Studio Space Research Articles

Television’s Tortured Misfits: Authenticity, Method Acting, and Americanness in the Midcentury “Slice-of-Life” Anthology Drama

from the beginnings of american network television in the 1940s, the anthology and Method acting shared a kindred space. The anthology format-which consisted of individual, self-contained television plays under a single series title-enjoyed a heyday in the midcentury period and frequently focused on the intimate study of troubled characters from ordinary backgrounds. This focus provided an apt vehicle for countless practicing Method actors, whose training and techniques emphasized the authentic portrayal of realistic characters and problems. Method actors' ability and/or willingness to vigorously explore the depths of everyday characters fit the concerns of a certain kind of television drama, one that purported to eschew glamour in favor of existential grit. Stemming from this association, Method acting and the anthology are also interconnected by the very similar ways in which they were discussed in the midcentury press, often prompting debates about their actual value for representing people. Notably, the volatility of this space very often points toward a complex struggle to define a specifically American reality, a sense of American experience. I argue, then, that intertwined critical debates about the value of both Method acting and the realist anthology have ideological threads leading all the way to the national and that the Methodinflected teleplay is one critical arena in which Americanness itself is negotiated.In service of this exploration of Americanness in the intersection of the anthology series and Method acting, I will focus on two especially useful dramas. The first, Paddy Chayefsky's famous teleplay Marty, broadcast live by Goodyear Television Playhouse (1951- 57)1 in 1953. The second is much less known today but nonetheless represents a significant televisual moment: Journey to the Day, written by Roger O. Hirson and broadcast by Playhouse 90 (1956-60) in 1960. Both prominently feature Method actors, and both focus on what I will call the tortured misfit, a character who struggles to fit into prescribed cultural norms. Specifically, these two teleplays delve into the alienating effects of the familial and lifestyle imperatives associated with being a true American. They are representative of the slice-of-life drama, a realist tradition within the television anthology that examines the everyday lives of unglamorous or even maladjusted people, often in order to raise the question of what constitutes authentic Americanness. Of course, defining Americanness is a highly charged political debate, and these teleplays vividly demonstrate the ways that television, as a rapidly expanding national medium and object of vigorous cultural discussion, became deeply involved in the struggle to determine a sense of American identity.Intimacy, Authenticity, and TelevisionFor many midcentury critics and audiences, television itself ontologically associated with intimacy and authenticity. As Rhona J. Berenstein explains, television was assumed to offer to the viewer a particular temporal and spatial experience, an experience marked by a sense of nowness and hereness and inflected by presumed access to the real (25). The technical and industrial conditions of early television, it said, situated the medium as a prime venue for the display of a realist vision, one associated with liveness, truth, and inthe- momentness. The realist anthology especially thrived under this critical consensus. Because of the constraints of time, budget, and studio space, early television productions were often small in scale and narrative scope. This centered the form on a limited number of sets and actors, as well as on the design of oftenmodest locations and costumes. As Judith E. Smith explains, these conditions often encouraged the writing of interior, intimate drama (257). Anthology series such as Goodyear Television Playhouse became associated with, or perhaps notorious for, the presentation of conflicted and alienated subjects in the struggle of everyday life. …

Must Art Have a ‘Place’? Questioning the Power of the Digital Art-Scape

Must Art Have a ‘Place’? Questioning the Power of the Digital Art-Scape

Creating a new Scottish musical: Composing and staging The Choir – an interview with Ricky Ross and Dominic Hill

Abstract Ricky Ross is a Scottish singer-songwriter. He is lead singer of the band Deacon Blue, which he formed in Glasgow in 1985. He has also released six solo albums, and as a songwriter has written for artists including James Blunt, Jamie Cullum, Nanci Griffith, Ronan Keating, KT Tunstall and Will Young. The Citizens Theatre, known as ‘the Citz’, is the West of Scotland’s principal producing theatre and has produced a wide range of theatre productions over its 70-year history. Its Victorian building in the Gorbals, an area to the south of Glasgow, houses a 500-seat main auditorium and two studio spaces. Dominic Hill became Artistic Director of the Citizens Theatre in 2011, before which he was Artistic Director of the Traverse Theatre in Edinburgh, and joint Artistic Director of Dundee Rep Theatre. He has directed productions extensively around the United Kingdom, including for the Royal Shakespeare Company and Scottish Opera. Ricky Ross’ original musical The Choir (book by Paul Higgins, lyrics by Higgins and Ross) was produced by the Citizens Theatre in partnership with Ambassador Theatre Group from 24 October to 14 November 2015. In this interview, Tom Cooper talks to Ricky Ross and Dominic Hill about their compositional and directorial approaches to The Choir, the functioning of the songs within the work, the journey from rehearsal to performance, and the Scottishness of the piece, as well as exploring the Citizens Theatre’s new partnership with Ambassador Theatre Group, created to nurture and produce new ‘local’ musicals.

The Ottawa Roman Catholic Separate School Board’s Artists-in-Residence Program (1970-1988): One Point of View

This paper documents an educational artist-in-residence program that was particularly active in some Ottawa Roman Catholic Separate School Board primary schools during the period 1970 to 1988. In schools where space was available, professional artists were assigned studio space as a means to encourage their participation in the day-to-day life of the schools. In exchange, the visual and performing artists offered non-teaching services that included mentoring and participation in stage plays, mural creation and art exhibitions. These activities mainly took place within the framework of the artists' everyday ongoing professional practice.

Dance of Light and Loss

On a bright and sunny Sunday afternoon in the Ogikubo district of western Tokyo, in the dark basement of Saburo Teshigawara's dance studio and performance space known as Karas Apparatus, an audience gathered to see the dancer's newest solo performance, Fool. The uncurtained stage in the small theatre was empty and unlit, the stage itself far larger, perhaps three times larger than that tight space reserved for those attending the event. What lights there were faintly illuminated only the slightly raised rows of cushions upon which the forty of us in the audience took our seats, waiting for the performance to begin.

Painting Portraits in Private

Henri Matisse and Hilda Rix left Paris in early February 1912 for the Moroccan city of Tangier. They stayed in the Grand Hôtel Villa de France for most of February and March. Matisse visited again in October of that year while Rix returned in 1914 accompanied by her sister. Rix's painting style took a new turn, developing a post-impressionist style in oils that incorporated abstraction, a primary palette and a flattened picture plain. Both artists executed portraits, working with the same models, in an unused room provided by the owner of the hotel, that became a temporary studio space. Matisse complained that his radical compositions met with derision from the hotel's guests. Their art and letters produced in Tangier reveal the challenges they experienced in finding models and painting in public and in private. They were both representatives of European colonising cultures and committed advocates of modernism and of Morocco. Rix adopted a counter-orientalist position in lectures and articles upon her return to Australia.

Performance Evaluation of Open and Cell Type Design Studios

Design studio courses take place at the core of education disciplinary design such as architecture and interior architecture. Studios in which design studio courses are conducted can also be used for other practical courses as well. Another important feature of these studios is that they are extensively used by students for individual or group work other than during class hours. Since the students, either on their own or with the project coordinator, experience design process in these studios, their spatial characteristics are highly significant to conduct this process effectively. Within this scope, the aim of the research is to evaluate open and cell type studios commonly used in traditional architecture education through Post-occupancy evaluation (POE) approach, to discuss to what extent these studios meet the spatial requirements of today’s instructional methods and to develop a suggestion for design studio spatial use by taking the strengths and weaknesses of these studios. Accordingly, technical, physical and behavioral variables determining the performance of design studios within the context of spatial requirements have been identified through reviewing the related literature. In framework of a case study, a survey formed with the aforementioned variables was administered to architecture and interior architecture students studying in open and cell type design studios in order to measure their spatial performance. Followingly, in the final part of the study, referring to survey results and evaluation of spatial requirements of today’s instructional methods and tools, a combi design studio space organization has been suggested.

Art Therapy Services to Support Veterans' Transition to Civilian Life: The Studio and the Gallery

Beyond having knowledge of the treatment of combat-related trauma, art therapists need to understand veterans' experiences of transition from military to civilian life in order to offer effective interventions. This article reviews the literature on veteran transition and the challenges common to transition difficulty and describes two major components of the art therapy program at the Veterans Outreach Center in Rochester, New York: a drop-in studio space and a veterans' art gallery. The clinical benefits of studio and gallery approaches in art therapy are discussed in relation to treatment needs associated with veteran transition, collective trauma, and creating spaces for remembering and retelling. Art therapy may support successful transition within the context of interpersonal relationships with family, friends, and members of the community that the veteran calls “home.”

A Concept for Predicting Occupants’ Long-Term Visual Comfort within Daylit Spaces

ABSTRACTA new visual comfort concept is introduced to describe the long-term visual impression of space occupants. This concept, in contrast to instantaneous assessment of visual comfort, aims to describe an overall rating of visual quality in a space. A paired study consisting of occupant surveys and detailed 6-minute time step visual comfort simulations was performed for the studio spaces of Gund Hall in Cambridge, Massachusetts, which is occupied by approximately 500 students. Occupants reported four primary ways of experiencing visual discomfort: discomfort glare, insufficient monitor contrast, direct visibility of the sun, and direct sunlight on the workplane. Survey results were located spatially and in terms of orientation within Gund Hall, and a simulation model was calibrated based on furniture layout, measured material reflectances, and local measured weather data. The results of the study illustrate that it is possible to use current simulation-based visual comfort predictions to predict occupants’ long-term visual comfort assessments in a complex daylit space. By classifying occupant responses into two broad groupings of comfortable and uncomfortable, the prediction methodology correctly identifies reported comfort or discomfort from 73.2% to 86.5% of cases depending on time of day; however, more research is required for broader application of the long-term visual comfort model to other buildings. Through a spatial and temporal presentation of the simulation data, this new methodology can be used as feedback during the process of designing daylit spaces, avoiding visual discomfort, and increasing satisfaction within the built environment.

The HPT Model Applied to a Boutique-Style Online Retail Store

Suzy Q's is a retail business located in the southeastern United States. It offers hand-knitted scarves; handmade hair accessories; handcrafted beaded jewelry such as necklaces, bracelets, and earrings; small handmade children's toys; and stock and custom-printed T-shirts. It began operations in early 2014. The owners established an online store and developed plans to sell items at local craft fairs and farmers’ markets in the southeastern United States. During its initial launch, the business generated limited orders for its products. In the beginning there was a limited amount of advertising using social media, which consisted of establishing a Facebook page, posting notifications on the business's Facebook page, and posting notifications about the business to the owners’ personal contacts on Facebook. Despite establishing a web presence and utilizing social media in its first year of operations, Suzy Q's did not generate a significant number of orders and received very little revenue. The owners of Suzy Q's, our client, established a goal to generate at least $700 per month in revenue for the calendar year 2015. Our analysis of the business revealed that the managers and employees had the skills needed to perform the work, but the lack of orders presented an obstacle to achieving their business goals. After completing a performance analysis, we recommended that Suzy Q's establish a single online presence, implement a marketing effort, establish a local presence, create a dedicated studio space, and create a formal business plan. It was our belief that Suzy Q's had the potential to reach its goals set for 2015 and beyond if these solutions were implemented.

Cultural Technique in Creative Practice: Exploring Cultural Embodiment in the Movement of the Body in a Studio Space

Cultural Technique in Creative Practice: Exploring Cultural Embodiment in the Movement of the Body in a Studio Space

Maximising image quality in small spaces

A Medical Illustration Department may need to set up a studio in a space that is not designed for that purpose. This joint paper describes the attempts of two separate trusts, University Hospitals Bristol NHS Foundation Trust (UHB) and Norfolk & Norwich University Hospitals (NNUH), to refurbish unusually small studio spaces of 4m × 2m. Each trust had a substantially different project budget and faced separate obstacles, but both had a shared aim; to maximise the limited studio space and enhance the quality of images produced. The outcome at both Trusts is a significant improvement in image quality.

융합형 교육공간 조성을 위한 건축설계스튜디오 공간구성방식에 대한 사례분석과 설계적용연구 - 초중등 융합인재교육(STEAM) 공간수요에 대한 대응방안으로 -

This study aims to develop the design principles of studio space through case analyses and a design exercise in order to provide organizational ideas for the formulation of integrative educational space for STEAM. Characteristics of integrative education was studied to identify the space requirements. Similarity between STEAM and architectural studio education was argued, and 14 cases of studio design were analysed and space organization principles were developed with the result. During the process of study, four categories of designed aspects are observed such as 1. intervention of sights 2. high ceiling space 3. organizational flexibility 4. encounter of exterior environment. They are used as the premises of analysis for the development of the 7 space organization methods: 1.Visual communication of multi-layered space 2.Actively-used connecting space 3.Vertically diverging space 4.Multi-leveled space 5.Blurring space boundary 6.Intercommunication of in/out spaces 7.Introducing natural light. Then the methods of space organization are applied in the architectural design project of a elementary school STEAM space.

Entre a prática pedagógica e a prática artística: Reflexões sobre Arte e Arte Educação

http://dx.doi.org/10.5902/1983734814258 Este artigo aborda conceitos sobre o lugar do professor artista, bem como, deriva sobre o conceito de experiência utilizando o ateliê como espaço criativo, gerador de potência para articulações entre a formação docente e a prática artística. O estudo norteia-se sobre como o professor compõe seu processo criativo com a elaboração de cartografias, sendo que estas propoem fluxo e conexões entre os conceitos de espaço do ateliê e a subjetividade na prática docente do fazer/saber do professor artista. Desta forma, teoria e a prática tramam-se ao longo de perspectivas metodológicas, a fim de que, a própria pesquisa explore a narrativa subjetiva e identidade da professor artista. Recebido em: 05/06/2014Aprovado em: 15/12/2014

Melbourne’s Creative Spaces program: Reclaiming the ‘creative city’ (if not quite the rest of it)

Declining availability and affordability of inner-city space for cultural production were identified as major issues for Melbourne in the 2000s. The city’s Creative Spaces program was designed to redress this by providing affordable space for creative use in the public and private sectors. Rather than following the global ‘creative city’ strategies of the time, in which low and non-profit-making artists are relegated to the service class or displaced, the program’s advocates used the language of culture-led regeneration to win political support for the fundamental place of the arts in the city. Avoiding temporary, ‘activating’ uses of space, the program gives access to long-term affordable studio space, and as part of the largest arts program of any local government in Australia, helps maintain Melbourne as a site of cultural production as well as consumption.

Narrative Form and the British Television Studio 1955–1963

This article examines how the material design of the television studio influenced the resulting fictional mise-en-scène of different narrative formats broadcast on UK television. Through this spatial analysis, the article considers how a bias was formed within the industry between high-end single plays and popular series. Using archival production documents that detail the design and resourcing of studio space, it explores the different working studio practices that existed for the single play and series from 1955 to 1963. Drawing on studio floor plans, internal memos and institutional records of policy discussions that detail the creation, modification and resourcing of studio production facilities, including production control rooms, lighting systems and camerawork, this article compares the different production practices for the popular BBC police series, Dixon of Dock Green (BBC 1955–1976) and the anthology series of single plays Armchair Theatre (ABC 1956–1974). Although each text was produced for the rival channels of BBC1 and ITV, my intention is not to provide a direct institutional comparison of the production practices of the BBC and ABC but rather to demonstrate how the design and technological resources of a studio can impact upon the aesthetics of different televisual narrative formats. Hence my primary aim is to examine the relationship between the physical attributes of studios and resultant styles of the cheaper, popular series and the more prestigious single play, offering an original approach to considering television space.

Predicting the Daylit Area—A Comparison of Students Assessments and Simulations at Eleven Schools of Architecture

ABSTRACTIn recent years, climate-based metrics, in particular daylight autonomy, have found their way into North American standards and green building rating systems. The authors showed in an earlier pilot study that subjective space evaluations by architecture students correlated well with daylight-autonomy-based daylit area simulations in a single north-facing studio space in Boston. For this article, the authors collaborated with educators at 11 schools of architecture and applied the method consistently to 13 spaces within the participating schools. The schools are located in Brazil (2), Canada (1), Egypt (1), and the United States (7). The authors also introduce the concept of a “partially daylit area” metric based on a minimum illuminance threshold for daylight autonomy of 150 lux. The two metrics correctly determined in 18 out of 24 cases which parts of the study space are fully or partially daylit. The authors accordingly propose a two-tier evaluation system to rate the daylight availability in spaces.

From Princess to Punk: Digitisation in the Fashion Studio

The Zandra Rhodes Digital Study Collection project was a unique collaborative venture between staff and students at the University for the Creative Arts (UCA) and their Chancellor, the British fashion and textile designer Zandra Rhodes. Working within the designer’s private studio space, this initiative has developed the first digital record of her personal collection of garments and drawings, supported and enriched with behind-the-scenes video interviews and tutorials, for worldwide educational use. This paper examines the benefits and strategies for undertaking the project in situ within the designer’s private studio environment. It outlines the need for a bespoke, flexible approach to digitisation in the visual arts that respects the individuality and creativity of the artist, whilst drawing on established documentation standards and expertise from the library, archive and museum sector.

The Infinitude of Thought in Precarious Form

The article describes the seventy-seven day installation by the Swiss artist Thomas Hirschhorn called The Gramsci Monument. It was situated in the Forest Houses projects in the South Bronx, New York City, in the summer of 2013. One of four monuments Hirschhorn has devoted to philosophers, the Gramsci Monument was an elaborate living structure at the center of Forest Houses. It was constructed of entirely precarious materials, mostly plywood and brown packing tape. There was a newspaper production space, a radio station, a library, a bar, an art studio, a theatre and lecture space, and an internet space, all run by paid residents of the Houses. This article explores the philosophical demands made by Hirschhorn's foundational and guiding vocabulary, including Universality, Equality and Affirmation. Refuting criticism of the monument made on the grounds that it didn't serve the residents of the projects in a useful or sustainable way, the article digs deep for what Hirschhorn means by affirmation: a weapon, an offensive move, something ingrained in the constitution of space and its objects, the place where the axiomatic becomes sensible in and to the world, something joined decisively to Equality. Hirschhorn situates his monuments among those he calls the precat, those among whom the Universal, or Equality, must be fought for every day. The art work, and its uncompromised philosophical lexicon, affirms its presence in what Hirschhorn calls ‘Co-Existence’ with the ‘Non-Exclusive Audience’, one which does not need or want the artwork, which may be indifferent to it. The article finally turns to the weekly performance of the ‘Gramsci Theatre’ and its ‘Un-Shared Authorship’ to explore how moments of invention among the residents occurred, and how those inventions could be made to appear, to be palpable, in space, as the sensuous substance of affirmation.

Α structural metaphor of techniques from music to architecture: contrapuntal tools in the design studio

Architecture has historically more common elements with music than with the other arts. Their kinship lies not only on their mathematical base but also on their similar structural formation, compositional tools and terminology. Counterpoint in music is the technique of combining voices for a polyphonic form to be composed. In general, counterpoint is the art of manipulating a system of interrelations through which the whole is composed by its parts. The aim of the paper is to present the contents of an elective course in the School of Architecture (NTUA) where contrapuntal techniques, employed in musical composition, are tried out in the architectural synthesis. An issue raised is whether the metaphor of musical compositional tools in the design process can expand the students’ design potential. They explore the potentialities of this musical tool in the architectural design via small abstract exercises. Our approach is structural acting as a methodological base of the synthesis in the design studio. The structural design method will be exemplified with a presentation of two design studios through the students’ works, their conceptual ideas, their compositional structures and the tools employed.Historicamente, a arquitectura tem mais elementos em comum com a música do que com as outras artes. A sua afinidade encontra-se não só na sua base matemática mas também na sua formação estrutural, ferramentas de composição e terminologia semelhantes. Contraponto na música é a técnica de combinar vozes para que se componha uma forma polifónica. Em geral, contraponto é a arte de manipular um sistema de inter-relações, através do qual o todo é composto das suas partes. O objectivo da comunicação é apresentar os conteúdos de um curso opcional na Faculdade de Arquitectura (NTUA) onde técnicas de contraponto, utilizadas na composição musical, são experimentadas na composição arquitectural. Uma questão levantada é se a metáfora de ferramentas de composição musicais no processo do design pode enriquecer o potencial de design dos estudantes. Exploram-se as potencialidades desta ferramenta musical no projecto arquitectónico através de pequenos exercícios abstractos. A nossa abordagem é usar a estrutura como base metodológica da síntese no projecto. O método do design estrutural será exemplificado com a apresentação de dois projectos de arquitectura através dos trabalhos dos estudantes, das suas ideias conceptuais, das suas estruturas composicionais e das ferramentas utilizadas