Kaufman Astoria Studios, a film and TV studio that’s been a fixture in Astoria, Queens since its opening in 1921, is expanding in a big way. Local firm GLUCK+ has shared renderings of the forthcoming four-story film and production building, which comes on the heels of Kaufman Astoria opening the city’s first backlot (used to stage outdoor scenes) in 2014. Besides adding several floors of office space, the new building will hold production offices, dressing rooms, prop storage areas, and two stages, increasing the campus's stage space by 25 percent. Once completed, the new building will represent a sizable increase for the studio’s overall campus, which currently stands at 500,000 feet, and includes nine stages and a restaurant. The project, sited at 35-71 34th Avenue, is down the street from the Museum of the Moving Image. From the renderings, it seems that the studio will also be returning a perforated gate at the northern edge of 34th Avenue that was removed in 2014; the same year a new entrance gate and spiral staircase were added to the campus’s south edge. The exterior of the 100,000-square-foot addition will be clad in vertical panels, and the overall scheme fits comfortably into GLUCK+’s design canon. The 84-foot-tall film and production building will hold 68,000 square feet of open office space across the top half, which should be well-lit due to the numerous, narrow vertical punch windows that break up the facade. According to YIMBY, Kaufman Astoria employees can expect 14-foot-tall ceilings and seven balconies. Kaufman Astoria will also be gaining two stages inside of the building’s heftier bottom half, directly below the offices, as well as 134 parking spaces. Kaufman Astoria Studios has been hugely influential in New York's film and television history, and everything from silent movies to TV shows like Sesame Street and Orange is the New Black in more recent years has been filmed there. Construction on the office project began in February 2017, and no completion date has been announced as of yet.
Posts tagged with "Television":
As a belated gift to the architecture community, PBS will be airing a new documentary about Finnish-American modernist architect Eero Saarinen. American Masters — Eero Saarinen: The Architect Who Saw the Future will air Tuesday, December 27th on PBS and will be available on DVD January 3rd, 2017. Peter Rosen is the film’s director and producer, and Eric Saarinen, ASC, Eero Saarinen's son, is the film’s director of photography and co-producer. Eric Saarinen grew up surrounded by design and architecture at Cranbrook Academy, a campus designed by his grandfather Eliel Saarinen, who taught there alongside Eric's godparents, Charles and Ray Eames. Throughout the documentary Eric visits Eero's projects across the country, filming in 6k video and using drones to document his father’s work as never before. The show looks at the National Historic Landmarked North Christian Church and the Miller House in Columbus, Indiana, the Deere & Company World Headquarters in Moline, Illinois, and MIT’s Kresge Auditorium. The soon-to-be-renovated TWA terminal at JFK airport is also highlighted, along with his design for Dulles Airport. Along with archival interviews with Eero and his his second wife, The New York Times art critic Aline Saarinen, new interviews with architects and critics discuss his legacy. Architects Kevin Roche, César Pelli, Rafael Viñoly, Robert A. M. Stern, and industrial designer Niels Diffrient all speak about the influence Saarinen had on their own work, while architecture critic Paul Goldberger, curator Donald Albrecht, author Jayne Merkel, and Cathleen McGuigan, editor-in-chief of Architectural Record, discuss his lasting impact on the field as a whole. “Closure was something I didn’t have with my dad. But I forgive him for his genius,” said Eric Saarinen. “He figured out a way to be important across time, so even though he died young, he is still alive.” American Masters — Eero Saarinen: The Architect Who Saw the Future airs Tuesday, December 27 at 8 p.m. on PBS as the series’s Season 30 finale.
Are there any architects out there who long to be media personalities? Here is your chance and all you need to do is respond to a casting call for young designers who may be interested in applying to be co-hosts. The subject will be “mobile architecture” and you can reach out to them at firstname.lastname@example.org to learn more!
Nostalgia (nóstos), meaning "homecoming", a Homeric word, and (álgos), meaning "pain, ache", and was coined by a 17th-century medical student to describe the anxieties displayed by Swiss mercenaries fighting away from home. Ruth Ammon, set designer for the AMC television series, Low Winter Sun, used this word to describe the series in its most honorable sense. This tale of morality uses the architecture of Detroit’s heyday, to embody the pride of the city which elevated middle working class life. It is poignant that the city’s decline is also apparent in every frame, rather than pimping these noble structures like urban porn. Whether featuring Albert Kahn’s Packard Automotive Plant, 1903-11 (the production offices were next door to this location, one of the largest parcels of unoccupied real estate in the Western hemisphere); Kahn’s Detroit Police Headquarters at 1300 Beaubien St., 1923 (given the same role in the series, but now under threat since the PDP moved out); the art deco David Stott Building of 1929 by Donaldson and Meier; St. Hyacinth Roman Catholic Church, 1924 by Donaldson and Meier; or the Venetian Gothic Ransom Gillis House, 1876-78 (documented extensively by photographer Camilo Jose Vergara), these were deliberate choices. The tale centers on the murder investigation of a deeply corrupt cop. We know from the opening scene who did it—two of his fellow officers. One is an honest cop, Frank Agnew (Mark Strong), who agrees to participate after being fed misleading information by another cop, whose motives are more ambiguous. When Frank is assigned to solve the case, he must find a way to investigate without revealing his own guilt. The visual language reflects these moral ambiguities: the lone figure in a landscape usually backlit, which could almost be in a Western, but the vast expanses are downtown, a hallmark of contemporary Detroit. Buildings are often sited next to these open fields dotted with wildflowers among the debris, like the remaining few teeth in a withered mouth, but we always see a child on a bicycle, a man walking (who has money for gas?) or a dog (one has a rat in its mouth). These silhouetted figures are in wide shots, a rare luxury in an urban context; when you shoot in New York or Los Angeles, the picture has to be carefully cropped to eliminate unwanted surroundings. The visual vocabulary has pronounced darks and lights, and is often shot with available light, or motivated with a single light source indoors. In addition, mirrored surfaces and shots looking through glass partitions all contribute to the dark mood. The most modern location is the Coleman A. Young Municipal Center, originally called the City-County Building, 1954, an international style building designed by Harley, Ellington and Day featuring white marble facing with black marble spandrels. It is here that the series will come to a head, with a faceoff among the protagonists as they enter this courthouse. Unusually for Cold Winter Sun, the building is wedged into a cityscape with the 3-mile long Detroit People Mover elevated train snaking its way across the screen. We’ve seen this public transit system before in other scenes where the Ren Cen and other downtown sites can be seen in the backdrop. On a up-note, Campus Martius Park (from the Latin for Field of Mars, where Roman heroes walked), which is the point of origin in the Detroit coordinate system—8 Mile Road is 8 miles from this point—is a revitalized green space with new stages, sculptures, an ice-skating rink, mini sand beach, and restaurants. It is filled with lunch-time workers, and is the site of a meeting of two warring gangsters, chosen as neutral territory in the midst of a vibrant public space. Many films have been shot in Detroit from 8 Mile, Beverly Hills Cop, Gran Torino, Robocop and the recent documentaries Searching for Sugarman and Detropia (one of its characters is Tommy Stephens, proprietor of the Raven Lounge, a location used in Low Winter Sun). But Low Winter Sun uses the city differently. We frequent Brush Park, Greektown, Boston-Edison, Indian Village, Klenk Island, Cass Corridor, MorningSide as well as downtown. It’s almost a cliche to say that the city plays a character in the series, but (not having seen the British original) it feels that this story could only have been set in this American city at this point in its history. That’s nostalgia. Low Winter Sun, AMC, Sundays 10/9 PM and on demand. 10 episodes (season started 8.11.13).
These days it seems increasingly rare that we take a moment out of our busy schedules to pause and appreciate our surroundings: downtown skyscrapers, grand civic buildings, or the mundane background buildings along our streets. To many, those soaring steel towers are old news, but have you ever stopped to picture a Manhattan without skyscrapers, or a courthouse in Washington, DC that didn’t resemble a Greek or Roman temple, or how about an America without shopping malls? (Unimaginable. Right?) Dan Protress, writer and producer of the new PBS television series 10 Buildings that Changed America, certainly has. The series, hosted by Emmy-award winning producer Geoffrey Baer, proves that architecture is the cultural back-bone of any society. The show was created to celebrate and explore ten of the most influential American buildings—and the architect’s that designed them—that dramatically altered the architectural landscape of this country. Featuring buildings like Frank Lloyd Wright’s Robie House in Chicago, which transformed the idea of the American home, the Southdale Center in Edina, MN, the nation's first enclosed shopping-center, and the Wainright Building in St. Louis, which, according to historian Tim Samuelson, “taught the skyscraper to soar,” the series delves into the history of these once radically perceived buildings and highlights the roles they have played in molding present-day American society. The Society of Architectural Historians, along with a group of architectural experts, has compiled a list of the ten most iconic and influential structures built by different architects ranging from various eras in American history: 1. Virginia State Capitol, Richmond, CA (1788) 2. Trinity Church, Boston, MA (1877) 3. Wainwright Building, St. Louis, MO (1891) 4. Robie House, Chicago, IL (1910) 5. Highland Park Ford Plant, Highland Park, MI (1910) 6. Southdale Center, Edina, MN (1956) 7. Seagram Building, New York, NY (1958) 8. Dulles International Airport, Chantilly, VA (1962) 9. Vanna Venturi House, Philadelphia, PA (1964) 10. Walt Disney Concert Hall, Los Angeles, CA (2003) The show is scheduled to air on Sunday, May 12, 2013 at 10:00 p.m. EST. Tune in and discover the pioneering architectural leaders, breakthrough concepts, groundbreaking buildings, and touching stories that make up the architectural history of the United States. Who knows, you might just be tempted to take a moment out of that busy schedule to admire your surroundings. All images courtesy Wikimedia Commons.
On the popular Fox doctor drama House, actor Hugh Laurie plays an acerbic, yet ingenious infectious disease specialist whose curmudgeonly ways, drug use, unrepentant machinations, and sadistic treatment of patients has earned the show—now in its fifth season—an enormous and dedicated following. The series unfolds at the fictitious Princeton-Plainsboro Teaching Hospital, where, segment after segment, Dr. House and his team bicker, sneer, and get to the bottom of rare medical afflictions, killing off the odd invalid from time to time. Well, the stage for this gripping serial need not remain a figment much longer: the utterly factual Princeton hospital has recently announced that it will soon move its facilities to a brand new home in none other than Plainsboro, New Jersey! The new $440 million hospital, to be known as the University Medical Center of Princeton at Plainsboro (UMCPP), has been designed as a joint venture between RMJM and HOK and is scheduled for a 2011 completion. It will combine facilities for the University of Medicine and Dentistry of New Jersey and Robert Wood Johnson Medical School, including 238 private patient rooms, areas for families to spend the night, and operating rooms designed to accommodate robotics. The project will feature green-era perks, such as 100-percent fresh air ventilation, sustainable finishes, and energy efficiency controls. Digital technologies will also be employed in the form of self-check-in kiosks and computerized record keeping. UMCPP will act as the centerpiece of a 160-acre healthcare campus that will also include a medical office building, a nursing unit, a health education center, a fitness and wellness center, a senior residential community, and a 32-acre public park. With all of these amenities, it's hard to imagine what the cantankerous Dr. House would find to gripe about!