A Theater Complex in Dallas, Texas. Nicholas Isaac Garza. Texas Tech University Spring 2007

Transcription

1 A Theater Complex in Dallas, Texas By Nicholas Isaac Garza Texas Tech University Spring 2007 Pro fesso r: Michael Peters Advisor: Gary Smith & Urs Peter Flueckiger

2 Escapism In Architecture A Theater Complex in Dallas, Te xas by Nicholas Isaac Garza A Thesis In Architecture Submitte d to the Architecture fa culty of the Colle ge of Architecture of Te xas Tech University in partial fulfillment for the de gree of Maste rs of architecture Chairman of the committee (T hes is Instructor) Thesis Advisor: Ga ry Smith Thesis Advisor: Urs Peter Flueckiger Dean, Colle ge of Architecture Month / Year II

3 List Of Illustrations Table of Contents I V Introduction Abstract VII Section I Section II Contents Thesis Statement Overview Theoretical Issues Precedence Le Bonheur Children s Me dical Ce nte r Me mphis, Te nnessee Disney Designs Varies DisneyQuest Chicago, Illinois Times Square Studio New York City Te rminator 2: 3D Attraction Hollywood, Ca lifornia Cirque du Sole il Downtown Disney, Orlando References Context Contents Context Statement Context Overview III

4 Table of Contents Section III Section IV Section V Section VI Context Analysis Context Issues Precedence References Facility Contents Facility Statement Facility Analysis Facility Synthesis Facility Financing Epistemology of Facility Type Facility Issues Ac tivity Analysis Spatial Analysis Systems Analysis Precedence References Space S ummary Design Response Bibliography IV

5 List Of Illustrations Fig. 1 4 Co ntrasting spatial elements, by author. Fig. 1 5 Light effec ts on materials, by author. Fig 1 12 Illuminated columns, Robert Ames Coo k, Dance of Healing. Architectural Record. May 1994: 30. Fig 1 13 Corridor from cafeteria, Ibid:34. Fig 1 14 Foy er columns, Ibid: 33. Fig 1 15 Porte cochere, Robert Ames Coo k, Dance of Healing. Architectural Record. May 1994: 31. Fig 1 16 The ocean floor, Ibid: 35. Fig 1 17 Information desk, Ibid: 31. Fig 1 18 La Bonheur foyer columns, Adam Peeler, Dance of Healing. Architectural Record. May 1994: 32. Fig nd floor interior, Gary Krueger, Cirque du Soleil Downtown Disney, Orlando. Architectural Record. Dec. 1999: 136. Fig 1 20 Interior column, Ibid. Fig 1 21 Central feature, Ibid: 137. Fig 1 22 Exterior fac ade, Ibid. Fig 1 23 Street side perspec tive, Christopher Lovi, Times Square Studios New Yo rk City. Architectural Record. Dec. 1999: 138. Fig Interior looking out to Times Square, Ibid. Fig Front view, Ibid: 138. Fig Floor plan, Derek Rath, Terminator 2: 3D Attrac tion Hollywood. Architectural Record. Dec. 1999: 140 Fig Generated perspec tive of exterior, Ibid. Fig Freeway fac ade, Tom Bonner, Terminator 2: 3D Attrac tion Hollywood. Architectural Record. Dec. 1999: 141. Fig Entrance, Derek Rath, Terminator 2: 3D Attrac tion Hollywood. Architectural Record. Dec. 1999: 141. Fig Pre show court, Ibid. Fig Site plan, Paul Warchol, Cirque du Soleil Downtown Disney, Orlando. Architectural Record. Dec. 1999: 143. Fig Entrance walkway, Ibid. Fig Canopy and entry fac ade, Ibid: 142. Fig Exterior canopy at dusk, Ibid: 144. Fig Interior of performanc e space, Ibid. Fig 2 10 Map of Texas, Yahoo! Maps, 5 Mar. 2005, <maps.yahoo.com>. I

6 List Of Illustrations Fig 2 11 Map of DFW, Ibid. Fig 2 12 Site within DFW, Ibid. Fig 2 13 Map of Parcels and Zoning, City of Dallas, 5 Mar. 2005, <maps.dallascityhall.com>. Fig 2 14 Aerial photo of site, Ibid: 2003 Aerial photos. Fig 2 15 Map of access to site, Ibid. Fig 2 16 Zoning for surrounding area, NCTCOG Landuse 2000, 5 Mar. 2005, < Fig 2 17a Aerial photo of site, Ibid. Fig 2 17b Panorama of site looking South to Northwest, by author. Fig 2 17c Panorama of site looking North to East, Ibid. Fig 2 18 Map of soil conditions, Grubbs, Ro n. A Brief Description Of Local Geology. Dallas Geological Society. 5 Mar < Fig 2 19 Kalita Humphreys Theater, Dallas Theater Center, Kalita Humphreys Theater, Feb < Fig. 3 1 Central access, by author. Fig. 3 2 Entry Circulation, Ibid. Fig. 3 3 Exterior canopy, Ibid. Fig. 3 4 Mass element shielding, Ibid. Fig. 3 5 Circulation at entry, Ibid. Fig. 3 6 Mass elements and displays, Ibid. Fig. 3 7 Multiple box office, Ibid. Fig. 3 8 Box office ventilation, Ibid. Fig. 3 9 Co lumns and mass elements, Ibid. Fig Impeding elements, Ibid. Fig. 3 10a Elements forc ing open spaces, Ibid. Fig. 3 10b Daylight diffusing, Ibid. Fig. 3 10c Elevator access, Ibid. Fig Ticket space to sides of circulation, Ibid. Fig Display shapes and spacing, Ibid. Fig Displays at eyelevel, Ibid. Fig Indirec t entry, Ibid. II

7 List Of Illustrations Fig Maximum view of spaces, Ibid. Fig Sub flooring, Ibid. Fig Storage access, Ibid. Fig Sub level access fo r staff, Ibid. Fig Loading doc k dimensions, Ibid. Fig Storage/ refrigeration, Ibid. Fig Mechanical and general storage, Ibid. Fig Input placements, Ibid. Fig Handicap access at midlevel, Ibid. Fig Elevated and soundproofing, Ibid. Fig Film prep. away from projector, Ibid. Fig Hidden storage, Ibid. Fig Indirec t access for storage, Ibid. Fig Screen to depth dimensions, Ibid. Fig Seating between spaces, Ibid. Fig Indirec t lighting of paths, Ibid. Fig High ceiling ventilation, Ibid. Fig Perimeter dimensions, Ibid. Fig Circulation to exterior, Ibid. Fig Arcade to storage to lo ading doc k, Ibid. Fig Co unter dimensions, Joseph DeChiara, Time Saver Standards For Building Types 4 th Ed. New Yo rk.: McGraw Hill, 2001: 289. Fig Dimensions Table, Ibid. Fig Bar dimensions, Ibid: 290. Fig 3 39 Enclosed storage, by author. Fig 3 40 Path space fo r purchasing, Ibid. Fig 3 41 Indirec t lighting, Ibid. Fig 3 42 Open plan, Ibid. Fig 3 44 Communic ations, Ibid. III

8 List Of Illustrations Fig 3 45 Storage below counter, Ibid. Fig 3 46 Storage in walls, Ibid. Fig 3 47 Lighting for conference area, Ibid. Fig 3 48 Radial parking, Ibid. Fig 3 49 Wayfinding at eyelevel, Ibid. Fig. 3.49a Typic al shapes for sound diffusion, Donald Watson, Time Saver Standards For Architectural Design Da ta 7th Edition. McGraw Hill Co., 1997: 111. Fig. 3.49b Sound reflection, Ibid: 112. Fig. 3.49c Standard mounting heights, Joseph DeChiara, Time Saver Standards For Interior design And Space Planning 2nd Ed. New York.: McGraw Hill, 2001: Fig. 3.49d Indirec t trac k for wallwash effect lighting detail, Edison Price, Time Saver Standards For Architectural Lighting, New York.: McGraw Hill Co., 2000: Fig. 3.49e Cove lighting detail, Ibid: Fig. 3.49f Lighting along walls, Gary S teffy Lighting Design Inc., Time Sa ver Standards For Architectural Lighting, New York.: McGraw Hill Co., 2000:4 11. Fig. 3.49g Lighting guardrails, Joseph DeChiara, Time Saver Standards For Interior design And Space Planning 2nd Ed. New York.: McGraw Hill, 2001: Fig. 3.49h Lighting for steps, Ibid:1146. Fig 3 50 Exterior Co urtyard, Georg Miller, Night of 1000 Stars, Architectural Record Lighting. May 1994: 36. Fig Foyer, Ibid: 39. Fig Hallway, Ibid. Fig Stairwell, Ibid: 37. Fig Night elevation, Ibid. Fig nd floor escalators, Ibid: 39. Fig Central Escalators, Ibid: 38. IV

9 List Of Illustrations Fig 3 57 Crystalline foyer, Ralph Richter, Constructed perspec tive. Architecture. August 1998: 55. Fig 3 58a Gerald Zugman, Picture Palace. Architectural Review. July 1998: 57. Fig 3 58b Ralph Richter, Constructed perspec tive. Architecture. August 1998: 60. Fig nd floor foyer, Gerald Zugman, Picture Palace. Architectural Review. July 1998: 57. Fig 3 60a First Floor plan, drawings by Coop Himme lb(l)au, Picture Palace. Architectural Review. July 1998: 57. Fig 3 60b Second Floor plan, Ibid. Fig nd floor foyer, Gerald Zugman, Picture Palace. Architectural Review. July 1998: 57. Fig 3 62 Topmost walkway, Ralph Richter, Constructed perspec tive. Architecture. August 1998: 59. Fig 3 63 Cantilevered fac ade, Ibid: 52. Fig 3 64 Cantilevered concrete bo x, Ibid: 54. Fig 3 65 View of west fac ade, Ibid. Fig 3 66a Cross Section, Ibid: 56. Fig 3 66b Longitudinal Section foyer, Ibid. Fig 3 67a Longitudinal Section cinema, Ibid. Fig 3 67b Ground Floor plan, Ibid. Fig 3 68 Site plan, Ibid. Fig 3 69 Lower ground floor plan, Ibid. Fig 3 70 South west elevation, Ibid: 56. V

10 Introduction VI

11 Abstract The proposed projec t for this program is a multi theater complex providing 8 traditional movie theaters, in addition to an Omni and an IMAX theater. The site is located in north Dallas just west of Addison, in the city of Farmers Branch. The cultural aspects of the DFW area provide a wide range of ac tivities which include entertainment, the main foc us of this projec t. The theater complex will provide a safe and engaging design to enhance the movie going experience. : This projec t is based on phenomenology and spatial relationships between the viewer and the environment. Use of this theory in conjunction with engaging architecture can help to promote the escapism created by motion pic tures. Facility: The facility is a movie theater complex housing 8 theaters, an Omni and IMAX theater, an arcade and 4 private viewing theaters. The design will enhance the entertainment aspect of the DFW area partic u larly the north Dallas night life. Context: Nightlife in DFW is a major business. Always in demand are new and unique experiences such as SpeedZone, Six Flags and themed nightclubs. The site for the movie complex is at the southeastern corner of Farmers Branch just north of Dallas. This site was chosen due to the two major highways providing access to neighboring cities such as Grapevine, Los Colinas, Dallas, Duncanville, and Addison. VII

12 1

13 Contents Thesis Statement Overview Theoretical Issues Precedence Le Bonheur Children s Me dical Ce nte r Me mphis, Te nnessee Disney Designs Varies DisneyQuest Chicago, Illinois Times Square Studio New York City Te rminator 2: 3D Attraction Hollywood, Ca lifornia References 2

14 Thesis Statement Filtering a design for a movie theater through the theory of phenomenology can enhance the psyc hologic al escape of motion pic tures as well as the theater environment. By designing in an engaging and interactive way the sense of escapism encouraged in the movie industry can be magnified. 3

15 Overview In the realm of phenomenology, a host of views exist attempting to define what phenomenology is, many with limited to no success. One of the shared criteria for evaluation of phenomenology is the idea of Evident, or that of matter and its presence being disc losed and defining itself through present environment, space, and or emotion (or sense). Empirical knowledge theories provided by Johann Heinrich Lambert (philosopher, physic ian mathematic ian) suggested many phenomenological theories today that are reflected by his theories in mathematic s. Immanuel Kant enlarged the basis for phenomenology further, including some theories such as transcendentalis m. Fellow Transcendentalist Edmund Husserl redefined the theory of phenomenology to a psyc hologic al standpoint (first use in psychology) and as a discipline to study essences in the perceived world. One of the most important aspects to Husserl was the idea of intentionality, that relationship of internal acts and the world, since physic al phenomena lack intentionality. Martin Heidegger would contend that Husserl s theory is too scientific and conceptual. His philosophy on phenomenology reflected that of a metaphysic al relationship to objects, no t only of pure consciousness but of relationships. (Pietersma 71) Many phenomenologists feel that the foc us of inquiry and experience extend from the act of encountering an environment or space or the first time. Objects within a space can magnify and define such encounters, resulting in a sense of defined experience in relation to the objects of foc us in the context of the surrounding environment. 4

16 Overview Some of the mind sets related to phenomenological thinking include: Opposition to speculative thinking Opposition to objectivism Opposition to positivism Explanations based on visual and experiential analysis By using the theory of phenomenology as a catalyst for creating an environment from one space (outside world) to another (project) the escapism experience can be ac hieve d. Escapism has proven to be an invaluable design tool fo r entertainment industry projec ts. Fo r many industries the cost of simulating an environment is unfeasible, if not impossible. The human psyche is capable of creating environments and effec ts through senses and emotion. In the design for this facility the overcoming of neutral space will present the largest obstacle. Everyone experiences ne utral space, be it subconsc io usly and consciously. Once in a while this can lead into what Lym calls acute space. In Glenn Lym s book A Psychology of Building he views neutral space as a container for our day to day ac tivities, when our mind set is disconnected with the physical world (Lym 2). When we define our spaces we rarely keep expansion of space in mind, which can result in limited experiences within the space and thus to neutral space. Walter Gropius commented the neutral space in terms of dwelling: The problem of the minimum dwelling is that of establishing the elementary of minimum space, air, light, and heat required by man in order that he be able to fully develop his life func tions without experiencing restrictions due to his dwelling. (Gropius 113) 5

17 Overview When connections with neutral spaces are established in a profound way the result can be acute space. Where a strong connection with the environment provokes, albeit brief, a sense of being within that space or wo rld. Which is a point foc us fo r phenomenologists in metaphysic al study, where one is connected physically to more than just the immediate environment. With color and perc eption (visual), space and material relation (physical), odor, and audible manipulation of a space the occupant can be encouraged to believe that a partic ular environment exists with design elements. Throughout history, many entertainment projec ts have used visual elements to define artificial environments with few successful endeavors. Disney has pioneered a number of interactive design elements to create environments simulating experiences walking cartoon characters, mechanically interactive elements to architecturally historic and innovative structures. The overall idea is to escape the wo rld one knows and enjoy a wo rld created. 6

18 Issues Materials Material selection for the design will be essential to maintain the sense of escapism. Performance Requirements Potential Design Response Texture: Materials used should not be irritating to the touc h. Rough surfaces placed out of reach of guests Should not be overbearing to adjoining materials Lighting: Material properties should be non obtrusive for guests and overall design. Materials using daylight should not be obstructed by mass elements Orientation of reflective materials should be kept in mind for design Sustainability: Material selection for the facility should be low maintenance and/or as lo ng lasting as possible. High maintenance materials should be within reach of maintenanc e crews so as to no t require special equipment Long life materials should be used for high circulation and heavy use staff areas 7

19 Issues Space (P ositive & Negative): Alteration of spatial relationships are key to implementing phenomenology into the design for the facility. Spaces defined by objects can be manipulated with opposing spatial properties for multiple effec t of perception and experience. Performance Requirements Potential Design Response Object placement: Placement of elements should aid in defining spaces within the complex. Primary areas (concession, seating, restrooms) can be used to define the center, or exterior, of spatial elements Fig. 1.4 Contrasting spatial elements within a bounding space 8

20 Issues Expression: The design need not be themed in order to be successful, but rather provoke mental images of the essence of the theater in the mind of the viewer. The latter should not be overbearing or frightening for the people attending the complex. Performance Requirements Potential Design Response Materials: Contrasting and/or unique materials should be used for expressing the sense of the space. Translucent glass in conjunction with projec ted images can be used to simulate effec ts Projected images on materials Lighting: Lighting effec ts should be used for spatial expression and definition. Separate spatial environments can use same images with contrasting colors, or vice versa Images used can define space separation Projected effect Fig. 1.5 Light effects can define shapes or images for materials Glass or image 9

21 Issues Interaction: In order for the projec t to be successful to the occupants of the theater the lasting impressions should induce pleasant and unique memories, no t only in visual stimulation but in the other senses as well. Social interaction between guests and staff is a large part of the overall experience. Performance Requirements Potential Design Response Social: Should be encouraged with design and limited to non theater areas. Ambient sounds amplified with materials Social areas should not be clustered in one spot, rather spaced away from each other for maximum circulation Semi private areas designed into lobby and exterior spaces. Physical: Unique physic al elements should not be unpleasant to the touc h Door and push handles should be unique in design and remain prac tic al Massing elements with sc ulptures and water elements 10

22 Issues Lighting: Lighting effec ts and color design can influence viewer mood and emotion for individual spaces, or create alternating effec ts for similar spaces. Intensity and heat from lighting will be a fac tor in how great an effec t is created. Performance Requirements Potential Design Response Way finding: Unique lighting should not obstruct viewers ability to see paths or destinations. Fluorescent colors for way finding elements Floor materials with low ambient/ reflective properties Heat: Heat from lighting fixtures and other mechanical elements should not affect guests. Channeled away from occupancy areas Ventilation over high occupancy areas Oriented away from HVAC elements Oriented close to high ceiling spaces 11

23 Precedence Case Studies Le Bonheur Children s Medical Center West Patient Tower Project: Le Bonhe ur Children s Me dical Ce nte r West Tower Site : Me mphis, Te nnessee Principle Clie nt: Le Bonheur Children s Me dical Ce nte r Architect: J. Wise Smith Associa tes Lighting Designer: Craig A. Roeder Associa te s Fig corridor from cafeteria Fig Illuminated columns In an e ffort to nurture and assure children the a dministra tors of Le Bonhe ur Childre n s Me dical Ce nte r employed architects and lighting des igne r Craig Roeder to create an environment inte nde d to inspire wonde r for its occupants. The interaction of light and ma te rial create an e ffect as one walks through the wing, viewe d by many pa tie nts seen lying on the ir backs to view the atrium sky (Fe nle y 31). Physicians fe lt improving the surrounding environment would ha ve a positive effect on the ps yche of the patients recove ring in the wing, hence a subliminal form of treatment. Light movement and color contrasts cast images and suggestive environments that are not actually the re, submersing the subject into the sce ne with playful contrasts of light and ma te ria ls. Some lighting fixture s are placed inside columns to create a floating ceiling effect that when walking from area one to the ne xt can shift mood and presence within the space (Fe nle y 32). In re la tion to the theory of phenomenology the rela tionships created be twee n viewe rs and space is rele va nt to the des ign for this project. Fig Foyer columns 12

24 Precedence Case Studies Le Bonheur Children s Medical Center West Patient Tower Project: Le Bonhe ur Children s Me dical Ce nte r West Tower Site : Me mphis, Te nnessee Principle Clie nt: Le Bonheur Children s Me dical Ce nte r Architect: J. Wise Smith Associa tes Lighting Designer: Craig A. Roeder Associa te s Fig Porte cochere Fig The ocean floor Fig Information desk Fig La Bonheur foyer colomns 13

25 Precedence Case Studies Disney Designs Project: Various Disney des igns Site : Va ries Principle Clie nt: Disney Inc. Architect: Michael Graves, Peter Eise nman, Disney Imaginee ring Epistemology for Disney entertainment design from its origins to present the day stem from ideals of communic ation and emotion to interaction and technology. attempting to create fundamentals in entertainment design for creating architecture with a plot (Beck 133). Enhanced literacy, economy, and tec hnology lead to a more frugal guest who demands more imagination and interaction to be entertained. For designs to satisfy such guests an alternating and/or elaborate environment can be created. Architecture with a plot and guest experience can be primary issues for the designs he av ily based on theme park entertainment, the solutions for such issues are few and far between. Theming, which can be translated as illustrating through environmental design has been a Disney stereotype since its inception. Later, Michael Eisner felt that theming was more of a stigma and wanted to plac e architecture in the forefront of his vision for Disney (Dunlop 17 22),. Many of the new designs for Disney structures foc used on storytelling with architecture as the tool. Designs fo r provoking emotion and sense of plac e which are essential for the movie complex design. 14

26 Precedence Case Studies DisneyQuest, Chicago Project: DisneyQuest Site : Downtown Chicago Principle Clie nt: Disney Inc. Architect: Walt Disney Imaginee ring For this design in downtown Chicago Disney imagineers fe lt concern for contras ting with neighboring structures and interrupting the commerc ial fac ades of the area. The city limited facade designs by forbidding any heavily animated objects or colors, feeling that citizens driving by would be distrac ted and cause traffic problems (Morton 136). This in turn led to the elaborate interior design for Disney Quest, where an escape from the commerc ial environment of downtown Chicago can be experienced. The lighting aspects give the interior an emotion of comfort with playful sc ulpture like objects sc attered about the interior. To merge the limitations of the fac ade with Disney s design the imagineers used reflective paint, to recreate the lighting effec t the city would not allow, and a large format design of the Disney logo., which structurally was not too overbearing for the neighboring buildings. Here lighting, material selection, and massing elements created a unique environment to merge with surrounding buildings and not seem too out of plac e. The movie complex should employ these tools for merging the exterior (DFW) with the interior. Fig nd floor interior Fig Interior column 15

27 Precedence Case Studies DisneyQuest, Chicago Project: DisneyQuest Site : Downtown Chicago Principle Clie nt: Disney Inc. Architect: Walt Disney Imaginee ring Fig Central feature Fig Exterior facade 16

28 Precedence Case Studies Time Square Studios Project: Time Square Studios Site : Ne w York Principle Clie nt: Disney Inc. Architect: HLW Inte rnational LLP, John Ge ring, pa rtne r in charge; Ja mes Lee project ma na ge r; Ste phe n Ne wbold, project architect In order to compete with the lighting designs in Times Square the design team used a specially made lighting fac ade for the studio. After acquiring the building the team gutted the interior and structurally shifted support to the fac ade from the center of the building. The new display broadcasts live media and news expressing the fac ade with its undulating and engaging design. This is media as architecture Eddie Sotto senior vice president of Disney Imagineering, We wanted something bo th sc ulptural and kinetic (Larson 138). Unique in design this fac ade is a good example expression through architecture, and should be a feature of the facility to be designed. Fig Street side perspective Fig Interior looking out to Times Square Fig Front view 17

29 Precedence Case Studies Terminator 2: 3D Attraction Project: Te rminator 2: 3D Attraction Site : Hollywood, California Principle Clie nt: Universal Creative Planning Architect: RIOS Associa te s Inc. For the architects of RIOS Associates Inc. the prime goal was to no t overdo the terminator theme, and still be unique in design (Morton 140). To combat this a large pixilated wall was added to the freeway side of the building, breaking up the massing elements of the structure. To adhere to the theme the morphing exterior walls are intended to emulate the properties of the Terminator from the sequel. Co lo r variation and massing play a key ro le in distinguishing this structure from others in Hollywood and could prove invaluable for the design of theater facility. Fig Floor plan Fig Generated perspective of exterior Fig Freeway facade 18

30 Precedence Case Studies Terminator 2: 3D Attraction Project: Te rminator 2: 3D Attraction Site : Hollywood, California Principle Clie nt: Universal Creative Planning Architect: RIOS Associa te s Inc. Fig Entrance Fig Pre-show court 19

31 Precedence Case Studies Cirque du Soleil Project: Cirque du Sole il Site : Downtown Disney, Orlando Principle Clie nt: Disney Inc. Architect: Rockwell Group One of two theaters designed for the Montreal based performanc e company which is in essence an artistic circus. Cirque du Soleil expressed concerns that too vibrant a shell might outperform the splendor awaiting audiences inside and fix a single image of the circus too firmly in the minds of the public (Morton 142). Fo r this design the architects needed to meet fac ility requirements, create a unique design, and not be to dramatic with the fac ade. So they used ico nog raphic features of circus big tops and foc used on the interior for expression. Fig Site plan Fig Entrance walkway 20

32 Precedence Case Studies Cirque du Soleil Project: Cirque du Sole il Site : Downtown Disney, Orlando Principle Clie nt: Disney Inc. Architect: Rockwell Group When entering the colors are subdued with a curtain wall of glass with no elaborate forms. However, once inside the theater space the viewer is surrounded by vibrant colors and lighting, which can be hidden by simply turning the lights off or altering light color. The experience of entering the defined space is emphasized by the subtle exterior features leading up to the expressive theater space. The use of positive and negative space can be used thusly in the design for the mo v ie complex in much the same way colors and lighting were used here. Fig Canopy and entry facade Fig Exterior canopy at dusk Fig Interior of performance space 21

33 References Beck, Gregory, AIA. Form in the Era of Fun. Architectural Record. Dec. 1999: Dunlop, Beth. Building a Dream: The Art of Disney Architecture. New York: Harry N. Abrams Inc., 1996: Fenley, Gareth. Dance of Healing. Architectural Record. May 1994: Gropius, Walter, Scope Of Total Architecture. New York: Harper and Brothers, 1955: Larson, Soren. Times Square Studios New York City. Architectural Record. Dec. 1999: Lym, Glenn. A Psychology Of Building. Engelwood Cliffs, N.J.: Prentice Hall, 1980: Morton, David. Cirque du Soleil Downtown Disney, Orlando. Architectural Record. Dec. 1999: Morton, David. DisneyQuest Chicago. Architectural Record. Dec. 1999: Morton, David. Terminator 2: 3D Attrac tion Hollywood. Architectural Record. Dec. 1999: Pietersma, Henry. Phenomenology Epistemology. New York: Oxford University Press, 2000: 60 83,