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Wings of De
References for Ch
B. McGrath and J. Gardner - Cinemetrics: Architectural Drawing To
This book explores some very objective techniques of representation
through chronograms which approximate the reader to the standard a
The image above is an example of the representation of a film seque
of the elements that compose the film - space, camera, time and act
Sergei Eisenstein - Notation for Alexander Nevsky, 1938
Eisenteins notation of sound, movement and image for the film Alexander Nevsky is an early example of a holistic film score. This nota-
tions developed by Eisenstein, were also used by Bernard Tschumi to explore the relationships between space and image in architec-
tural projects.
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130 135 140 145 150 155 200 205 210 215 220 225 230 235 240 245 250 255
SHOT3 SHOT4 SHOT5 SHOT 6
00 05 10 15 20 25 30 35 40 45 50 55 100 105 110 115 120 125
SHOT 1 SHOT2
PICTUREFRAMES
SOUND
CAMERA
PEOPLE
Wings of Desire,WimWe
Notation of Library S
generic voices of people in background voices of people studying/sit ting at t ables volume decrease
continuous pipe organ continuous pipe organ continuous pipe organ continuous pipe orgafade out increase decrease
specificwomans voicestudying
specificmans voicestudyingspecificchildrens voicestudying
singing voices volume decrease singing voices
a rc h f ro m c ei l in g t o v i ew l ev el d ol ly ge nt ly tu rn in g a ng l et o l ef t d ol lyfocused
on
subject
dolly follows pairstop stop arch upwards & left of subject stop
a r ch f ro m c ei l i ng t o ey e l ev e l d o ll y a lo n g st u dy t a bl e s s t o ps a t po s i ti o n an d r ot a te s v ie w
towards angel 1
rises aboveheadlevel
of angel 1
still
still
still
s t il l v i ew p o in t
moves
slightly
to right
st i l l f ixe dpo si t io n
viewpointmoves left
fixedviewpoint
camera moves left
camera moves
left slightlyviewpoint pans left
camera moves left andpa
p eo pl es tu dy in g i n b ac kg ro un d- si tt ing &s ta nd in g - st at ic p eo pl es tu dy in g i n b ac kg ro un d- si tt ing &s ta nd in g - st at ic peoplestudying in background
- sitting &standing - static
peoplestudying in background
- sitting &standing at both closeandfar distance
maleangel 2 walking
parallel to dolly
still - head faces upwards slowly
people studying at the tables - close distance chi ld
maleangel 1walking
parallel to dollymaleangel 1hand closeplan looks at child, smiles
then looks at angel 4
angel 1
walks towardscamera/left
stands next to person studyingleaves
maleangel 3
stands
next toperson
studying
maleangel 3stands
next to person studyinglooks
at
camera
maleangel 4
sitting
maleangel 4
sitting
stands&moves
right
standsnext to
person
angels 5and6sit on ledgeof void
looks atcamera
man walking
behind
femaleangel
standing
nextto a
person
femaleangel standing next to a personlooks atcamera
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Wings of De
Chronogr
00
15
20
25
115
120
125
130
135
103
48
52
32
34
37
115
fade out
genericvoices of peoplein background
continuous pipeorgan
singing voices
peoplestudying in background- sitting &
people studying at the tables - clos
maleangel 3standsnext toperson
studying
maleangel 3standsnext to person studying
looksat
camera maleangel 4sitting
loca
peoplestudying in background- sitting &standing - static
maleangel 2 walkingparallel to dolly
still - headfaces upwards slowly
maleangel 1walkingparallel to dolly
leaves
man walkingbehind
femaleangel
standingnextto a
person
femaleangel standing next to a personlooks atcamera
arch from ceiling to view level dolly gently tur ning angle to left dollyfocused
onsubject
dolly follows pairstop stop arch upwards & left of subject stop a rc h f ro m c ei li ng to ey e l ev e l d ol ly al on g s tu dy ta bl es
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City Tail F
Site Cont
St or es a ro und Sp ita lf ie ld s Ma rke t Out si de the ma rk et, cro ssi ng Co mm erc ia l St re et
Commerc ial S t reet, walk i ng t owards A ldgateE as t St ati on Commerc ial S t reet co rner w it h Pet t icoat L ane, w it h t hev i ewof t h ec it y
Her Story
Using a love story of expectation and disappointment as a methaphor for the contrast between the developemnt fo the city of London
and the hip side of Spitalfileds and Banglatown, the film will use the two sides (him and her) as antagonists.
She represents the city side, the lonely worker and the one that seeks the autehentic. She is desperate to find him (the authenticity)
and is constantly looking for him while on the way to and from work, s ince she passes through the site.
One day, perhaps as many others, she sees him in the corner of her eye and decides to follow him. Finding where he lives, during the
next few days she stalks him, until the moment that he disappears and she is not sure if he is the one anymore.
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Camera1
camera movhidden shot to
Section II(Scene5) - cross section through street
Camera1
camera movhidden shot to
thenextin theho
hecomes out of thehouse
shefollows
thefirst timeshesaw him, they wereten
metres apart. shelater rememberedthe
moment when shefirst sawhim as shepassedby thesameplace.
Section II(Scene3) - cross section through station
Camera1
Camera2
viewof station entrance
ticket machines andgatelinepeoplemeeting andleaving
sequencein acceleratedmotion
viewof escalators andstairs
peoplemoving andbackground
soundof trains
shemeets her friends at thepub after work.
they standoutsidechatting andsheremembers
howboring her day at work was.
On her way to meet her friends she wonders
if shemight meet someoneinteresting tonight.
Through a sea of peopleshefinally
leaves work. Tomorrowshewill have to
comeback to thesameplace butfor nowsheis going out with friends.
sheenters theshehas lost a
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City Tail F
Storyboa
Night time. Outsidean officeblock. Street isbusy. A fewpeopleareleaving theoffice together.Wesee them in thestreet, outsidework.
They walk through thestreets. Weseepeoplepassing by, cars, bikes. A busy street with lots ofnight lights.
Wesee thesamepeople at a bar outside. Theplaceis busy andmany peopleand cars pass by.
Camera walks alonethrough thestreets as ifwalking home. Wehear steps. Somepeopleandcars pass by.
Something catches theeye in a dark alleyilluminatedwith thelight of a street lamp. Camerazooms as if focusing on someonein the dark. Wehear someones steps far away.
Camera follows from alley to a door a fewstreetsaway.
WW
Scene 1 Scene2
Heleaves the house. Camera follows throughroad. Noiseof keys and door slamming.
Shefollows him through thestreets. Camerafollows on pavement. Handheldshake.
Hewalks through backalleys. Shefollows him.Camera stills.
Train passes by in cityscape. Wehear his steps.soundfollows to next scene.
shot of tunnel outside. Windandcracking noises.Train still in backgroundas sound.
Shewaits, then follows through tunnel. Noiseofsteps andechos.
Su
Scene 4
Street sound - cars, people walking, traffic lights sound of traffic (lower)
soundof steps at distance
sound is even lower
sounds of voices near theoffice entrance
sounds of peoplein/outsidebar mans steps lowder
door opens andcloses
soundof train
sound of echoes in tunnel
soundof steps
sounds of peoplein street far away
lowsoundof s
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City Tail F
Screen shots of film
scene 1
1 . Th rou gh a s ea o f peoples hef i n al l y l eaves work . Tomor rows h ew il l havet o comeback t o th es ameplacebu t fo r n owsh ei s go ing out w it h her f ri ends . 2 . On h er way t o meet her fr i en ds s h ewonders i f sh emigh t meet s omeonein teres ti n g t onight . 3
scene 2
5. The first time she saw him, they were just ten metres apart. She later remembered the moment when she first saw him as she passed by the same place. 6. She peeks from behind the corner hoping to see the same man again.
scene4
14. Shewaits for him to be at a distance, walks up thestairs hearing thesoundof
passing trains belowobscuring thesoundof her steps.
15. Hewalks towards theold railway, enters a tunnel. Shewaits behindhiding in
thepoorly illuminatedareas andit feels dodgy.
16. When she arrives at the end of the overbridge, she realizes that he is gone.
scene4
1 0. The ne xt she wa it s b ehi nd the sa me co rne r in the hop eof s ee ing hi m ag ain .
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Selective Nos
Film Structure and
History [] is just a fir st draft screenplay.
J. G. Ballard, The Greatest Television Show on Earth, 1972
We cherish the authentic and ch
but we are abl
the disappearance of historic
even if this image is overly fabricatedReality was able to surpass fiction, the surest sign that
paradoxically, it is the real which has become our true uto
J
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Selective Nos
Seeing and Un
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Selective Nos
Scene I - 2.5D
Se
Th
C
It
br
th
Th
co
m
of
camera
pansa
crossw
ith a fi
sh-eye
lens,i
ntensif
yingth
eeffec
tofa t
hree-d
imensi
onalpa
norama
backgr
oundla
yer-s
ky
main la
yer-b
uilding
s
foregro
undlay
er-pe
ople a
ndobje
cts
effectl
ayer-p
aperte
xture
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Selective Nos
Scene II - 2.5D
This animation was produced fom a single photograph, in this case the photograph above
from no. 4 Princelet Street. The photograph was cut and flattened into the different parts
that constitute the space, not only the floor, ceiling and walls but also the furniture and
different elements that are present in the original image. In this particular case the photo-
graph was separated uinto 15 different objects, which were then used to create the anima-
tion in 3D space. This creates the illusion of being in the real space and also allows for a
much greater control of the camera and possibilities of film effects whoich would not be
possible in traditional techniques.
Main flattened surfaces obtained from original photograph.
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Selective Nos
Scene III - 2.5D
Similarly to the previous sequence, this animation was created using a single photograph,
this time from a different room of the same house, no. 4 Princelet Street.
As in the previous one, the original image was cut into several objects and surfaces which
were then flattened to create the illusion of a three-dimensional space in video editing
software.
In this animation the camera was taken beyond the point of parallax to show the artifice
used to create the illusion of real space.
Main flattened surfaces obtained from original photograph.
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Selected Nos
Concept Dra
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Selective Nos
Scene IV - 2.5D
Se
Th
co
br
Th
th
In
tra
camera position 1
camera position 2
camera position 3
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w
T
t
Selective Nos
Scene V - 2.5D
Arrangement of 2Dlayers for animation
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Site Analy
Historical Developmen
Reproduction of the1560 Ralph Agas Map of London, c.1560 De Witts Map of London, c.1693
Cruchley Pocket Map of London - Geographicus London, 1849 Reynolds Map of London, 1882 Bacon Traveler's Pocket Map of London, Geographicus London, 1890
John_Norden's Map of London, 1593
1560
1849
1693
1882 1890
1593
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Location M
1:5000
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Low income populations [...] find themselves for the most part trapped in space. Since ownership of even basic means
of production (such as housing) is restricted, the main way to dominate space is through continuous appropriation. [...]
This means frequent material and interpersonal transactions and the formation of very small scale communities. Within the
community space, use values get shared through some mix of mutual aid and mutual predation, creating tight but often
highly conflictual interpersonal social bonding in both private and public s paces. The result is an often intense attachment
to place and turf and an exact sense of boundaries because it is only through active appropriation that control over
space is assured.
[...] Successful control presumes a power to exclude unwanted elements. Fine-tuned ethnic, religious, racial, and status
discriminations are frequently called into play within such a process of community construction.
David Harvey, The Urban Experience, 1989
Banglatown
It is evident on site that the community of Banglatown has a very clear territorial boundary and that, whether consciously
or not, the character of the south of Brick Lane and Osborn Street is distinctively different to the area north of Hanbury
Street.
As David Harvey puts it, low-income communities take ownership of the site through physical appropriation and the
communitys street life plays an essential role in the definition of this territory. This is clear in the intensity of commerce and
community based services in the main streets, as well as the concentration of Curry houses in the boundary area south of
the Truman Brewery.
It is clear that the question of class distinction still plays a strong part in the territorial division of cosmopolitan London.
Partial Sitemap of the Banglatown AreaSouth of Brick Lane, Osborn Street andadjacent areas
Th
Thtra
A
Th
Site Analy
Banglatown - Segregat
Bric
kLane
Hanbury Street
Princelet Street
Whitec
hapelH
ighStree
t
OsbornS
treet
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In place of remembrance, parts of our collective past have been either so historicized or so completely repressed that
they can never be recalled, while memory [] has fallen prey to mythical narrations and nostalgic recollections.
M. Christine Boyer, The City of Collective Memory, 1994
[] one of Londons finest Victorian market halls set in an historic location in the heart of the City and one of the crown
jewels of East London. Firmly established as the must visit London attraction for Londoners and tourists alike, this
market offers a fusion of Victorian splendour and contemporary architecture [].
You can dine in style, browse through the antique market, buy unique designer clothes and relax with a glass of fine wine
[].
www.oldspitalfieldsmarket.com(accessed20 Nov 2011)
Spitalfields
Spitalfields is an example of how the quest for authenticity has been turn ed into an exploitation of the cultural capital of
East London. The character of the actual market has s ignificantly changed since it was renovated a few years ago to
one of an extremely fabricated image of the past.
The old shoppes of Brushfield Street have similarly been kept in its idealized historical condition old signs and faades
have been made cleaner, yet older.
The exploration of new business opportunities has been fueled by the attractiveness of the Brick Lane fashion and the
proximity to the city of London.
Roman ruins, which have been discovered on site during the recent redevelopment, can be found in the new piazza
west of the market. There is no visible mention to these ruins in the area.
Partial Sitemap of Spitalfields
Th
Th
Th
If it
Th
Site Analy
Spitalfields - Authenticity
BrushfieldStreet
CommercialStreet
Bish
opsgate
HanburyStreet
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Jean Baudrillard, Simulacra and Science Fiction, 1991
Reality was able to surpass fiction, the surest sign that the imaginary has possibly been outpaced. [] And, paradoxi-
cally, it is the real which has become our true utopia. [] Perhaps the SF of this era of cybernetics and hyperreality will
only be able to attempt to "artificially" resurrect the "historical" worlds of the past, trying to reconstruct in vitro and down
to its tiniest details the various episodes of bygone days: events, persons, defunct ideologiesall now empty of mean-
ing and of their original essence, but hypnotic with retrospective truth.
Princelet, Fournier and Wilkes Streets
Princelet, Fournier and Wilkes Streets have been preserved to a level of extreme historicism.
No.4 Princelet Street has been preserved to the state of what it was one hundred years ago and is nowdays rented as a
film and photography set.
The house at no.19 has also been preserved although to a more authentic level; throughout history this Huguenot house
has been a synagogue and is now the Museum of Immigration and Diversity.
Partial Sitemap of the areas to thesouth of Hanbury StreetPrincelet, Fournier andWilkes Streets
Th
Vie
Int
Dif
Site Analy
Princelet, Fournier and Wilkes
Princelet Street
Fournier Street
Fashion Street
W i l k
e s
S t r
e e t
Hanbury Street
Comm
ercialStre
et
B r ic k L a n e
En
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To articulate the past historically does not mean to recognize it the way it really was (Ranke). It means to seize hold of
a memory as it flashes up at a moment of danger. Historical materialism wishes to retain that image of the past which
unexpectedly appears to man singled out by history at a moment of danger.
Old Bishopsgate Railway Station and other Victorian Structures
The area that was once the Bishopsgate railway Station and Goods Yard, has now been cleared for the new
Shoreditch Station. Similarly, most of the areas around the railway line to the east of the station, have been progres-
sively demolished over the last few years to allow for the development of new building complexes, such as the Barratt
Homes housing scheme in Cheshire Street and similar developments, currently under construction in Sclater Street.
It is evident in the final result, that most of these infrastructure projects are not required to undergo the normal process
of planning and building control.
These way in which the remains of these Victorian buildings are treated are an example of how we unsee the destruc-
tion of historical elements in our cities in general.
Walter Benjamin, Theses on the Philosophy of History, 1940
Site Analy
Old Bishopsgate Railway Station and adja
Thde
Th
Olas
A f
Fe
Partial Sitemap of the areas adjacent to theOldBishopsgateGoods YardandtheNew Shoreditch High Street Station
CheshireStreet
Weavers Fields
BrickLane
Sclater Street
QuakerStreet
BuxtonStreet
ShoreditchHigh Street
Station
Sh
oredit
ch
High
Str
eet Bethnal Green Road
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Mark Greif, The Mirror and the Hipster
in TheNew York Times Sunday BookReview, 14th November 2010 (retrieved11Nov 2011)
Taste is not stable and peaceful, but a means of strategy and competition. Those superior in wealth use it to pretend they
are superior in spirit. Groups closer in social class who yet draw their status from different sources use taste and its attain-
ments to disdain one another and get a leg up. These conflicts for social dominance through culture are exactly what drive
the dynamics within communities whose members are regarded as hipsters.
Once you take the Bourdieuian view, you can see how hipster neighborhoods are crossroads where young people from
different origins, all crammed together, jockey for social gain. One hipster subgroups strategy is to disparage others as
liberal arts college grads with too much time on their hands; the attack is leveled at the children of the upper middle class
who move to cities after college with hopes of working in the creative professions. These hipsters are instantly
declassed, reservoired in abject internships and ignored in the urban hierarchy but able to use college-taught skills of
classification, collection and appreciation to generate a superior body of cultural cool.
Partial Sitemap of the thenorth part of Brick LaneTruman Brewery andadjacent areas
Th
Br
Gr
Th
Ne
Site Analy
Brick Lan
W i l k
e s
S t r
e e t
Hanbury Street
Com
mercialS
treet
Bri
c k
La
ne
Bethna
lGre
enRoa
d
Brick Lane
The area of the old Truman Brewery and the north part of Brick Lane is an example of how an urban culture generated
mainly by a community of students and artists has been taken to an exponential growth and exploited by its cultural
capital. The use of bicycles and plimsole shoes for example, once adopted primarily for simple economic reasons, are now
the mainstream fashion.
The old Truman brewery building in the corner of Hanbury Street and Brick Lane, which functions as a car park during the
week, becomes an alternative Shopping Mall on weekends. Inside, thousands of authenticity-hungry tourists come from
all over the city and enjoy the authentic and multi-cultural vibe of the food court, which without air-conditioning spreads
its fumes throughout three storeys filled with arrays of stalls selling vintage and hand-made items.
Ironically, many businesses, which until now had only high-street shops, are using the concept of stalls as a business
model, and one can often find the same unique stall in several of these stall markets.
More recently, an increasing amount of stall markets has proliferated through the area, as well as the appearance of com-
mercial establishments that try to appear older than what was in the same place before.
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Proposed Hanbury Street and Tr
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Site Photog
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Project 2Film Referen
Charlie Chaplin (Modern Times, 1936) Buster Keaton (The General, 1926; Sherlock Jr., 1924)
I am interested in the contrast between the comical and critical character of Chaplins films. Modern Times is definitely a reference
especially since it can draw a parallel between the critique to modernity in Chaplins film and the critique to contemporary times that
this project explores.
The Films of Buster Keaton are a reference mainly because of the special effects which he pioneered. I find these extremely interest-
ing when contrasted to the simplicity of the script and the formal language of the silent films.
T
t
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Project 2.2 -
Collages / 2.5D
camera
pans
across-
startin
gwith
t
wagon
moves
left
videola
yerbe
hindb
uild
camera
pans
across
andz
oomso
ut,unc
overing
thevie
wof th
eskys
craper
sbehi
nd
whiteb
ackgro
undlay
er
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Project 2.2 -
Film seque
Thefilm begins by drawing attention to theareas of thesitethat havebeen exploredin the previous film, highlighting theunseen elements of thecity as blurred, onceagain. This first part of thesequencefocus on both theselectiveviewof the remains of thepast, andon thevisiblesegregation o
Moving phisically onto theproposedsitearoundHanbury Street and Brick Lane, thefilm begins to show thearea of Princelet Street, which has been preserved to an extremehistoricism; this area is also evidence of thesegregation of a wealthy community within thesite.
From thearea of Princelet Street, thesequencemoves towards BrushfieldStreet andSpitalfields Market, denoting thecontrast between thefabrication of a past - evident in thestreets commerce- and thevisibleskyscrapers of thecity behind. Thefollowing collageexaggerates this idea by bor
Similarly, thefollowing scene- this timein Hanbury Street - speculates on a futurevision of thesitewith an exaggeration of theaspects of shabinness anddecay, andrepresentedthrough the idea of a street market, which is usedas a procession through thequest for theauthentic.
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Fabricated R
Trends and Re
Pass the Baton - Secondhand store showcases previous owners & the stories of their things
A new store in Tokyo encourages sellers and buyers of secondhand objects to share personal culture along with the goods that are
changing hands. Pass the Baton, which opened in the Marunouchi district last month, lists previous owners as exhibitors, complete
with their photo and a sh ort bio. Their personal page on Pass the Batons website shows the items theyre selling, have sold and will
sell in the future. Kazuko Okuma, for example, is selling a number of items from her travels abroad, including a golf trophy that she won
in South America, and sold a bag bought for a dance in Monaco.
The stores web manager, Kelly Kikuchi, explains the reasoning behind Pass the Baton: My generation facilitated both the evolution of
simple resale into vintage, and the rise and plateau of internet auctions. Back then, it was about economy, discovery, curiosity. Now,
it is about expanding, exploring the meaning and relevance of second-hand.
Pass the Baton is an attractive concept on various levels: the strong story element not only adds value for potential buyers, but might
also make it easier for sellers to part with their possessions, knowing that an objects story is carried along with it. And while the items
theyre selling probably arent those they value most, displaying a persons collection of things underscores the role of consumers as
curators and gives buyers a peek into their life, as well as the opportunity to see whether their tastes align. Its a retail concept that
should appeal to authenticity-seeking consumers everywheretime to bring it to other parts of the world?
Website: www.pass-the-baton.com / Source: Springwise/Trendwatching (www.springwise.com)
TOTeM: Tales of Things and Electronic Memory
TOTeM is a three-year collaborative research project which will investigate the potential for the technologies behind the internet of
things to be used to store memories in a digital form. By associating peoples stories to objects through the use of QR codes and RFID
tags, memories can become attached to possessions, allowing others to read them and better understand their importance. The
project aims to provide a social platform in which the value of an object can be increased through the attachment of memory, encourag-
ing people to not to throw away items, but instead reuse and retain them.
Objects that are capable of telling a story themselves afford an insight into other peoples past experiences, and may transform a mun-
dane object into an heirloom. Thus interrupting the cradle to grave cycle in which objects tend to have one life for one person as memo-
ries live on in a digital form.
The project team envisage the social benefits to include: encouraging inter-generational understanding, richer interpretation of diverse
cultural communities and the fostering of a networked museum of social history. In addition, the project offers enormous scope for how
auction houses and online stores can identify, track and add-value to objects that otherwise may be looked over because of a forgotten
history.
The projects outputs will include a website database of peoples memories, focussed workshops, talks and events.
Website: www.talesofthings.com/ / Source: Chris Speed / FIELDS (http://fields.eca.ac.uk/)
G
G
ac
It
Be
N
as
re
dobo
th
G
th
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Fabricating R
Concept Dra
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Title title
subtitle subtitle
01 Waking-up 02 Morning shower 03 Breakfast in a hurry 04 Walking to the station
11He takes a cardfrom his pocket. It readsReality Holidays.
20. Entrance to the hotel 21. Inside
22. He is taken for a make-over session
12. In a Holiday Agency 13. Back home on the tube 14. Airplane 1Black Screen for 2secs.
0 5 Cr am me d in tu be o n th e wa y to wo rk .
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Fabricating RDisneylon
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Fabricating R
Reality vs. Sim
Reality vs. Representation - Ken Adams Dr. Strangelove and 007 Goldfinger
Ken Adam, a production designer known for many of the early James Bond film series, once opened a lecture with
the following story: when the US President Ronald Reagan took office and visited the Pentagon for the first time, he
asked to see the War Room, but to his surprise he was told that there was no such room. The War Room that he
was referring to was the one seen in Stanley Kubricks film Dr. Strangelove. Similarly, Adam told about the vast
amount of complaints that the United States government received, for allowing the Fort Knox gold reserves to be
shown in the Goldfinger James Bond film . Both the war room and the gold reserves chamber shown in the films are
completely fictional, yet, in the minds of many of us these places exist, just as much as other real places do.
Life through avatars
Various authors have argued that today we are unable to clea
stems from the growing reliance of contemporary societies on
munication in everyday life, all of which are substitutes of mu
individual witnessing of the world . In addition, it has been argu
future disintegration of many of the social aspects of society
society interacting through screens or physical avatars.
Jonathan Mostows film Surrogates (2009), explores a world w
control vehicles as avatars for everyday interaction; although t
an American company called Anybots began marketing a si
promoted to telecommuters.
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Spit&Ba
Evidence of Hyp
Fabrication
Spit&Bang seems to be the epicentre of L ondons apparent quest for authenticity. From the All-Saints all-fake super-
store and to the faades on Princelet Street intentionally left in a state of decay, it tries to resuscitate a world that only
exists in the minds of the present, precluding any chance to truly discover an authenticity, which has not yet been
commodified .
Exaggeration
Fake authenticity has long since won the day. Through a process of "authentication," everything [] which was
actually old has been made Olde instead; historical faades and interiors have been restored not to how they used
to look, but to how (city planners imagine) tourists want them to look; every incident of (family-friendly) historical
importance which has ever transpired within city limits is now re-enacted in an entirely Disneyfied manner.
Joshua Glenns passage describes the prevailing contemporary attitude in urban environments of overstressing the
existing urban legacy in historical centres. In Spit&Bang this extreme historicism is manifested in Spitalfields Market
and the adjacent Brushfield Street, which have been overstated and restyled as tourist attractions. Similarly, the quar-
ter of Princelet Street and Wilkes Street has been exaggerated, emphasizing the historical qualities of the faades to
the utmost detail.
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Spit&Ba
Selecting Mem
Selection
Historical authenticity is plentiful in Spit&Bang, clear in the residual Victorian and Georgian urban grains, and in
remaining constructions such as the Whitechapel Art Gallery, the faades on Fashion Street, the Roman ruins in
Spitalfields or Christ Church on Commercial Street. All these are remains of a rich historical past which, in one way
or another, has left its physical mark.
Yet, the collective attitude towards the past is generally contradictory: while s ome genuine memories are
exaggerated beyond recognition, others are repressed or even fabricated. The outcome is often a nostalgic
recollection of what the past once was47, and the feeling that at any opportunity either an attitude of tabula rasa will
erase what still remains and give way to the generic, or that these remains will be enshrined beyond remembrance.
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Site Histo
Truman Bre
Old Truman Brewery, Brick Lane
The Old Truman Brewery is the former Black Eagle brewery comple
Brick Lane in the Spitalfields area, in the London Borough of Tower
established by the brewers Truman's which subsequently became Trum
Buxton. The Director's House and former Brew House are listed buildinThe site's first associations with brewing can be traced back to 1666
Truman is recorded as joining William Bucknall's Brewhouse in Brick L
The Black Eagle Brewery was constructed in the early 18th century (c.
ally employed over 1000 people, becoming the largest brewery in
second biggest in Britain.
In the mid-18th century Huguenot immigrants introduced a new beve
fermented hops, which proved very popular.
In 1888, Truman, Hanbury, Buxton & Co became a public company w
but the balance of production was now shifting to Burton. The Br
remained active through a take-over by the Grand Metropolitan Gro
merger with Watney Mann in 1972, but it was in terminal decline. It eve
1988.
Aerial photograph of East London by the Royal Air Force, 1941
Aerial view of the Truman Brewery complex
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Referenc
Three examples of histor
British Museum Great Court, Foster and Partners, London, 2000
The South Portico of the Great Court of the British Museum, in the picture, was built in 2000, and proposed in order to balance the
composition of the court by replicating the design of the other three porticos. There was a large controversy regarding the origin of the
stone, which was intented to be British Portland stone although the contractor supplied a similar French version of stone.
Caixa Forum, Herzog & De Meuron, Madrid, 2008
The new museum for the Foundation La Caixa in Madrid is built on the s
faade was maintained and incorporated in the new building, it has b
structural elements, the existing faade is simply used to clad the lowe
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Referenc
Loos, Melnikov, Iofan
Adolf Loos
Chicago Tribune Building, competition entry, 1922
More than 260 entries were received for the Chicago
Tribune building competition in 1922, including the entry
above from Adolf Loos, a 122m high Doric Column
skyscraper clad in black marble.
Konstantin Melnikov
Parking Bridge, unbuilt project, Paris, 1925
In 1925, Melnikov was comissioned a project to identify potential parking spaces in the
centre of Paris. His proposal was a garage-bridge located on the Seine to serve 1000
cars from both sides of the river and supported by two atlantes.
Boris Iofan
Palace of the Soviets competition, winning entry, Moscow
The winning entry for the palace of the Soviets in Moscow dep
the top, would have been the worlds tallest structure at the t
started in 1937 but stopped at the time of the German invasio
resumed.
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Current 3D Printing
Referenc
Multi
The m
print i
instan
begin
Common 3D printing technology
We all have seen or used these machines and the objects that they can produce. These printers simply allow the physical
reproduction of three-dimensional models that have been either scanned or created in 3D software, or both. This technology is
becoming increasingly common, being evident in schools, universities, offices and the industry. A multitude of designers and
manufacturers are using these machines not only to create models and prototypes but also final marketable products since these
machines are more and more able to print with a high level of precision.
Rep Rap - the Self-replicating 3D printer
The Rep Rap project, started in the UK, was the beginner of the 3D printing revolution, envisaging an open-source DI Y
machine that can print all or most of its parts and spread the technology. The project caught wide attention and nowadays
there are tens of thousands of these machines being built around the world. The ease to build these machines and the low
price, together with the easy access and sharing of information and models online, have substantially contributed to the
proliferation of the technology.
Online communities
Thingiverse started a few years ago as an online community to share open-s
Today, especially with the advent of the RepRap project, the community is fille
for objects, tools and other things that can be 3D printed, milled or laser cut at
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Printing the W
Referenc
D-Shape - Enrico Dini
The Italian & British joint venture has been developing large scale printing of three dimensional building components. They
have recently developed a larger machine, capable of printing 3 meter cube objects and are aiming at the production of
full size building parts of complex geometry.
Loughborough University
The loughborough University now has a 3D printing engineering department that is developing high specification
composite concrete parts to be used primarily as structural components that would be difficult or impossible to fabricate
using conventional technologies.
Marcus Kayser
Marcus presented last year at the Design Products student show at the RCA his development of a technique to harness
solar power to both generate electricity for a 3D printer and also, using a condensing lens, to convert sand into glass. The
result is a solar powered 3D printing machine that uses sand as main material.
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3D Scann
Current Techn
Common 3D scanning technology
Similarly to 3D printing technologies, 3D scanning is becoming a widely available technology. Inexpensive scanners can
be bought or built (from open-source designs) and are easy to use, converting any object to a highly accurate mesh,
which can be manipulated.
Portable 3D scanners
Scanners are becoming smaller and since they use little energy they can be battery powered. This has led to the
production of various pieces of h andheld portable equipment.
Trimensional - iPhone as a 3D scanner
Using the iPhone camera and processing capabilities
in almost real-time the video/image into a 3D file that
since this is a type of technology which most of us ca
Microsoft Kinect hacked and turned into real-time
In 2010 Microsoft released what is probably its best
Together with the release of the product, Microsoft rel
community has been developing a multitude of hack
month however, this 3D scanning technology has incr
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3D Scann
Cities, Buildings and B
Tommy H
One of the
to simple
Tommy H
system in
manipulat
Point Cloud Surveying/Scanning and BIM integration
Increasingly common is also the point cloud surveying by contractors, geographers, explorers and surveyors. This technology is similar to the one Frank
Gehry used for scanning the Bilbao Guggenheim physical architectural model and converting it into a CAD file. The downside is the amount of labour and
time that takes to scan a large building, similarly to OS surveying, it is generally necessary to transport heavy and slow equipment.
UC Berkeley - geospatial scanning
A team of researchers at UC Berkeley in the US has developed a 3D scanner technology which can scan spaces using point cloud technology, while at the
same time give geographical positioning and orientation. Although the equipment is quite bulky, it shows that handheld/transportable equipment can be used
to scan the spaces around us.
Google Street View - technology for integrating 3D data in development
Current Google Street View technology uses image data in conjunction with geographical positioning, however Google is developing scanning technologies
to be integrated into streetview, so it becomes a fully navigable 3D environment which replicates the real world.
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Molecular Assembler
This is the ideal 3D printer of the future, which many scientists envisage, a machine that can build any object or code
with atomic precision. The images above illustrate the idea that several scale-stages of assembly will be necessary,
from molecular size to the final object.
Structural Nanotechnology
Nano structures allow the multiplication of the surface area in materials, increasing their properties while at the same
time drastically reducing the mass and the weight, creating super-strength light materials for the first time.
Nanotechn
Current and theoretic
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Spit&Bang Tec
A Return to the Past in the age of T
Site Sampling
This would allow samples to be taken on site using handheld devices. It requires minimum training and can be achieved with
small video capturing or laser technology. These samples can then be taken to the site/design office, uploaded into the data-
base and incorporated into the pre-designed parts which form the building,
On-Site-Molecular-Assembler / large scale 3D printing
The molecular assembler, or the Matter Compiler combines the principles of a 3D printer in the sense that it translates, compiles
and assembles 3D data in the form of an RNA sequence or similar formats into a physical object. However, it is not limited to
one single or a few materials, as in the current 3D printers, but it is fed by multiple and composite matter cartridges.
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Site Analysis
The site analysis defined five distinct areas within
Spitalfields and Banglatown, which represent
different social groups as well as different attitudes
C
Th
pa
re
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Spit&Ba
Site fragmentation as de
different social groups as well as different attitudes
towards dealing with the representation of the
past. The project brings to the s ite the elements of
these different areas, as a replication of a mini-
Spit&Bang.
Different social groups have very distinct forms of
space appropriation and community construction,
and within the area of Spitalfields and Banglatown,
one can depict clearly defined boundaries
between the different factions, as well as different
attitudes towards historicism and fabrication of the
past.
The selective process is evident in the repression
of memories clearly marked in elements such as
the new Shoreditch Station, which does not make
use of the many Victorian elements of the old
Bishopsgate Station it replaced, as well as in the
re
br
Ba
ve
Br
Th
th
st
fro
M
de
ne
Vi
Sp
ca
in
ve
Th
a
na
w
ho
ve
In
el
as
recently demolished Georgian warehouses of
Cheshire Street, now replaced by a common
housing development. The extreme historicism is
manifested in Spitalfields Market and the adjacent
Brushfield Street, which have been polished and
restyled as tourist attractions.
However, while the evidence of the past has been
neglected or exaggerated in some areas, it has
been fabricated in others. The name of Bangla-
town itself, its informal title of London Curry Capi-
tal, or the sprawling Brick Lane stall markets, can
all be seen as proof of the invention of tradition
defined by Eric Hobsbawm.
Finally, it is there is an evident contradiction in the
distinction between the contemporary appear-
ance of social openness, and the clear distinctions
and boundaries within our societies, which inten-
sify the ever increasing difficulty of social mobility,
as well as the interaction between the different
social and cultural factions.
BREWERY BREWERY
150m2
250m2
1
2
Malt StorageandMilling
BrewHouse16
15
Factory
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RESTAURANTS
Basement Level
GroundLevel
GroundLevel
GroundLevel
First Level
Roof Level
250m
150m2
100m2
50m2
75m2
40m2
100m2
30m2
25m2
2
3
4
5
6
7
8
9
10
BrewHouse
Fermenting
Aging andStorage
Storage
Packing/Bottling
Parking/Loading Area
Offices andStaff Facilities
Staff Wet Areas
Entrance/Lobby
RUIN
ARCADE
2
3
4
56
9
1011
12
14
14
14
14
16
15
15
18
19
20
21
15
13
7
1
8
800m2
50m2
50m2
11
12
13
Brewery Pub
Pub Back of House
Pub Storage
Pub
25m2
20m2
20m2
14
15
16
Vertical Circ. &ServiceCore
Emergency Stairs
Plant Area
VerticalCirculation & Services
RESTAURANTS
300m2
150m2
18
19
PublicAreas
Kitchen /BOH
ARCADE
1200m220 CoveredExternal Areas
RUIN
100m221 Total Area
Spit&Ba
Programm
Site overall programme
The project proposes a series of programmes to inhabit the site of the Truman Brewery as
well as their integration within the existing programmes at street level, particularly in the
inner areas of the site in Elys Yard, Wilkes Street and Dray Walk. The Brew House of the
new brewery integrates a public house that is directly connected to the covered external
areas on Elys Yard. The basement and ground levels adjacent to the brew house contain
the fermenting and storage facilities, as well as the processing and bottling areas of the
factory. Offices and staff facilities are located on the first level of the brewery building. The
existing buildings located immediate eastwards of the Hanbury Street entrance house a
series of restaurants, which have a common kitchen and services located at the rear. The
proposed ruins are located on the opposite end of the Hanbury Street entrance, beyond
the covered area of the arcade; these are visible from the north-south axis of Wilkes Street.
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Brewer
Site and External E
Whitech
apelRo
ad
Com
mercialS
treet
GreatEasternS
treet
Commercial Road
Bishopsg
ate
HackneyR
oad
Liverpool
Street
Station
Shoreditch
High Street
Station
Old
Truman
Brewery
Site Location Map at 1:5000 showing boundary of Spitalfields and Banglatown Ward and location of site
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3Dprintedfaade panels
Steel sections
DrainageChannel
Overlapping edgeprintedonto cladding panel
Steel section
Clamping edgeplatewith neoprenelayer
PTFE/Aerogel Skin
Sealedgaps
Perimeter CompositeSteel Truss
Faadepanels fixedto vertical L steel section frame
Brewer
Roof Deta
Roof Edge Detail
Taking advantage of the possibility to incorporate small details within the 3D printed materials, the roof edge detail is designed with a small overlapping edge that covers
the metal sheet drainage channel. In addition the top faade panel also wraps around the top of the perimeter truss, allowing the roof skin to cover the edge and making
it a tight system in terms of waterproofing and insulation. All the elements are fixed onto the printed panel by means of threads which have been incorporated into the
faade panels.
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Neopreneprotectivelayer
DoublePTFEskin interlayeredwith aerogel insulation
Neopreneprotectivelayer
Neopreneprotectivelayer
DoublePTFEskin interlayeredwith aerogel insulation
DoublePTFEskin interlayeredwith aerogel insulation
Stainless steel clamping strip
Stainless steel clamping strip
Stainless steel clamping strip
Frameclamping bolts
Carbon TanotubeReinforcedAluminium I beam
Roof Truss (Carbon TanotubeReinforcedAluminium I beam)
3Dprintedcladding section fixedto undersideof beam
3Dprintedcladding section fixedlaterally to truss
3Dprintedhorizontal elements fixedto undersideof cladding
Cross-fixing plates
Brewer
Roof Deta
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Brewer
Structure and Co
Brewery - Structure and Construction
It is envisaged that the construction of the brewery will take approximately 15 months
including the fit-out of the interior structures and finishes.
The construction will begin with site preparation, demolition of any existing ground
structures and possible re-routing of existing services and utilities. This is followed by
the excavation of the ground, with the necessary propping and securing of unstable
ground. Once excavation is complete and secure, the Ground Source Heat Pump pipes
as well as the heat and cold store are installed underground, followed by the casting of
the foundations and lift pits. After this the base raft slab can be cast. The completion of
the base slab facilitates the consequence construction of the perimeter concrete wall
and buttresses, as well as the underground concrete structures. The concrete struc-
tures above ground are constructed, coordinated with the installation of the precast
concrete stairs in both stair cores.
Level-1
StreetLevel
Level+1
RoofLevel
Level-2
Raft
Foundations
FireStair Core
FireStair Core
Basement Raft Slab
Perimeter Basement WallReinforcedConcrete
Buttresses
Capping Beam
Foundations
Perimeter Steel Composite Truss
Lift Core
Carbon NanotubeReinforcedAluminium Truss
Carbon NanotubeReinforcedAluminium Truss
Columns Steel Isection
Once the concrete structures are cast, the steel construction begins. The columns and
bracing are installed and welded on site. The perimeter truss is installed and welded as
well, although this element is separated into four sections to facilitate construction,
transport, erection and assembly. The prefabricated cantilevered aluminium trusses are
now installed and fixed to the concrete and steel structures onto cast fixings and bolted
fixings respectively, followed by the installation of the lateral bracing elements of the
roof.
The faade supporting frame is installed followed by the faade panels, which have
been printed, pre-assembled and treated on site since the start of construction. The
roof skin can now be installed, allowing for the installation of the mould, plants and feed
system within the roof frame. On ce the envelope is contained the fit-out of the interior
begins. The door openings are large enough to allow the necessary structures to enter
the brew hall and the brewery facilities. The fit-out of the brew hall begins with the main
steel and aluminium structures and the installation of the 3D printed panels and finishes,
as well as the electrical, mechanical, public health and fire systems. The external pave-
ment and rear faade can now be finalized.
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Brewer
Main Components a
Facadepanel (6no. 3Dprintedpieces)
External Pavement
Capping Beam
Perimeter basement wall
DoublePTFE skin with aerogel layer
RoofTruss (Carbon NanotubeReinforcedAluminium)
CompositeSteelTruss
Faadepanels fixedto vertical L steel section frame
Roof Drainage
Perimeter Campling
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BrewerFaade de
Intermediatehorizontal element
Faadepanel perimeter steel frame3m x2m
Gap sealedprior to installation of panel
Bolt/Threadcast within printedpanel
Steel anglesupports on undersideof frame
Titanium Dioxidecoating appliedon outside
Intermediatevertical elements
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Curry Tower
TfL Headquarters
New Truman Brewery
Cityscape
Petticoat Lane Arcade
Opening Scene
onescene
pan from interior
to ruins
Details of Petticoat
LaneArcade
(street canopy detail
&shop front add-ons)
Details of New
Truman Brewery
(crackedtimber
construction &
chimney)
Details of St. Marys
Hospital (sign hanging
&gothicvaults)
Details of Curry Tower
(sweet shop front
&hint of stacked
streets arrangement)
Details of
TfLHeadquarters
(victorian brick arches
&Shoreditch High
Street bridge)
Details of
Brick LaneMarket
Shopping Mall
(stalls &street/mall
faade)
Medium plans of
Petticoat LaneArcade
(street cafes and
tables &part of
canopy)
Medium plans of
NewTruman Brewery
(interior of main hall
&view of swimming
pool/cellars)
Medium plans of
St. Marys Hospital
(cloister &partial external
viewshowing contrast
of gothicruins
andnew building)
Medium plans of
Curry Tower
(raisedstreet view
&external viewof
structurewith
Brick Lane)
Medium plan
TfLHeadqua
(undergroundplatfor
external vie
perimeter
Brick Lane Market
Hospital ofSt. Mary without
Bishopsgate
Timeline
& Storyboard
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0 0 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 1 7 1 8 1 9 2 0 2 1 2 2 2 3 2 4 2 5 2 6 2 7 2 8 2 9 3 0 3 1 3 2 3 3 3 4 3 5 3 6 3 7 3 8 3 9 4 0 4 1 4 2 4 3 4 4 4 5
Brewery industrial sound
Street andpeoplerawsounds
entering into Brewery Brewery - view of cen
site entrance from Hanbury Street restaurant faades Dray Walk view Dray Walk arcade detail Ruin detail Ruin general view
camera movement from
street viewtowardsbuilding entrance sceneof restaurant faades
breaks continuity
focus on brewery entrance
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