproduction
production
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section B_B
sections at 1/16 = 1
section A_A
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learninglearninglearninglearninglearninglearninglearninglearninglearning
learninglearninglearninglearning
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yardyardyard
theatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheatertheater
lobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbylobbycafecafecafecafecafe
screeningscreening admin.
librarylibrarylibrarylibrarylibrarylibrary
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gallery
(.C/,%**R3I*0/,&*%%+(.C/,%**R3I*0/,&*%%+
librarylibrarylibrary
first floorD&.93".I"H,Hef"g"Hh
archiving room
production studio
production studio
storage
storage
B
B
A
storage
mech.
mech.
A
movie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theater
terrace
classroom
classroom
editingroom
editingeditingeditingeditingeditingeditingroomroomroomroom
editingeditingeditingeditingeditingeditingeditingeditingeditingroomroomroomroom
lounge
second floor
(.C/,"&*%%+,"%**R3I*0/
screening room
admin.
workroom
mech.
mech.
jan. closet
third floor
movie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theatermovie theater
projection roomprojection room
fourth floor
-
50sc
hematic d
esign
-
51
-/*02'6H
-
52sc
hematic d
esign
A
AB
CC
B
N FIRST LEVEL
1
CAFE/LOBBY/BO
OKSTO
RE
LIBRARY
ARCHIVING ROOM
MECHANICAL
STORAGE
PRODU
CTION STU
DIO
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2
3
4
5
55
6 6
7
4
02
510
20
CAFE/LOBBY/BOOKSTORE
LIBRARY
ARCHIVING ROOM
MECHANICAL
STORAGE
PRODUCTION STUDIO
GALLERY
1
2
3
4
5
6
7
FIRST LEVEL
-
53
1
8
2
3
4
5
55
6 6
7
4
6
5
6
5
SECOND LEVEL
CAFE/LOBBY/BOOKSTORE
SCREENING ROOM
OFFICE
MECHANICAL
STORAGE
PRODUCTION STUDIO
GALLERY
1
2
3
4
5
6
7
-
54sc
hematic d
esign
1
2
33 3
4
5
6 67
41
THIRD LEVEL
THEATER
TERRACE
EDITING ROOM
MECHANICAL
STORAGE
CLASSROOM
STUDENT LOUNGE
1
2
3
4
5
6
7
-
55
12
FOURTH LEVEL
THEATER
PROJECTION ROOM
1
2
-
56sc
hematic d
esign
LOBB
YLO
BBY
LOBB
YLO
BBY
LOBB
YLO
BBY
LOBB
YLO
BBY
LOBB
YLO
BBY
LOBB
YLO
BBY
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BBY
LOBB
YLO
BBY
LOBB
YLO
BBY
LOBB
YLO
BBY
LOBB
YLO
BBY
PRODU
CTIO
N
STUDE
NT
STUDE
NT
STUDE
NT
STUDE
NT
STUDE
NT
STUDE
NT
STUDE
NT
STUDE
NT
STUDE
NT
LOUNG
ELO
UNG
ELO
UNG
ELO
UNG
ELO
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ELO
UNG
ELO
UNG
ELO
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ELO
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E
CLAS
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CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
CAFE
A_A
02
510
20
-
57
LIBR
ARY
LIBR
ARY
LIBR
ARY
C_C
02
510
20
-
58sc
hematic d
esign
CLAS
SROOM
CLAS
SROOM
CLAS
SROOM
CLAS
SROOM
CLAS
SROOM
CLAS
SROOM
PRODU
CTIO
NPR
ODU
CTIO
NSH
OP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
SHOP
YARD
B_B
02
510
20
-
59
ST. JOSEPH ST
ANDREW HIGGINS DR
TCHOUPITO
ULAS
ST
EXTERIOR CORRIDOR
INTERIOR CORRIDOR
CONSTANCE
ST NORTH DIAMOND STSOUTH DDDIIAAMOND SSSTTT
N
1/64 = 1
OO
-
60sc
hematic d
esign
EGRESS
BUSINESS OCCUPANCY
ASSEMBLY OCCUPANCY
MECHANICAL
STRUCTURE
-
61FIRST LEVEL
SECOND LEVEL
THIRD LEVEL
joists systems
-
63
new
orle
ans !
"#$!$%$&'()*'+',-
-
64NO
IF
-
65
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6666
-
67 NO
IF67
NO IF
-
MNOPQROMS'PQ
61 1
2
3
4
5
6
2
3 4
5 6
-
69 NO
IF NO
IF
PQD'TNPSUV'PQ
QMVNUWQN
XYR
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1 1
2
3
4
5
6
2
3 4
5 6
-
70NO
IF
AAB
CC
B
N
1
CAFE/LOBBY/BO
OKSTO
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FIRST LEVEL
LIBRARY
ARCHIVING SPACE
MECHANICAL
STORAGE
PRODU
CTION STU
DIOGALLERY
1234567
2
3
4
5
55
6 6
7
4
02
510
20
-
71
SECOND LEVEL
CAFE/LOBBY/BO
OKSTO
RE
SCREENING ROOM
OFFICE
MECHANICAL
STORAGE
PRODU
CTION STU
DIO
GALLERY
WORKRO
OM
12345678
1
8
2
3
4
5
5
5
6 6
7
4
6 6
5
5
-
72NO
IF THIRD LEVEL
THEATER
TERRACE
EDITING ROOM
MECHANICAL
STORAGE
CLASSROOM
STUDENT LO
UNGE
1234567
1
2
33 3
4
5
6 67
4
-
73
12
FOURTH LEVEL
THEATER
PROJECTIO
N ROOM
12
-
74NO
IF
0 2 5 10 20
LOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYLOBBYA_A
-
75
PRODUCTIONPRODUCTIONPRODUCTION
STUDENT STUDENT STUDENT STUDENT STUDENT STUDENT STUDENT STUDENT STUDENT LOUNGELOUNGELOUNGELOUNGELOUNGELOUNGELOUNGELOUNGELOUNGE
CLASSROOMCLASSROOM
EDITING
-
76NO
IF
LIBR
ARY
LIBR
ARY
LIBR
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LIBR
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B_B
02
510
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-
77
SOUTH
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ELEV
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25
1020
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78NO
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NORT
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02
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79
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81
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covercover2Grace studio catalog