Folded Cinema was designed and built by Passage Studio for Nocturne 2017 in Halifax, Nova Scotia. The modular pavilion’s form is folded to accentuate the mirrored landscape film by a local artist. The screen is perforated which allows light to spill through it. Intrigued by the glowing passageway people are invited to enter the screen; coloured dots of light maps one’s body, creating a second, more haptic experience with the film.
PASSAGE STUDIO - MIGRATIONS
Migrations is an observational bird blind in Cape Jourimain, New Brunswick that celebrates 100th year treaty between Canada and the USA in the conservation of migratory birds.
MIGRATIONS is a project that celebrates the 100th year treaty between Canada and USA in the conservation of migratory birds. The observational bird blind, shown here, is a permanent structure located in Cape Jourimain National Wildlife Area in New Brunswick. The bird blind allows the public to observe birds in the wild without frightening them by concealing the human figure. A component of the blind are aluminum "blades" displaying original artwork of migratory birds illustrated by Dylan Noble of Merchnnt. Prior to the construction of the bird blind the "bird blades" were integrated into an installation in the Halifax Public Library.
Designers: PASSAGE studio
Client: Canadian Wildlife Service
Illustrator: Dylan Noble of Merchntt
General Contractor: RSI Projects
Photography: Krista Comeau
PASSAGE studio - STRAND HAIR ROOM
PASSAGE studio designed the interior, signage and logo for a completely fresh rebranding experience of Strand Hair Room in Scotia Square Mall, evoking an open feel in this relatively tiny footprint of 800 square feet.
STRAND HAIR ROOM
A mixture of clean lines, reflective white finishes, and white oak accents convert this previous sushi restaurant into a modern salon. A luminescent sign anchors the store within the mall context, and recessed retail shelving lead customers into the wide open space. The project efficiently utilizes a continuous wall of shelving, a processing bench, colour bar, and hair wash station around the perimeter. Hair stations were conceived as three large columns of storage to minimize hair dressing equipment while evoking an open feel in this relatively tiny footprint of 800 SF. PASSAGE designed the interior, signage, and logo for a complete fresh rebranding experience.
Client: Strand Hair Room, Esther McIntyre
Contractor: RCS Construction
Mechanical + Electrical: M&R Engineering
Photogaphy: Krista Comeau
MOBILE FOOD MARKET
From passenger to produce, the city bus is quickly transformed into a mobile food market using PASSAGE studio's custom designed millwork solution.
On May 14th, 2016, the Mobile Food Market was launched in East Preston Nova Scotia.
The Mobile Food Market focuses on making affordable, high quality, fresh fruits and vegetables available in communities with limited access to healthy food.The Mobile Food Market brings fresh fruit and vegetables to five communities using a transit bus.
The design allows for the produce to be restocked quickly, and the painted plywood millwork raises the produce to a comfortable height.
The city bus can be converted to the mobile food market within 15 minutes. The bus distributes produce for the day and is quickly converted back to a passenger bus for the evening.
For 21 weeks the mobile food market will travel to various communities full of fresh, affordable fruit and vegetables.
Millwork components are installed into each seat location within the bus. Plastic bins full of fresh produce are then easily dropped into each component.
The Mobile Food Market focuses on making affordable, high quality, fresh fruits and vegetables available in communities with limited access to healthy food.
The existing bus structure and layout were economically utilized to provide an efficient shopping experience.
Architecture, Interior Design, Installations, Events, Products, Furniture, Graphics, Pop-Up Cinema, Situated Cinema, Nova Scotia Architects, architecture cinema tiff. situated cinema project. pleasure dome. solomon nagler, alex larose film makers. jonathan mandeville, thomas evans, architects.
This project was commissioned by Pleasure Dome. The commissioned project was made possible through the generous support of the Media Arts Section of the Canada Council for the Arts.
The film "Pilgrimage" shown in the cinema was created by Solomon Nagler and Alexandre Larose.
The film is experienced at the scale of a room, as well as an object in the city.
The cinema was exhibited in three different locations in Toronto over the course of two weeks.
The cinema consists of five components that are taken apart for transportation and connected on site. Each component consists of a steel frame clad in perforated panels that provide different conditions for viewing. A mirror reflects the 16mm projected image onto a frosted acrylic screen. The silhouette of the viewer within the cinema becomes part of the image on the screen as seen by those outside of the cinema.
These plan and section drawings demonstrate how the cinema acts as a spectacle in two directions. The bidirectional nature of the space challenges the user to shed preconceived notions of voyeurism and to explore the relationship between viewer and viewed in a new light.
A tactile pattern in the panels was created using CNC technology to remove material. The pattern is based on the aspect ratio of 16mm film; 1 : 1.33. While most apertures are sunken partially into the panel, some are cut completely through, providing glimpses into the interior. The interior was painted black to provide a dark atmosphere for watching the film, while the white exterior stands in high contrast for visibility during the night.
This scale model was developed as a facade study during design development.
This sketch shows the ideas behind the transportation of the cinema to different sites.
The cinema breaks into five components which can be moved by truck.
Each component gets slid into place and bolted together.
Assembly process on King Street.
Light spills out of the cinema attracting curiosity.
As the door pivots open a glimpse of the inside projected film can be seen. Location tiff.
Viewing a glimpse of the inner workings.
Situated Cinema walkthrough - TIFF
Video by Melanie Wilmink
A frosted acrylic screen allows the viewer to interact with the film at a haptic level. As they touch the screen they become part of the film.
The film looping mechanism is a custom made component, integral to the success of the project.
This sketch shows an early idea of apertures for viewing into the interior.
The tactile aperture pattern was based on 16mm film aspect ratio.
The second location was on Spadina Avenue and was adjacent to the sidewalk.
A moment of unexpected fun on the street.
PASSAGE studio - MARINE SLIPS
MARINE SLIPS is a proposal for a site specific public art wall in Dartmouth, Nova Scotia. Based on the memories of the 3500 warships that were serviced at this very site.
MARINE SLIPS is a proposal for a site specific public art wall in Dartmouth, Nova Scotia. Based on the memories of the former use of the site, MARINE SLIPS interprets historical information into a dynamic tactile graphic wall that changes from day to night. The work memorializes the 3500 warships that were serviced at this very site during the "Battle of the Atlantic" of WWII. The coloured pattern underneath the water-jet cut veil is an interpretation of the "dazzle" camouflage utilized by Flower Class Corvette Ships during the war.
Designers: PASSAGE studio
CINEMA WITHOUT FILM
Using the ebb and flow of sunlight, nocturnal shadows, and oscillating perspectives through a series of viewing apertures, CINEMA WITHOUT FILM encourages active interaction to produce a series of cinema effects.
The installation was positioned at the intersection of the two frozen rivers in Winnipeg.
Shop fabricated wall panels are shipped to site on a sled. They are then tilted up and tied to the ice with a bolted connection to a baseplate. A top plate system subsequently ties the entire system together.
The building plan creates a series of individual rooms that provide shelter and relate to one another through linear views between them.
SCREEN AND PROJECTOR
This three dimensional line acts as an apparatus for capturing incidental refraction of light and shadow on the frozen river. The coloured apertures stand in for the projector, piercing through the panels and growing or diminishing in size from their origin.
Framed views are colour keyed to indicate their continuity through the structure and provide framed, animated views.
Situating the warming hut within the broader cityscape beyond, spectators can playfully reframe space in this cinema without film.
Architecture, Interior Design, Installations, Events, Products, Furniture, Graphics, Pop-Up Cinema, Situated Cinema, Nova Scotia Architects, situated cinema project, WNDX, solomon nagler, alex larose film makers, jonathan mandeville, thomas evans, architects.
Located in several different environments, the introduction of the cinema structure transforms the surrounding space. Each site is occupied for a single day before moving to a new location. (photo; William Eakin)
The project examines four distinctly different urban contexts within the city.
This model shows how darkness is achieved through the maze-like quality of the interior space. One enters at the top of the plan and exits on the right. The image is reflected by three mirrors before being rear-projected onto a horizontal surface viewed from above. As others passthrough the space their bodies interrupt the image becoming part of the film itself.
TIME LAPSE INSTALLATION
The cinema was conceived, designed and fabricated by Thomas Evans, Craig Rodmore, and Will Vachon, with special assistance from Solomon Nagler. The project was presented in Winnipeg September 26-29, 2012, and featured films by Alexandre Larose, Alex Mackenzie, Caroline Monnet, Heidi Phillips, and Isabella Pruska Oldenhof. (video; Will Vachon)
This exploded axonometric drawing indicates the structural layers of the building and highlights the demountable nature of the project.
One of the greatest design challenges in this project was providing a sizeable image inside a compact interior. The resolution to this problem involved multiple reflections off mirrored surfaces.
The cinema components pack flat and fit within a standard cargo van. (photo; William Eakin)
Machined aluminum hardware was used to lock the panels into place for ease of assembly.
Slots in the floor assembly accept wall panels, while pockets at the perimeter accept custom aluminum hardware for secure connections to the cladding panels. All components were designed to pack flat for shipping. (photo; William Eakin)
Each building component was designed to be installed by one or two people for optimum mobility. (photo; William Eakin)
A series of mirrors is used to bounce the projected image around the interior of the cinema. (photo; William Eakin)
The projected image is reflected by a series of mirrors to create an unconventional haptic form of viewing (photo; William Eakin).
The project can be assembled in under three hours. (photo; William Eakin)
UNDER-UTILIZED CITY SPACES
Here the cinema finds a home in a loading bay to enliven an underused urban space. (photo; Craig Rodmore)
The assembly of the cinema became a public event, with onlookers curious about the quick setup. (photo; Craig Rodmore)
INWARD OUTWARD LIGHT
Inside the cinema darkness is achieved to watch the illuminated film. From the outside a counter-light acts as a beacon to attract people to the cinema. (photo; Craig Rodmore)
Architecture, Interior Design, Installations, Events, Products, Furniture, Graphics, Pop-Up Cinema, Situated Cinema, Nova Scotia Architects, Jonathan Mandeville, Thomas Evans, Architects, Secret Theatre, /Livestreams
The aerial cinema project seeks to explore emerging communication interfaces by inverting typical spatial relationships between viewer and moving image.
Live feeds from other event sites are projected in microcinema booths, creating a network hub, which in turn becomes part of a larger aerial composition.
Leaning back and looking towards the sky one experiences another place in the city. Above the cluster, a suspended camera looks down and captures all three projected live video feeds at once, displaying them in an aerial composition on the internet.
POD FOR ONE
Each pod was designed carefully o be comfortable for one person at a time, to create an individual experience during a time of public gathering.
For one night the Halifax Library Plaza is transformed into an interactive hub of information.
The aerial cinema explores the interplay between live video feeds and architecture in the public realm. Three pods sit in a cluster, each hosting a live video feed from different nocturne sites.
UP AND DOWN
Looking up a 1:1 intimate experience with audio and visual. Looking down a camera captures collective information and transmits this to the internet in real time.
From the sidewalk the pods hint at their true expression and function, which must be discovered by exploring the other side.
DAY FOR NIGHT
Architecture, Interior Design, Installations, Events, Products, Furniture, Graphics, Pop-Up Cinema, Situated Cinema, Nova Scotia Architects, Jonathan Mandeville, Thomas Evans, Architects.
DAY FOR NIGHT
This project was designed and built over the course of two weeks as a 'freelab' with Dalhousie University architecture students. With a very limited budget it aimed to deliver a microcinema for 16mm film in a challenging urban context. (photo; David Tyl)
A collaborative approach to design and construction sought to leverage different skill sets and knowledge pertaining to film studies, design, and construction.
The sectional quality of the building was derived from the necessity to create reflective planes in order to produce an image size suitable for the cinema space. (drawing; Phil Wilson)
Extremely economical building materials were employed to construct a contained space suitable for cinematic projection. (photo; David Tyl)
Physical mockups were used to develop spatial relationships between users and projection assemblies. (photo; Phil Wilson)
The cinema ran for two evenings exhibiting 16mm film from the archives of NSCAD University. (photo: David Tyl)
This project was designed and constructed by, Geoff Heintzman, Andrew Hill, Kevin Lo, Rob MacKaye, David Tyl, Kaitlin Wierstra, Phil Wilson, Natalia Woldarsky Meneses, Michael Zabinski, Thomas Evans and Craig Rodmore, with special assistance from Solomon Nagler and NSCAD University.
The project brief for this competition asked participants to address the theme of freeze/thaw. In this proposal, the child's sand pail is utilized as an elemental building block to build curtain-like walls that surround a steel frame and create a kaleidiscopic interior experience.
The ephemeral nature of the project is exhibited through the the seating bench that transforms to become a piece of urban furniture in the summer, and the wall systems that break down to revert to their original use.
As winter gives way to spring, and spring becomes summer, the sand pail pavilion becomes a distant frozen memory, but the building blocks of the structure live on as vessels of the imagination.
The building cladding envelops the structure, creating an unique perspective from the lifeguard chair above.
The freeze/thaw theme is additionally exhibited through a cladding that allows for accumulation of snow and ice.
The hierarchical organization of the seating spaces inside the structure provide opposing views of interior and exterior space.
This detail shows how the buckets are assembled into a curtain like cladding using a barrel bolt and a bushing.
The interior space of the pavilion generates unexpected experiences of sound and light.
MOSAIC OF STORIES
REFUGE is a project that addresses issues of migration in Canada. A mosaic of vessels which lean towards one another invite the public to engage in the social issue of migration within our country. Each vessel has a projected image of a migrant which becomes animated as one approaches. Ducking inside, a dark acoustically lined interior mutes the senses and enhances the audio found within; that of the individuals story migrating to Canada.
in collaboration with Katie McKay and Veronica Simmonds of Part & Parcel
IMAGE AND SOUND
The form of each vessel is determined by its projected and receiving face. To enter one must duck inside and a 1 on 1 intimate experience listening to the migrants story occurs.
22 Vessels are placed in a grid around the Montreal metro station. Spatially evocative the vessels act as a large conversation, while each one represents a personal story.
Projected images of human scaled animated people blur the lines between the ephemeral and the real in this urban context.