Creativity modern industry. When it slums the economy

Creativity and design are at the
forefront of a rapidly changing world. The creative industries are innovation
led, knowledge intensive and highly exportable, and make a larger contribution
to GDP than a number of traditional industry groups.

Creativity has never been more
valued by individuals, society and employers. Architects as creative workers
play an important role in driving economic, social and cultural development.

We Will Write a Custom Essay Specifically
For You For Only $13.90/page!


order now

The relationship between architecture and film is a subject ripe
for exploration, from the design of sets and academic treatises on the role of
space to more laid back affairs, like presentation of clips built upon the
theme of modern residential architecture. This plays down the
distinction between architect and production designer, emphasizing how modern
residential architecture’s open spaces, transparency, and simple materials make
for appealing cinema.

 

1.1 BACKGROUND OF THE STUDY

                Creativity
is the X factor of modern industry. When it slums the economy splutters. The
lines between creative fields like architecture are increasingly blurred, from
designing to the crossroads where design and architecture meet film.

The
Nigerian film industry (Nollywood) being one of the best and biggest industry
in the world lacks some of the major attributes which can be solved by
architecture. Some of the attributes is the absence of enabling environment for
quality film production which can improve the economy, lack of physical
infrastructure to identify the creative industry, lack of quality sound studios
and the absence of purpose built cinemas. Nigeria requires a befitting film
village with the state of the art studios to complement its status and the
creative industry. Another problem is the low rate of the production of
computer generated graphics in Nigeria.

Taking
the film studios in tinapa as a case study, the tinapa studio tried to come to
live in year 2009 but failed in functionality. i.e it is not functional today.
This was due to some reasons like existing laws regarding its existence, the
location of the studio and lack of management.

 

1.2 STATEMENT OF THE PROBLEM

This
research addresses those socio?spatial processes of the built

environment
(Madanipour,
1996) that could harness people`s imagination and talent

and
also those spatial conditions that allow creative and artistic production to

`happen`.
As Landry (2000) emphasised, the changing paradigms of the twenty first

century
inspire research towards a more human?centred direction, as people are seen

as
the key urban actors and factors in urban change, in numerous ways:

The
idea of this research evolved as a result of an observation of the absence of
synergy between architecture and the creative (film) industry. The fact that
there are no functional architecturally designed structures designed for the
film industries.

The
Nigerian filmmaker has to contend with the lack of access to public places for
shoots; and the non-existence of structures such as sound stages and film
villages. All of these lacks make it particularly challenging to produce a
historical film in Nigeria. This, in turn, requires well trained professionals
that know what to do and can effectively and convincingly create the right
atmosphere for the film. This is where the architect comes in.

 

 

 

1.3 AIMS AND OBJECTIVES

This research is aimed at  identifying the role of architecture in the
creative (film) industry.

The objectives of this
project are:                                                                

·       
To harness the full potential of the
creative industry through proper architectural planning.

·       
To identify the synergy between
architects and practitioners from the film industry.

·       
To promote the brand of the creative
industry in Nigeria through architecture.

·       
To
promote tourism in Nigeria through architecture.

·        
To
promote the diverse culture and traditions in Nigeria using architecture.

 

 

1.4
RESEARCH QUESTION

For the purpose of a
clearer understanding of the role of architecture in the creative (film)
industry, this research will strive to provide the answer to how architecture
can improve the creative industry in Nigeria taking the film industry into
consideration.

 

 

 

1.5          
JUSTIFICATION
FOR THE STUDY

From
huge breathtaking sets to small spaces for intimate conversations, the
architecture in a film often plays as strong a role as any character in
translating the director’s vision to his/her audience. In constructing the
environments of their narratives, the great filmmakers could even be considered
architects in their own right.

Architects
using their learned digital animation and design skills to break into the world
of film
with a growing demand for both architectural and all other kinds
of animations, the number of film careers built
from architectural foundations seems to be burgeoning.
Architects-turned-filmmakers now work on a wide variety of projects, from
special effects in Beyoncé videos to Oscar-winning films, to
visualization films of future architectural projects.

The Film Industry of our country requires proper
infrastructure for better quality films. A Film City will provide that platform
to improve the overall standard of filmmaking. A proper planning can enhance
the environment for filmmaking and bring success to the industry

 

 

1.6  DELIMITATIONS OF THE STUDY

This study is delimited to Jos plateau
state and the film industry aspect of the creative art industry.

 

1.7          
OPERATIONAL
DEFINITION OF TERMS

In
this study, the terms

Architecture
is defined as both the process and the product of planning, designing, and
constructing buildings and other physical structures. Architectural works, in
the material form of buildings, are often perceived as cultural symbols and as
works of art.

The
film industry comprises the
technological and commercial
institutions of filmmaking, i.e., film production companies, film studios, cinematography,
animation, film production, screenwriting, pre-production, post production,
film festivals, distribution; and actors, film directors and
other film crew
personnel.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

CHAPTER
2

This
Chapter introduces the creative city and its relation to architecture and

Film making  processes. In this Chapter, reflections of the
relevant debates on urban

place are
discussed, focusing in particular on architecture, the creative industries, and
the film industry.

 

2.1
ARCHITECTURE

Architecture,
the art and technique of designing and building, as distinguished from the
skills associated with construction. The practice of architecture is employed
to fulfil both practical and expressive requirements, and thus it serves both
utilitarian and aesthetic ends. Although these two ends may be distinguished,
they cannot be separated, and the relative weight given to each can vary
widely. Because every society—whether highly developed or less so, settled or
nomadic—has a spatial relationship to the natural world and to other societies,
the structures they produce reveal much about their environment (including climate
and weather),
history, ceremonies, and
artistic sensibility, as well as many aspects of daily life.

The characteristics that distinguish a work of
architecture from other built structures are ;

1) the suitability of the work to use by human
beings in general and the adaptability of it to particular human activities,

(2) The stability and permanence of the work’s
construction, and

(3) The communication of experience and ideas
through its form. All these conditions must be met in architecture.

The second is a constant, while the first and third
vary in relative importance according to the social function of buildings. If
the function is chiefly utilitarian, as in a factory, communication is of less
importance. If the function is chiefly expressive, as in a monumental tomb,
utility is a minor concern. In some buildings, such as churches and city halls,
utility and communication may be of equal importance.

The types of architecture are
established not by architects but by society, according to the needs of its
different institutions. Society sets the goals and assigns to the architect the
job of finding the means of achieving them.

Few recreations require
architecture until they become institutionalized and must provide for both
active and passive participation (athletic events, dramatic, musical
performances, etc.) or for communal participation in essentially private
luxuries (baths, museums,
libraries).
Throughout history, recreational architecture has been the most consistent in
form of any type. Diversions may change, but, as in domestic architecture, the
physical makeup of human beings provides consistency. If their participation is
passive, they must be able to hear and to see in comfort. If their
participation is active, they must be given spaces suited to the chosen
activities. In most cultures, recreational institutions have their origins in
religious rites, but they easily gain independence, and religious expression is
reduced or eliminated in their architecture.

2.2 HISTORICAL DEVELOPMENT OF
FILMS

Film, a young form of art started its journey in
the late 19th century but no single individual can be entirely

credited
with its inception. Thomas Edison in the United States, the Lumiere Brothers
and Georges Melies in France are some great names in the inception of this art
but each inventor added to the progress of other in­ventors, eventually
culminating in the progress of the entire art and industry. The development of
movie can  be accredited to two distinct
aspects: the technical aspect (how the material evolved) and the creative
aspect (the way the contents were made possible). However, the basic concept
was “moving photographs” pro­jected onto a large screen for viewing. These
simple principles lead to the birth of a whole new industry that has captivated
the audience for the last century.

While the film industry is a booming business in
many parts of the world, producing at least a hundred films or film related
programs using resources from dispersed locations is a difficult task to keep
up with. The argu­ment that can be placed at this point is to what extent can this
industry recreates the shooting loca­tions for film production and where should
it be located. The answer can be that these studio complexes cannot be
“anywhere but nowhere”, but rather “anywhere and somewhere”. Studio complexes
are character­ized by its sheer size and scale with the perception of producing
large-scale budget films. The site should have the liberty of ample green
spaces that can be altered according for shooting purposes and well connect­ed
to roads and highways to avail the services from the neighbouring cities.

Erecting studio-complexes not only cater to the
needs of the film makers but also create an ideal atmosphere for set designers,
prop manufacturers, costumiers, makeup artists and so on. Workshops attached to
high quality working conditions eventually provide a huge pool of  architects skilled designers and decorators,
which is a sell­ing point for the complex. Moreover the security of the artists
and equipment is largely ensured and a free­dom to work without attracting
unwanted crowd increases the level of outcome. One must understand that such an
infrastructure should take the advantages of the local condition and provide
the platform for national and international production services.

(Goldsmith
& Reagan, 2003, Cinema Cities, Media Cities: The Contemporary International
Studio Complex) (Smith, G.F., 1996, Oxford History of World Cinema)

 

“The biggest problem that we face is providing the
cast and crew with adequate accommodation. Washrooms have

always been an eternal problem and I hope an
integrated studio complex emphasizes on taking care o f its artists

very seriously. The other thing that I hope
Bangladesh Film City has several sound stages for multiple shooting of

films or other media programs. There should be huge
storage areas and workshops to make sets for different

scenes.”

(Esha Yousuf, Producer)

 

Pre
production facilities, Office space, Production facilities ,.Workshops, Dressing
room, Animation studio, Equipment rental, Backlot, Sound stage, Post production
facilities , Post production studio, Photography studio, Film development lab,
Other facilities , Screening room, Restaurant, Parking, Post room, pre
production facilities , Office spaces. To control all of these activities
during the pre production phase and during all other phase office spaces are required.
From here producers and other members of crew controls the movie making
process.

Production facilities –
Workshops ; Workshops like metal workshop, wood workshop and painting and
plastering workshop are very essential for film studio. Here sets for indoor
and outdoor shooting are prepared according to the design of art director. In
the case of film studio it will be economic to have compact and courtyard
planning of workshops as it will be easy to make the sets sequentially architectural
consideration for workshops