Founded in 1982, Cinnabar has been a pioneer in integrating innovative production and fabrication methods. It is recognised for its ability to bring complex and imaginative ideas to life, with standout projects spanning cultural institutions, film and television, public and fine art, and theme parks.
Nearly forty-three years later, the Los Angeles-based fabrication shop announced that it is winding down, culminating on a high note. We speak with the leadership team about Cinnabarās unique journey and the extraordinary legacy the company and its team have created.
Cinnabar – pioneering an integrated approach
Cinnabar began as a speciality fabrication company in the entertainment industry, building sets, scenery, models and props for television, commercials and film. From humble beginnings operating from a small workshop in Hollywood, it swiftly took off. Notable commissions included working on Top Gun as well as building sets for Pee Weeās Playhouse.
Reflecting on the early days, founder Jonathan Katz notes that a pivotal step for Cinnabar was parlaying its film industry creativity into building gigantic dimensional billboards, theme park attractions, and themed retail environments. By the early 2000s, Cinnabar further expanded its repertoire and began to focus primarily on exhibits for museums and cultural institutions.
āWe already had a winning formula in film. However, I believed we could apply our experience to create value for new types of clients. Over time, this transition paid off, not just in company growth but also in engagement. Our team found the variety of work creatively rewarding and full of learning opportunities.
āWorking with museums in particular allowed us to truly offer something unique.”
Cinnabar quickly evolved from a fabricator that clients would visit with sketches to bring to life to a one-stop shop for ideating, sketching, designing, and building their exhibitions.
āIn the film world, the entire team is assembled at the start of the project. Our first museum projects were birthed in much the same way. Cinnabar wanted to be at the table early to participate in the design development, contributing cost savings, constructability suggestions, and material and technique approaches that helped accelerate schedules and maximise collaboration.ā
This evolutionācombining design, project management, and fabricationābecame a hallmark of the industry, which is increasingly moving toward integrated project delivery models.
A new chapter
Talking about the decision to wind down the company, CEO Basil Katz says:
āWithout exaggeration, Cinnabar is a magical place. Cinnabar has always been a home for artists and creative minds. Regardless of client or industry, they have brought the best of themselves to our work.
āOur current cohort is the most diverse, motivated, and talented it has ever been. Together, we have navigated major shifts, both in our industry and global events, always emerging as a better, stronger team and company. Due to their spirit and tenacity, Cinnabar has been undertaking ever larger and more complex projects of national significance. We continue to be approached for amazing opportunities. It has been hard to say no in the lead-up to this announcement.”
āSince coming out of the pandemic, the rapidly changing industry trend of large group consolidations poses increasing difficulty competing as a mid-sized business.
“After strategically considering our options, rather than sell Cinnabar and lose our unique āmagicā, try to grow in scale and potentially compromise the companyās culture, or face the risk of future contraction should there be an economic downturn, I am closing the company in solidarity with its original founding vision and at a time of great success,ā he explains.
Jonathan Katz adds that while most companies close due to financial struggles or project failures, that wasnāt Cinnabarās situation:
āIn fact, we are in a position where Basil and Katelyn have made the company more successful than ever. Itās a tough decision. Itās not a decision many would expect when a company is thriving. I think it reflects Basil’s deep understanding of what we have accomplished.ā
Where the Wild Things Are
Cinnabar has delivered some truly memorable projects. In the late 1990s, it built The Wild Things Are Here, an interactive play space, and an In the Night Kitchen-themed restaurant inspired by Maurice Sendakās famous books. This immersive environment was first produced for the San Francisco Metreon Center. Cinnabar also later replicated it for an installation in Odaiba, Japan.
The team had the opportunity to work with Sendak himself during the project. Talking about the experience, Jonathan Katz says:
āMaurice was an incredible artist and famously protective of his work. It was a big responsibility to do it justice. He would visit our shop, observe our work, and engage with our artisans. They earned his trust by responding to his suggestions and explaining the steps of transforming his illustrations into three dimensions and at a monstrous scale.
āHe would pick up a piece of chalk to sketch something. Our team would then respond in foam or paint, and we would have a conversation across mediums. I remember collaborating with Maurice to figure out how we would translate his intricate cross-hatching and pencil work into physical 3D forms. Instead of dictating an answer, Maurice encouraged us to make several samples on the spot. Then, we homed in on the desired effect together. It was a liberating experience.ā
This project taught the team an important lesson that has carried through to this day: the emotional impact of the workāhow it makes people feelāmatters deeply:
āAside from the artistry, Where the Wild Things Are is so beloved for encouraging young people to experience their big emotions. Sendak inspired us to preserve not just the look of his illustrations but the feelings they evoked. We let that be the deciding factor of scale, materials, and methods. That then transformed how we approached our craft. We now always ask ourselves, āHow will people experience what we build?ā
“While much of a projectās success is in the technical execution, an even larger portion comes from creating wonder, amazement, and emotional resonance.ā
It also highlighted the strength of the team. Coming from a background in film, Cinnabar had a diverse group of artisans who thrived when given creative freedom:
āWe encouraged a collaborative environment that fostered trust. Clients returned to us as we completed more projects with this approach, recognising that we could consistently deliver high-quality, thoughtfully designed, and lasting work.ā
Working with Renzo Piano
In 2008, Cinnabar worked with renowned architect Renzo Piano at the California Academy of Sciences in San Francisco. In what became Cinnabarās largest project yet at the time, it oversaw the design and fabrication of this extraordinary buildingās inaugural exhibits. The team collaborated closely with Pianoās studio to ensure the exhibits complemented the buildingās innovative design.
“Working with Renzo Piano was an extraordinary experience. I had the opportunity to build a working relationship with Renzo and his team,ā says Jonathan Katz. āRenzo is not only a brilliant architect but also an incredibly savvy strategist. He had a clear philosophy about design and decision-making.”
āHe believed that you had to decide what truly mattered. And, once you did, you had to stand your ground without compromise. That lesson left a lasting impact and shaped how I approached many aspects of the project.
āThis project was particularly special because of the incredible contributions from many talented people at Cinnabar. It touched every department we had, such as carpentry, metal, paint, technical design, and project management, and even allowed us to create others, such as models, sculpture and interactives. It was a collective effort. Everyoneāfrom artisans to project managersāplayed a crucial role in bringing the vision to life.
āIn the end, it was that spirit of collaboration, combined with the lessons we learned from working alongside Renzo Piano and the Academyās leadership, that made the project truly remarkable.”
Bringing worlds to life
A recent standout project was the Academy Museum of Motion Pictures. This opened in 2021 in Los Angeles in a building by Renzo Piano with exhibits designed by WHY Architects. Part of the scope was creating the museumās inaugural temporary exhibit, a Hayao Miyazaki retrospective.
āCinnabar hadnāt done anything quite like it before that moment,” says Katelyn Remington-Arata, director of business operations. “Our team was deeply integrated with the museum in a very iterative design process. We had this challenge of creating immersive environments that, before that moment, had only been in 2D. They needed to look and feel like you were in Miyazakiās worlds.ā
Cinnabar, she adds, has long been the fabricator that clients go to when they have an idea so fantastical even they question its feasibility: āOur unofficial tagline is that āWe build almost anything and everything for the worldās most innovative architects, artists, companies, museums, and themed attractionsā.
āI remember passing through the shop several times over a day, and there Juan [Corral, Cinnabarās technical director] was, hour after hour, mocking up the Mother Tree [pictured, top], rearranging pieces of wood of different shades and widths, until he found the right balance and they were layered just so.
āThis is a person who has participated in fabricating trees in different styles and for different purposes over 26 years. Rather than taking the easy route of relying on the experience of making those other trees, he worked closely with the client, carefully studied the source materials, and came up with an entirely new technique unique to those circumstances. So that, for me, really embodies what Cinnabar is all about!ā
A circular process
What made this project remarkable was Cinnabarās highly collaborative approach, says Paula Neston, technical design director:
The Museumās director of exhibitions, Shraddha Aryal, who had worked painstakingly with Miyazakiās Studio Ghibli, came to us with a collection of watercolour sketches and essentially said, āLetās build this.ā It was an exciting but challenging task.”
Cinnabarās success came from a fluid, open engagementāreally listening to what the museum wanted guests to experience and feel. āAlthough we are primarily builders, we used our understanding of the construction process to influence design decisions meaningfully. It wasnāt just about execution but creating an emotional, immersive experience for visitors.ā
This project highlighted something core to Cinnabarās DNAāthe seamless integration of design and fabrication.
āItās not a linear process where design happens first, and building follows. Itās a continuous, iterative cycle where the knowledge of how something will be built informs how it should be designed.ā
That circular process, which has been part of Cinnabarās ethos from the beginning, has enabled it to tackle complex creative projects and bring them to life in ways that resonate with audiences.
The Cinnabar team makes the magic happen
In addition to its work for cultural institutions, Cinnabar ventured into brand experiences, retail, and art installations. As the industry evolved, it also adopted new tools. However, Basil Katz explains that it is the companyās philosophy that has pushed it to innovate more than new technologies:
āWeāre agnostic about what manufacturing process is best. Instead, we prefer to start by understanding what the result needs to be and imagining the most efficient and elegant way to get there.ā
It starts with fostering a culture of curiosity:
āJust because weāve done it one way for years does not mean itās the best way. I encourage our designers and department heads to go to industry trade shows, read trade publications and visit vendor facilities to check out new machines and products. Los Angeles is a rich manufacturing region with a bottomless well of inspiration from which to draw.”
āOur longtime technical directors Juan Corral and Andrea Whittier (who recently retired after 40 years) have been key to this. Eternally curious, they have repeatedly inspired our team to try new materials and invite vendors to share new materials and processes.ā
Remington-Arata says: āThe tools and the technologies have changed minimally in my time here. The real innovation has been in our cross-company creative collaboration and the techniques weāve developed by pulling from peopleās unique experiences and expertise.
āWe have staff whoāve worked in attractions but also in aerospace, architecture, automotive, the military, etc. The knowledge and ideas theyāve brought to us have been game-changing.
āWhen we ask staff, clients, and other collaborators, āWhatās the best thing about Cinnabar?ā, the answer is usually āthe peopleā, and itās so true. More than any tangible tool or technology, our magical mix of people has been our key to success.ā
Whatās next?
Cinnabar is now pulling out all the stops to end on a high note.
āWe are in the process of completing a remarkable roster of projects that we take tremendous pride in,ā says Remington-Arata. āSo, we can finish strong with our clients and project partners, care for our outgoing employees, and cement Cinnabarās legacy as one of the countryās foremost fabricators of major museum exhibitions and themed attractions.ā
Disbanding the team is by far the most challenging part, adds Basil Katz:
āNo amount of support Cinnabar can offer will ever feel sufficient. But I am proud to say that we will return a large amount of the proceeds Cinnabar has earned to our team. We also plan to connect our employees as much as possible with our network.”
āWe want to first listen to what our colleagues want for themselves. Some might want to remain local and/or in the industry and ask us to help them make connections, which we certainly will when we can,ā says Remington-Arata. āOthers might want to change industries or make a go of it independently, and weāll respect that.ā
Neston notes that exposure to various industries has greatly benefited all involved:
āWe’ve maintained strong relationships within the industry, which helps our team in their future careers. It’s not just about our work but the reputation we’ve built. Weāve been fortunate to keep a solid team over the years. And thatās a testament to their dedication and the value of the work environment weāve created.
āThat long-term stability is highly desirable in this field. It shows the lasting impact of the opportunities we’ve been able to offer.”
Cinnabarās legacy
Cinnabarās presence and influence will be missed, both in California and the industry at large, says Basil Katz:
āI am incredibly proud that weāve served as a resource to share ideas, brainstorm, or provide resources to emerging artists, independent architects, and museums and institutions trying to build something for the first time. I am equally grateful that they entrusted us to build projects so important to them and their communities.ā
Remington-Arata adds: āChances are, if youāve explored California, youāve experienced Cinnabarās work. From San Francisco to San Diego and throughout our home city of Los Angeles, we’ve fabricated exhibitions large and small for museums, national and state parks, science centres, and other cultural institutions; public art and memorials; and some of the regionās most iconic themed attractions.
āPeople worldwide come here to visit and make memories in the spaces weāve made. Itās a tremendous legacy to be part of. Iām thrilled for our team that we’ll still be able to enjoy and celebrate our work into the future.ā
This pride and gratitude extends beyond Cinnabarās work and, foremost, to its staff, says Basil Katz:
āOver the years, many staff have built lengthy careers with us. Some decades long and often very different from where they started. Because every project is different, our team has always had opportunities to try new things, acquire new skills, and vary their expertise. Theyāve garnered the courage to be creative, which I believe is truly special to places like Cinnabar that nurture it.
āThis has allowed us to build long-term relationships with staff and clients based on shared values and mutual respect. Because of this, we can work more collaboratively and directly, helping clients understand our process and even helping their staff navigate complex, integrated fabrication projects.ā
Preserving the magic
As Jonathan Katz reflects on the closing of this chapter, he says that one of the things he is most proud of is having always treated the people at Cinnabar with respect and cultivated a collaborative culture:
āWe made it a point to ask each other, ‘How can I help you?’ That created a framework where everyone was aware of the bigger picture and willing to support it. This collaborative spirit was crucial, and itās something that made Cinnabar unique.
āWhen you genuinely engage with people, you uncover skills you didnāt even know existed. And as we engaged with each other, people started to suggest new ideas and new approaches. We were always open to trying new things, and that openness allowed us to innovate.ā
Cinnabar was never a strictly top-down company; instead, anyone on the team had an equal voice:
āItās about everyone being able to contribute their ideas. Iām proud that people always left with more knowledge and the understanding that their voice mattered. That feeling of being valued and part of something collective is what made Cinnabarās team special.”
Meanwhile, Basil Katz is proud of having preserved the magic of Cinnabarās company culture:
āThe mix of personal curiosity, freedom, care, engagement, and mutual appreciation characterising Cinnabar has allowed us to retain many long-term employees and clients. It feels like a victory to have kept an oasis of humanity going for as long as we did. As bittersweet as it is, I am excited about our employees disseminating and sharing their training and experience at Cinnabar with the industry.ā
If, as the team attests, it is the people who make the magic, then this is Cinnabar’s real legacy: that magic is now spreading to other firms, teams, and sectors as the talented Cinnabar craftspeople embark on new chapters.