In 2020, after the coronavirus pandemic hit, millions of people were stranded in their homes with little else to do outside of remote work than watch TV. That isolation created an unprecedented demand for new and original content, which in turn sparked a proliferation of streaming services that urgently needed more production space.
In 2020, there were about 12 million sf of sound stages in North America, according to CBRE estimates. And the utilization rate of that space, which three years earlier had stood at around 70 percent, was close to 100 percent, according to a Deloitte report that evaluated the Los Angeles, New York, and Toronto markets. The “high spend” on production was creating shortages and driving demand for new sound stages, stated Deloitte.
This void has inevitably attracted investment capital. In June 2020, Blackstone paid a reported $1.69 billion to acquire a 49 percent stake in Hudson Pacific Properties, which is active in sound stage acquisition, construction, and adaptive reuse. Last August, Blackstone and Hudson revealed plans to spend nearly $1 billion to build a film and TV studio campus in the United Kingdom.
Other development investors buzzing around this sector include Hackman Capital (which earlier this month acquired 130,000 sf of sound stage space from Raleigh Studios in Hollywood, and 182,000 sf of space on Sony Pictures’ animation campus); Quixote, Trammell Crow, Amazon Studios, and Square Mill Capital Management.
The race is now on to catch up with anticipated future production demand. The Hollywood Reporter published an article last month about the “boom” in building proposals, retrofits, and competition for longer-term leases. “I’ve never seen so much activity in my career,” Robert Hale, FAIA, Partner and Creative Director with the design collective RIOS, told the trade newspaper.
ARCHITECTS GETTING IN ON THE ACTION
RIOS is among the architecture and design firms that are capitalizing on this demand. Gensler has been working with Trilith Studios in Atlanta to expand its 700-acre film studio by 220,000 sf with spaces that include production workshops, smart sound stages, and a four-story creative office center that’s scheduled to open this spring.
Before the pandemic, construction accounted for 10 percent of Relativity Architects’ soundstage work; now, it represents 50 percent, confirms Tima Bell, Assoc. AIA, Principal with the Los Angeles-based firm, whom BD+C spoke with yesterday.
Bell, who grew up in L.A. (his father, Edward, was an actor and producer, and his stepmother was the actress and competitive swimmer Esther Williams), notes that studios in general had typically preferred to lease stages on a short-term basis, for as long as they needed the space to shoot a certain film. “Netflix changed everything,” he says of the streaming platform that has become a content production juggernaut. “In fact, Netflix needed space more than it needed content.”
Netflix started taking three-year leases, and quickly locked up soundstage spaces in Los Angeles, New York, and London. Other streaming platforms that subsequently came on the scene have followed suit. So while there are still stages available for leasing, their numbers are far fewer; hence, the demand for new construction.
“I’ve been in the business a long time, and content has never slowed; it has only expanded,” says Bell. Even if the amount of content produced was static, there wouldn’t be excess sound stage space for another five years. What Bell does foresee, though, is a shift in the way movies are made toward relying more on virtual sets via Extended Reality (XR) technology.
NEW BUILDS AND RENOS ABOUND
Bell says his firm’s sound stage clients run the gamut from Internet content providers, management companies, and capital investors. Production companies still would rather lease than own space, and sound stage clients only show interest after projects have secured a permit.
The “key ingredients” in designing and building studios, Bell explains, are clear floor space (i.e., no columns), ample ceiling height, and power. And because these buildings usually require a large real estate footprint, the sound stages are often located in industrial areas of cities. For example, last year Relativity was working with Capture Studios on a remodel of an existing theater in Studio City along the Los Angeles River. For that project, the Building Team removed an oversized mezzanine and opened up the second-floor ceiling. The team also redid the building’s façade.
Relativity is currently working on adaptive reuses of two cold-storage warehouses, one that will be 90,000 sf and the other 200,000 sf, of which 120,000 sf will be stages and the rest offices.
Bell adds that his company is in the early design stages of two ground-up studio campuses. Nondisclosure agreements prevented him from saying much more beyond that the projects range from 14 to 20 acres, and 12 to 18 stages in multiple buildings sized between 15,000 and 50,000 sf.
(On its website, Relativity Architects says it is designing a 210,000-sf studio campus in Canada that will have four production stages, post-production offices, screening rooms, and support and amenities spaces. Relativity is also engaged in a project for Ace + Mission Studios in Los Angeles that, when completed, will offer 604,494 sf of space that includes three soundstages and production offices.)
Bell says his firm is in design on other sound stage projects in New York, Atlanta, and Eastern Europe. He notes that outside of Los Angeles, the availability of tax credits plays a large role in where stages are being built.
Because it has been designing sound stages for several years, Relativity Architects has a track record that newcomers to this sub-sector do not, says Bell. “With only a couple of exceptions, most of the new entrants don’t have experience with this building type, which has circulation and technology requirements.”
Sound stages also open new creative portals for Relativity’s architects and designers who previously have worked on other building types like hospitality or housing.
Related Stories
| Aug 11, 2010
Citizenship building in Texas targets LEED Silver
The Department of Homeland Security's new U.S. Citizenship and Immigration Services facility in Irving, Texas, was designed by 4240 Architecture and developed by JDL Castle Corporation. The focal point of the two-story, 56,000-sf building is the double-height, glass-walled Ceremony Room where new citizens take the oath.
| Aug 11, 2010
Carpenters' union helping build its own headquarters
The New England Regional Council of Carpenters headquarters in Dorchester, Mass., is taking shape within a 1940s industrial building. The Building Team of ADD Inc., RDK Engineers, Suffolk Construction, and the carpenters' Joint Apprenticeship Training Committee, is giving the old facility a modern makeover by converting the existing two-story structure into a three-story, 75,000-sf, LEED-certif...
| Aug 11, 2010
Utah research facility reflects Native American architecture
A $130 million research facility is being built at University of Utah's Salt Lake City campus. The James L. Sorenson Molecular Biotechnology Building—a USTAR Innovation Center—is being designed by the Atlanta office of Lord Aeck & Sargent, in association with Salt-Lake City-based Architectural Nexus.
| Aug 11, 2010
San Bernardino health center doubles in size
Temecula, Calif.-based EDGE was awarded the contract for California State University San Bernardino's health center renovation and expansion. The two-phase, $4 million project was designed by RSK Associates, San Francisco, and includes an 11,000-sf, tilt-up concrete expansion—which doubles the size of the facility—and site and infrastructure work.
| Aug 11, 2010
Goettsch Partners wins design competition for Soochow Securities HQ in China
Chicago-based Goettsch Partners has been selected to design the Soochow Securities Headquarters, the new office and stock exchange building for Soochow Securities Co. Ltd. The 21-story, 441,300-sf project includes 344,400 sf of office space, an 86,100-sf stock exchange, classrooms, and underground parking.
| Aug 11, 2010
New hospital expands Idaho healthcare options
Ascension Group Architects, Arlington, Texas, is designing a $150 million replacement hospital for Portneuf Medical Center in Pocatello, Idaho. An existing facility will be renovated as part of the project. The new six-story, 320-000-sf complex will house 187 beds, along with an intensive care unit, a cardiovascular care unit, pediatrics, psychiatry, surgical suites, rehabilitation clinic, and ...
| Aug 11, 2010
Colonnade fixes setback problem in Brooklyn condo project
The New York firm Scarano Architects was brought in by the developers of Olive Park condominiums in the Williamsburg section of Brooklyn to bring the facility up to code after frame out was completed. The architects designed colonnades along the building's perimeter to create the 15-foot setback required by the New York City Planning Commission.
| Aug 11, 2010
Wisconsin becomes the first state to require BIM on public projects
As of July 1, the Wisconsin Division of State Facilities will require all state projects with a total budget of $5 million or more and all new construction with a budget of $2.5 million or more to have their designs begin with a Building Information Model. The new guidelines and standards require A/E services in a design-bid-build project delivery format to use BIM and 3D software from initial ...
| Aug 11, 2010
Opening night close for Kent State performing arts center
The curtain opens on the Tuscarawas Performing Arts Center at Kent State University in early 2010, giving the New Philadelphia, Ohio, school a 1,100-seat multipurpose theater. The team of Legat & Kingscott of Columbus, Ohio, and Schorr Architects of Dublin, Ohio, designed the 50,000-sf facility with a curving metal and glass façade to create a sense of movement and activity.