Because They're Really Smart

Has anyone seen that puppy Blue? Millions of American kids?and probably grownups too?are tuning into Blue's Clues, Nick Jr.'s hit animated series about a nerdy guy named Steve, his floppy-eared puppy Blue, and their friendly cast of animated household objects. Billed the most important children's television show since Sesame Street, Blue's Clues delights young and old alike with a series of fun mysteries that kids can help Steve solve by using clues left by the title character. But the kids who are encouraged to use their powers of deduction?and thus feel "really smart" when the mystery is solved?are certainly not the only brains behind the success of Blue's Clues. So Nickelodeon has also been really smart to acknowledge the talented staff of writers, animators, editors, artists, and producers who work diligently to bring the show to life by giving them a state-of-the-art digital animation studio in Manhattan, designed by Kapell and Kostow.

In the dynamic world of children's entertainment even Pokémon and Beanie Babies know that popularity can be fleeting, so the Nickelodeon digital animation studio, built to hold the production units for Blue's Clues and Little Bill, another up-and-coming Nick Jr. show, was designed to be as universal and flexible as possible in anticipation of someday welcoming a new animation team. But for now, the staffs cranking out Blue's Clues and Little Bill reign supreme. "If anyone deserves a home, it is these people," Chris Linn, vice president of production operations for Nickelodeon, says of these talented individuals who had previously been spread out over several floors.

The new digital animation studio, the largest in New York to Linn's knowledge, consumes 33,000 sq. ft. on the 46th floor of the midtown Manhattan tower that houses Nickelodeon, despite the fact that the staff is more Soho in character. "One major challenge that we talked about for weeks," recalls Kapell and Kostow principal Michael Kostow, "was how to create a design in an office high rise in midtown that could please people who really would have preferred to be in a loft building downtown." Initially, the far more compelling design issues were functional ones. "It became very obvious to us that we needed a real home that could address the special needs of an animation unit," says Linn. Those needs included a centralized technical core, a space conducive to animation workflow, state-of-the-art ergonomics, and appropriate lighting, as well as specific infrastructure issues including heavy power and communication requirements and the need for supplemental air conditioning. The new studio houses the complete creative and technical animation processes from concept initiation through the production of broadcast-quality final tapes for the two shows, including production offices, production support rooms, animation workstations, conference/screening rooms, art department, editing suites, equipment rooms, lounges, storage areas, and general support areas. Work spaces specific to each show are located on opposite sides of the floor, with a shared post-production space.

"This is an incredibly competitive market, so employee attraction and retention was also an important part of the mission," adds Linn. Thus Kapell and Kostow, which has significant experience creating technical spaces for entertainment clients, looked well beyond the heavy technical requirements in designing the space. A most important mission was to address ergonomic issues, according to Scott James, director of design and construction for the planning and design department at MTV Networks, the service organization for Nickelodeon. "These animators experience intensive computer use," says James. "So we made a concentrated effort to upgrade the workstations."

Nickelodeon was so committed to this issue that it brought in ergonomic experts to advise the project. Each custom-designed, oversized animation workstation is completely height adjustable to accommodate work while standing or seated, and is equipped with a state-of-the-art ergonomic chair. Lounges and other break-out spaces provide places for animators to stretch and do other movement exercises. Overhead lighting is deliberately dimmed in favor of individual task lights.

With the technical requirements consuming a lion's share of the budget, Kapell and Kostow was left with limited funds to create an appropriate aesthetic for the space. Conscious of the need to balance warmth against the highly technical nature of the space and the need to provide an interior design that connects the space to Nickelodeon's vibrant image, the designers juxtaposed natural materials like wood and pressed wheat panels against the industrial, "loft-like" aesthetic of an exposed ceilings. They also devised creative ways to hide exposed wire trays and ductwork and punched the design up with bright color accents on walls.

"Perimeter offices feature a translucent material that lets just enough natural light into the core," explains Kostow. "It is a very soft look that helps soften the industrial aesthetic." Kapell and Kostow certainly did not want to create a space that screamed of children's animation. For that reason, "We tried to temper the graphic nature of the design," Kostow adds. As a result, the space that so masterfully creates shows for children is entirely comfortable for adults. The reception area, on the other hand, was treated to a makeover by Byron and Eve Taylor from the Nickelodeon in-house graphics department, so upon entering the space there is no mistaking who lives there. All visual clues point to Nick Jr.