Sergei Eisenstein - Notation for Alexander Nevsky, 1938 Eisentein’s notation of sound, movement and image for the

film Alexander Nevsky is an early example of a holistic film score. This notations developed by Eisenstein, were also used by Bernard Tschumi to explore the relationships between space and image in architectural projects.

B. McGrath and J. Gardner - Cinemetrics: Architectural Drawing Today, 2007 This book explores some very objective techniques of representation of architecture through film, and the representation of these films through chronograms which approximate the reader to the standard architectural techniques of representation. The image above is an example of the representation of a film sequence within an architectural space and it explores the relationship of the elements that compose the film - space, camera, time and actors.

Jason Salavon - Emblem (Taxi Driver), 2004 Digital C-print. (48" x 48". Ed. 5 + 2 APs) Salavon’s work is based on an abstract representation of the elements of film and generated by algorithmical analysis. He has based his research on 1970s iconic films. The films' frames are sampled in time and organized in outwardly flowing concentric rings.

Wings of Desire References for Chronogram

SHOT 1

SHOT 2

SHOT 3

SHOT 4

SHOT 5

SHOT 6

SHOT 7

SHOT 8

SHOT 9

SHOT 10

S. 11

S. 12

S. 13

S. 14

S. 15

SHOT 16

PICTURE FRAMES

arch from ceiling to view level

dolly gently turning angle to left

stop

dolly focused on subject

dolly follows pair

stop

arch upwards & left of subject

stop arch from ceiling to eye level dolly along study tables stops at position and rotates view towards angel 1 rises above head level of angel 1 still still still still viewpoint moves slightly to right

still

CAMERA

fixed position viewpoint moves left

fixed viewpoint camera moves left

camera moves left slightly viewpoint pans left

camera moves left and pans left still still fixed position tilts upwards still fixed position viewpoint moves right still fixed position viewpoint moves right still still viewpoint moves up to different subject camera position follows fixed position viewpoint moves left/down fixed viewpoint position moves left still still still still still still still dolly to left fixed position viewpoint moves right still

people studying in background - sitting & standing - static man walking behind female angel standing next to a person looks at camera female angel standing next to a person male angel 2 walking parallel to dolly male angel 1 walking parallel to dolly leaves male angel 3 looks stands at next to camera person studying still - head faces upwards slowly

people studying in background - sitting & standing - static people studying at the tables - close distance

people studying in background - sitting & standing - static child

people studying in background - sitting & standing at both close and far distance woman’s hand writing

people studying in background - sitting & standing - static two man standing studying/reading by shelves

people studying in background - sitting & standing - static

people studying in background - sitting & standing - static

people studying in background - sitting & standing - static

PEOPLE

male angel 2 stands on balcony male angel 1 hand male angel 3 stands next to person studying male angel 4 sitting looks at camera male angel 4 sitting stands & moves right stands next to person close plan looks at child, smiles then looks at angel 4 angel 1 walks towards camera/left stands next to person studying angel 1 hand picks pen stands with pen in hand walks towards camera stands pen in hand head moves walks towards men studying stands looking at men walks away towards chair sitting at chair looks at pen in hand drops pen on lap spreads arms holds balustrade eyes closed angel 1 walks down the stairs stops by old man looks at man & up looks at old man walks down stairs

angels 5 and 6 sit on ledge of void

female angel stands next to person, smiles

old man walks up stars stops at landing

stops hand in face

looks at angel 1

walks up stairs

sits on chair

looks for glasses and puts them on

sits and stares

SOUND

specific woman’s voice studying specific children’s voice studying generic voices of people in background continuous pipe organ fade out voices of people studying/sitting at tables continuous pipe organ singing voices
00” 05” 10” 15” 20” 25” 30” 35” 40” 45” 50” 55” 1’00” 1’05” 1’10” 1’15” 1’20” 1’25” 1’30” 1’35” 1’40” 1’45” 1’50” 1’55” 2’00” 2’05” 2’10” 2’15” 2’20” 2’25” 2’30”

specific man’s voice studying volume decrease increase continuous pipe organ decrease volume decrease
2’35” 2’40” 2’45”

woman’s voice writing voices of people studying/sitting at tables continuous pipe organ singing voices
2’50” 2’55” 3’00”

narrator’s voice specific man’s voice studying voices of people in background increase continuous pipe organ decrease decrease
3’20” 3’25” 3’30” 3’35” 3’40” 3’45”

stop

narrator’s voice

old man’s steps

old man breathing

continuous pipe organ singing voices
3’50” 3’55” 4’00” 4’05” 4’10” 4’15”

fade out fade out
4’20” 4’25” 4’30” 4’35” 4’40” 4’45” 4’50” 4’55” 5’00” 5’05” 5’10” 5’15”

violin music

decrease
3’05” 3’10”

singing voices
3’15”

5’20”

5’25”

5’30”

5’35”

5’40”

5’45”

5’50”

Wings of Desire, Wim Wenders 1987 Notation of Library Scene

arch from ceiling to view level

dolly gently turning angle to left

stop

dolly focused on subject

dolly follows pair

stop

arch upwards & left of subject

stop

arch from ceiling to eye level

dolly along study tables

stops at position and rotates view towards angel 1

rises above head level of angel 1

still still

still still viewpoint moves right

still

fixed position viewpoint moves left

fixed viewpoint camera moves left

camera moves left viewpoint pans left

camera moves left and pans left still

people studying in background - sitting & standing - static man walking behind female angel standing next to a person looks at camera female angel standing next to a person male angel 2 walking parallel to dolly male angel 1 walking parallel to dolly leaves still - head faces upwards slowly male angel 3 looks stands at next to camera person studying

people studying in background - sitting & standing - static people studying at the tables - close distance male angel 1 hand male angel 3 stands next to person studying male angel 4 sitting looks at camera

people studying in background - sitting & standing - static child close plan looks at child, smiles then looks at angel 4

people studying in background - sitting & standing at both close and far distance woman’s hand writing

angels 5 and 6 sit on ledge of void male angel 4 sitting stands & moves right stands next to person angel 1 walks towards camera/left stands next to person studying

female angel stands next to person, smiles

angel 1 hand picks pen

specific children’s voice studying generic voices of people in background continuous pipe organ singing voices fade out voices of people studying/sitting at tables continuous pipe organ singing voices increase continuous pipe organ pipe organ singing voices

specific man’s voice studying volume decrease decrease volume decrease specific woman’s voice studying
2’30” 2’35” 2’40” 2’45” 2’50” 2’55” 3’00” 3’05”

voices of people studying/sitting at tables continuous pipe organ singing voices decrease woman’s voice writing singing voices

1’15”

00”

15”

20”

25”

32”

34”

37”

48”

52”

1’03”

1’20”

1’25”

1’30”

1’35”

1’40”

1’45”

1’50”

1’55”

2’00”

2’05”

2’10”

2’15”

2’20”

2’25”

Wings of Desire Chronogram

3’10”

JIM BALLARD, The Magician (Study for a Portrait) mixed media and collage, 2009

The Greatest Television Show on Earth (J. G. Ballard, 1972) “ During their visits to the battle the producers found that there were fewer combatants actually present than described by the historians of the day. Whatever the immense political consequences of the defeat of Napoleonic France, the battle itself was a disappointing affair, a few thousand march-wearied troops egaged in sporadic rifle and artillery duels. (...) Rather than sit back helplessly behind their cameras, the Time Vision companies should step in themselves, lending their vast expertise and resources to heightening the drama of the battle. ‘History,’ [the producer] concluded, ‘is just a first draft screenplay.’ (...) Equipped with a lavish supply of gold coinage, agents of the television companies moved across the Belgian and North German plains, hiring thousands of mercenaries (at the standard rate for TV extras of fifty dollars per day on location, regardless of rank, seventy-five dollars for a speaking part). The relief column of the Prussian General Blücher, reputed by historians to be many thousand strong and to have decisively turned the battle against Napoleon, was in fact found to be a puny force of brigade strength. Within a few days thousand of eager recruits flocked to the colours, antibiotics secretly administered to polluted water supplies cured a squadron of cavalry hunters suffering from anthrax, and a complete artillery brigade threatened with typhus was put on its feet by a massive dose of chloromycetin. The Battle of Waterloo, when finally transmitted to an audience of over one billion viewers, was a brilliant spectacle more than equal to its advance publicity of the past two hundred years.” This short story explores the idea that our expectations are much higher than the real thing might be and that we believe that something is authentic when it meets these expectations - even if what was actually authentic has been tampered with and overly exaggerated. What interests me for the project is the fact that what is addressed here is this expectation and disappointment, a natural and human characteristic - no matter what the truth is really like, we prefer an exaggerated version of reality.

Dark City (Alex Proyas, 1998) A man wakes up in a state of amnesia, or so he thinks. Through a strange sequence of events he soon realises that he is living in a city controlled by an external force, and that his reality is no more than an experiment to these outsiders. The city and its inhabitants are rearranged, repositioned and rebuilt every night, though there is only night in this city. This film is a reference to the project mainly in regards to the idea of a constructed reality. The question of authenticity is The nigh time shooting and visuals also exaggerate the idea that this reality is constructed in addition to giving a sense of mistery to the film. The visual langauage of this film relates to the male side of the short film project.

Chungking Express (Wong Kar-Wai, 1994) The film tells us two love stories that happen in the Chungking Mansions in Hong Kong. What interests me in this film is, on the one side the idea of voyerism and search for authentic love and, on the other, the way in which the visual language is achieved, using high contrasted and high staurated images and a dream like quality achieved with the use of a contrast between fast forwarding and slow motion. The idea of the love story was inspiring in the way that the short film project can be narrated. In addition the film is mainly shot in the street and it shows a high contrast between the traditional elements of Hong Kong and the hi-tech urban ones, which is something that the short film project will try to achieve.

Project 1.2 References

Stores around Spitalfields Market

Outside the market, crossing Commercial Street

Princelet Street / Wilkes Street

Store outside Spitalfields Market on Brushfield Street

Commercial Street, walking towards Aldgate East Station

Commercial Street corner with Petticoat Lane, with the view of the city

Preserved old streets to the south of Spitalfields

Alley in Parliament Court

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, since 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.

His Story In this detective love story he is the pursued and he is not aware that there is someone stalking it. He represents authenticity and the character of the (whether fabricated wether authentically old) areas of Spitalfields and Banglatown. He is a man of habits. He has his own routes home. Likes meeting friends as a routine, just like going to the cafe or the corner shop at the same time of the day. He lives in the historical area of Princelet and Wilkes Streets, where she discovers his existence. The first time their paths cross he is not aware of being stalked. The second day he notices that is being followed for a few miles and disappears without leaving trace.

City Tail Film Site Context

she enters the station thinking of what she has lost and about the next day...

view of overbridge sound of train passing below

views walking up the stairs camera handheld

Camera 2

view of bridge and stairs from cheshire street camera is still 2 different plans
Camera 1

camera is still outside tunnel stairs are visible at far end

Camera 3

Through a sea of people she finally leaves work. Tomorrow she will have to come back to the same place but for now she is going out with friends. view of escalators and stairs people moving and background sound of trains

sad, she walks through the streets looking for him and decides to go home after all.

view of station entrance ticket machines and gateline people meeting and leaving sequence in accelerated motion

Camera 2

Camera 1

Section III (Scene 6) - cross section and plan of tunnel and overbridge

Section II (Scene 3) - cross section through station
she waits for him to be at a distance, walks up the stairs hearing the sound of passing trains below obscuring the noises of her steps. when she arrives at the end of the overbridge she realizes that he is gone.

the first time she saw him, they were ten metres apart. she later remembered the moment when she first saw him as she passed by the same place.

Camera 1

camera moves from hidden shot to close-up

On her way to meet her friends she wonders if she might meet someone interesting tonight.
Section II (Scene 5) - cross section through street

he comes out of the house she follows she meets her friends at the pub after work. they stand outside chatting and she remembers how boring her day at work was. the next she waits behind the corner in the hope of seeing him again

first scene outside office block. camera far with little or no perspective. still camera focusing on revolving doors and people coming out of building.

Camera 2

he walks towards the old railway. enters a tunnel. she waits behind hiding in the poorly illuminated areas. it feels dodgy.

Camera 1

Camera 4

she peeks from behind the corner hoping to see the same man again she crosses the street and walks towards the station as every day after work

shots of commercial street in increased speed and echo showing moments of her walk to the station

Section I (Scenes 1 & 4) - cross section through office block entrance Section IV - cross section of commercial street

she walks through the street remembering what she just saw

she ignores the image of the city in the background. someone asks for an information and she forgets to look. sequence shots of small street and alley. still shots with sounds of steps she follows him through the dark streets and alleys, trying not to be noticed in her steps
Camera 1 Camera 2 Camera 3 Camera 4 Camera 6

Camera 5

Camera 3

Camera 5

Camera 1

Camera 2

Camera 4

Camera 6

final scene shot - into tube station (view focus on station entrance staircase then city background seen in the direction of aldgate) he looks back. she hides on the entrance to a house. he continues walking and she keeps his tail.

Scene 5 - plan and elevation of shots through city alleys

City Tail - A love story of expectation and disappointment Chronogram

Camera 1

Scene 1

Scene 2

Scene 3

Scene 4

Night time. Outside an office block. Street is busy. A few people are leaving the office together. We see them in the street, outside work.

They walk through the streets. We see people passing by, cars, bikes. A busy street with lots of night lights.

We see the same people at a bar outside. The place is busy and many people and cars pass by.

Camera walks alone through the streets as if walking home. We hear steps. Some people and cars pass by.

Something catches the eye in a dark alley illuminated with the light of a street lamp. Camera zooms as if focusing on someone in the dark. We hear someone’s steps far away.

Camera follows from alley to a door a few streets away.

We see the door of a house. Close-up of door. We hear door closing.

Camera looks down in sigh. Baffled lights and movement around.

Camera walks through streets towards the station. Street views of facades, lights and cars.

We see a train station and hear a train leaving. Sound overlaps with next scene.

Next day leaving the same office as in scene 1. People outside at night time.

Camera moves towards the same house. View partially hidden behind corner.

Street sound - cars, people walking, traffic lights sounds of voices near the office entrance sounds of people in/outside bar

sound of traffic (lower) sound of steps at distance

sound is even lower

street background sound sound of train leaving

street sounds quiet street sounds

man’s steps lowder

his door opening and closing

her steps

station sound - ticket machines, etc.

Scene 4

Scene 5

Scene 6

He leaves the house. Camera follows through road. Noise of keys and door slamming.

She follows him through the streets. Camera follows on pavement. Handheld shake.

He walks through back alleys. She follows him. Camera stills.

Train passes by in cityscape. We hear his steps. sound follows to next scene.

shot of tunnel outside. Wind and cracking noises. Train still in background as sound.

She waits, then follows through tunnel. Noise of steps and echos.

She walks up the stais. Camera handheld goes up step by step. Image echo or slow motion.

overbridge view - he has disappeared. camera pans down

camera pans street laterally. she is looking for him.

she can not find him anymore. waks home. scene of street in blur / slow motion.

she arrives at the station. camera focuses on station entrance and movement of people in and out.

view of train leaving the station. image dissolves to black.

door opens and closes sound of steps sounds of people in street far away sound of train

sound of echoes in tunnel

sound of street below low sound of steps steps dispapeared

very low background sound sound of street and traffic

sounds of station entrance

sound of train leaving

City Tail Film Storyboard

scene 1

scene 2

1. Through a sea of people she finally leaves work. Tomorrow she will have to come back to the same place but for now she is going out with her friends.

2. On her way to meet her friends she wonders if she might meet someone interesting tonight.

3. She meets her friends at the pub after work. They stand outside chatting and she remembers how boring her day at work was.

4. She crosses the street and walks towards the station as every day after work. scene 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. scene 4

7. She walks through the street remembering what she just saw.

8. She ignores the image of the city in the background. Someone asks her for an information and she forgets to look.

9. She takes the train home, thinking about him.

10. The next she waits behind the same corner in the hope of seeing him again. scene 4

11. He comes out of the house. She follows.

12. She follows him through the dark streets and alleys, trying not to be noticed in her steps.

13. He looks back. She hides on the entrance to a house. He continues walking and she keeps on his tail.

14. She waits for him to be at a distance, walks up the stairs hearing the sound of passing trains below obscuring the sound of her steps.

15. He walks towards the old railway, enters a tunnel. She waits behind hiding in the poorly illuminated areas and it feels dodgy.

16. When she arrives at the end of the overbridge, she realizes that he is gone.

17. Sad, she walks through the streets looking for him and decides to go home after all.

18. She enters the station thinking of what she has lost and about the next day...

City Tail Film Screen shots of film sequence

“History […] is just a first draft screenplay.” J. G. Ballard, The Greatest Television Show on Earth, 1972

We cherish the authentic and character rich relics of the past, but we are able to unsee, the disappearance of historical places within our cities.

The project explores the idea that we are more interested in a glamorous image of our past, rather than the real one…

… even if this image is overly fabricated

“Reality was able to surpass fiction, the surest sign that the imaginary has possibly been outpaced. […] And, paradoxically, it is the real which has become our true utopia.” Jean Baudrillard, Simulacra and Science Fiction, 1991

Selective Nostalgia Film Structure and Narrative

Selective Nostalgia Seeing and Unseeing

Seeing and Unseeing the City This scene explores the idea that we select the elements of the city which we want to see or unsee. Borrowing the idea from China Miéville’s “The City and the City”, the collage represents our selective view of elements as sharp and blur. It is a fictional collage constructed with elements of the site - Spitalfields, Old Bishopsgate Station, the new East London Line bridges, as well as the buildings on Brushfield Street, Commercial Street and Brick Lane; and the background skyscrapers of the city. This page illustrates the technical process developed in the production of this scene, using 2.5D techniques. The scene was constructed in three-dimensional space; however, rather than using a revolving camera, as shown on the right and as the film movement suggests, the scene was constructed using flat images as shown on the diagram on the left of the page. The effect of three-dimmensionality is given with the use of a fish-eye lens effect.

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Illusion of three-dimensional panorama - The panorama effect shown on the left of this page, together with the fish-eye lens effects used, creates the illusion of a three-dimensional space, which would look as something as the
u il d r-b la y e in g s

drawing represented above.

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Selective Nostalgia Scene I - 2.5D Process

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 photograph was separated uinto 15 different objects, which were then used to create the animation 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.

camera position 1

camera position 2

camera position 3

camera position 1

camera position 2

Main flattened surfaces obtained from original photograph.

camera position 3

Shots of film sequence.

Selective Nostalgia Scene II - 2.5D Process

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.

camera position 1

camera position 2

camera position 3

camera position 1

camera position 2

Main flattened surfaces obtained from original photograph.

camera position 3

Shots of film sequence

Selective Nostalgia Scene III - 2.5D Process

Selected Nostalgia Concept Drawing

Selective Nostalgia Scene IV This scene explores the idea of fabricated authenticity on site, where the old elements which make the urban context are overly constructed. The image in itself is a fabricated version of the site, representing actual ements such as the city background, the truman brewery, or Brick Lane, however contrasting it with borrowed elements such as the athenian parthenon or a famous mosque. The scene further explores the techique of 2.5D animation, being constructed of plain two-dimensional elements staggered in three-dimensional space. In addition to the idea of fabricated authenticity represented in the image, the work explores digital techniques of representation of traditional mediums, fabricating the impression of brush strokes, paper textures and hand collages.

camera position 3 camera position 2

camera position 1

Selective Nostalgia Scene IV - 2.5D Process

Selective Nostalgia Scene V Following the idea of the previous scene, this image explores the contrast between the over developed city and the old remains of infrastructure in its periphery. It attempts to draw attention to the unseen destruction of historical elements within urban environments, while the financial districts expand. The scene again explores techniques of 2.5D animation, camera movement and wild sound, exploring elements such as the moving train over the building and the bouncing antenna on the right.
train moves

camera position 3

camera position 2

camera position 1

Arrangement of 2D layers for animation

Scene sequence

Selective Nostalgia Scene V - 2.5D Process

Reproduction of the 1560 Ralph Agas Map of London, c.1560

John_Norden's Map of London, 1593

De Witt’s Map of London, c.1693

Roque’s Map of London, 1745

Bowles’ Pocket Map of London - Geographicus London, 1795

Mogg’s Pocket or Case Map of London - Geographicus London, 1806

1560

1593

1693

1745

1795

1806

Cruchley Pocket Map of London - Geographicus London, 1849

Reynolds Map of London, 1882

Bacon Traveler's Pocket Map of London, Geographicus London, 1890

Philip Pocket Map or Plan of London - Geographicus London, 1895

Smith's Tape Indicator Map of London - Geographicus London, 1910

Geographica Pocket Map of London - Geographicus London, 1923

1849

1882

1890
Site Analysis Historical Development of Spitalfields

1895

1910

1923

Location Map 1:5000

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 community’s 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.
Princelet Street The main streets of Banglatown have a concentration of private commerce and community oriented services. There is also a clear distinction in the use of symbolic elements as the arches and traditional patterns.

Hanbury Street

Bric k La ne
There is a clear distinction between the north and the south sides of Brick Lane, roughly divided by Hanbury Street.

“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 spaces. 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.”
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The majority of the Banglatown area is defined by council blocks, most clearly lacking green spaces, play areas as well as general privacy and defense space.

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David Harvey, The Urban Experience, 1989

Partial Site map of the Banglatown Area South of Brick Lane, Osborn Street and adjacent areas

A concentration of Curry houses mark the boundary to the north of the Banglatown community area.

Site Analysis Banglatown - Segregated Communities

Spitalfields Spitalfields is an example of how the quest for authenticity has been turned into an exploitation of the cultural capital of East London. The character of the actual market has significantly 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 façades 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.

“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.”
The new development of between Spitalfields Market and Bishopsgate is reminiscent of any other city.

M. Christine Boyer, The City of Collective Memory, 1994

“[…] one of London’s 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 (accessed 20 Nov 2011)
The “themed” market stalls of Spitalfields Market.

Hanbury Street

The area of Brushfield Street to the south of Spitalfields Market has been historicized to the point of looking unreal. Is this as authentic as it gets?

Bisho psga

Brushfield S

treet

Commercial Street

te

The commerce around the market and Commercial Street. Every day new shops open that seem older than what was there before.

Partial Site map of Spitalfields

If it were not for the graffitties the areas to the south of Brushfield Street would seem like an historical film setting.

Site Analysis Spitalfields - Authenticity as Cultural Capital

Views of Wilkes Street seen from Hanbury Street.

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.
Wilkes Str eet

Hanbury Street

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.
Commercial Street

Different ideas of an idealized past: some prefer to renovate the façades while the façade of no.4 Princelet Stret is intentionally left in decay. Princelet Street

Brick Lane

Fournier Street

The majority of the wood work of the façades have been restored, renovated or fabricated.

“Reality was able to surpass fiction, the surest sign that the imaginary has possibly been outpaced. […] And, paradoxically, 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 ideologies—all now empty of meaning and of their original essence, but hypnotic with retrospective truth.” Jean Baudrillard, Simulacra and Science Fiction, 1991
Partial Site map of the areas to the south of Hanbury Street Princelet, Fournier and Wilkes Streets

Fashion Street
Interior photographs of no. 4 Princelet Street from their promotional website. (http://www.princelet.co.uk/)

Entrance to an office building.

Site Analysis Princelet, Fournier and Wilkes Streets - frozen in time

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 progressively 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 destruction of historical elements in our cities in general. Walter Benjamin, Theses on the Philosophy of History, 1940 “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.”

The new Shoreditch High Street Station is built on the site of the old Bishopsgate Station and Goods Yard. The remains of the victorian buildings can be seem adjacent to the station.

Few memories remain of the old Bishopsgate Station and Goods Yard. A great part of these elements have been demolished and the remaining await for redevelopment of the area.

The perimeter walls of the old Bishopsgate Station and Goods Yard are still visible from Scatler Street, although they have been extensively demolished to give way for the new Shoreditch High Street Station.

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Old victorian structures between Weavers Fields and Cheshire Street - a great part of these structures have been demolished to allow for the development of the East London Line extension as well as a large residential scheme by Barratt Homes on Cheshire Street. These remaining structures are the connection between the two areas across the railway lines. Weavers Fields

Quaker Street

Buxton Str eet

Partial Site map of the areas adjacent to the Old Bishopsgate Goods Yard and the New Shoreditch High Street Station

A few remaining railway buildings as the old Shoreditch Station can still be seen from Brick Lane.

Site Analysis Old Bishopsgate Railway Station and adjacent rail areas - Remains of History

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 commercial establishments that try to appear older than what was in the same place before.
New and old shops display their unique products.

Brick Lane: there is a clear disticntion between the fashionable zone to the north and the Bangladeshi community to the south; this separation is evident at the junction of Hanbury Street and the Truman Brewery site.

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The Truman Brewery car park and courtyard. 19th Century looking shops in a concrete building.

are superior in spirit. Groups closer in social class who yet draw their status from different sources use taste and its attainments 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 subgroup’s 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’.”
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“Taste is not stable and peaceful, but a means of strategy and competition. Those superior in wealth use it to pretend they

Hanbury Street

Graffitti and cool bikes.

Mark Greif, The Mirror and the Hipster
in The New York Times Sunday Book Review, 14th November 2010 (retrieved 11 Nov 2011)

Partial Site map of the the north part of Brick Lane Truman Brewery and adjacent areas

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The weekend stalls in the Truman Brewery. During the week this is a car park, on the weekend it transforms itself into a giant shopping mall.

Site Analysis Brick Lane

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The proposed site for the project is Hanbury Street and adjacent areas. This area links Spitalfields market to the new Truman Brewery commercial area and Brick Lane. In addition, the area lies in the convergence of the different zones of the site, which have been chosen for the site analysis case study, as examples of the different levels of historic preservation in the area: Spitalfields; the historical areas of Princelet and Fournier Streets; the popular north side of Brick Lane; and the area of Banglatown to the south of Brick Lane.

Proposed Site Hanbury Street and Truman Brewery

Brick Lane

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Site Photographs

Charlie Chaplin (Modern Times, 1936) I am interested in the contrast between the comical and critical character of Chaplin’s films. Modern Times is definitely a reference especially since it can draw a parallel between the critique to modernity in Chaplin’s film and the critique to contemporary times that this project explores.

Buster Keaton (The General, 1926; Sherlock Jr., 1924) The Films of Buster Keaton are a reference mainly because of the special effects which he pioneered. I find these extremely interesting when contrasted to the simplicity of the script and the formal language of the silent films.

Fritz Lang (Metropolis, 1927) The main reference in Lang’s film is the architectural setting and special effects. I am interested as well in the social contrast between the ruling and working classes and the form in which this is represented in the film.

Barry Sonnenfeld (Wild Wild West, 1999) Although the film plot and western setting is not relevant for the project, I am interested in the steam-punk formal language that is used to contrast the historical setting with the fictional technological inventions.

Project 2.2 Film References

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Project 2.2 - Film I Collages / 2.5D Scenes

The film begins by drawing attention to the areas of the site that have been explored in the previous film, highlighting the unseen elements of the city as blurred, once again. This first part of the sequence focus on both the selective view of the remains of the past, and on the visible segregation of social groups that happens in Siptalfields and Banglatown.

Moving phisically onto the proposed site around Hanbury Street and Brick Lane, the film begins to show the area of Princelet Street, which has been preserved to an extreme historicism; this area is also evidence of the segregation of a wealthy community within the site.

From the area of Princelet Street, the sequence moves towards Brushfield Street and Spitalfields Market, denoting the contrast between the fabrication of a past - evident in the street’s commerce - and the visible skyscrapers of the city behind. The following collage exaggerates this idea by borrowing even more extreme historical elements and placing them against an idea of future technology, illustrated mainly by the mediatic façades on the right of the sequence.

Similarly, the following scene - this time in Hanbury Street - speculates on a future vision of the site with an exaggeration of the aspects of shabinness and decay, and represented through the idea of a street market, which is used as a procession through the quest for the authentic.

Project 2.2 - Film II Film sequence

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 short bio. Their personal page on Pass the Baton’s website shows the items they’re 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 store’s 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 object’s story is carried along with it. And while the items they’re selling probably aren’t those they value most, displaying a person’s 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. It’s a retail concept that should appeal to authenticity-seeking consumers everywhere—time 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, encouraging 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 mundane object into an heirloom. Thus interrupting the cradle to grave cycle in which objects tend to have one life for one person as memories 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 project’s outputs will include a website database of people’s memories, focussed workshops, talks and events. Website: www.talesofthings.com/ / Source: Chris Speed / FIELDS (http://fields.eca.ac.uk/)

GIDSY - A peer-to-peer marketplace for experiences Gidsy bills itself as “a community marketplace for authentic experiences.” It promises to provide a place where anyone can host an activity as well as simply finding something fun to do. It’s been a while since we featured Sweemo’s online auction for experiences, but recently we came across something similar. Based in Berlin, Gidsy bills itself as “a community marketplace for authentic experiences.” Now in beta, Gidsy is still gearing up for launch. Once it does, it promises to provide a place where anyone can host an activity, as well as simply finding something fun to do. Walking tours guided by locals, “nature hikes with wild cavemen” and meals at exclusive pop-up restaurants hosted by top chefs are all among the experiences Gidsy anticipates finding listed on its site. Those who list activities can do so for free; when an event gets booked, Gidsy charges participants a service fee of 10 percent. For those browsing the site, Facebook integration can make it easy to see what friends are up to, enabling them to easily combine plans and meet up while trying something new. Gidsy is currently focused on activities hosted in Berlin and New York City, but it hopes to expand soon. One to partner with toward that end? Website: www.gidsy.com / Source: Springwise/Trendwatching (www.springwise.com)

SWEEMO - Online auction for experiences Online auctions for goods are plentiful, thanks to eBay and all the others it has inspired. It was only a matter of time before experiences got an auction of their very own. To be fair, American Express tried out an auction for experiences a few years ago that was known as Blue Play, but that’s since been disbanded. Instead, we now have Sweemo, a brand-new UK-based site that allows users to buy, sell, swap and request exciting experiences—or “sweet moments,” after which it’s named. Sweemo lets those with access to exclusive experiences open those experiences up to everyone, connectinge—as the site puts it—”those who have with those who want to.” Experiences are listed in five main categories—entertainment, adrenaline, lifestyle, travel and groups—and they range from a beauty makeover with TV presenter Sarah Cawood (priced starting at GBP 56) to a day of extreme speed sailing on the Hugo Boss for GBP 12,000. Shopping for experiences is free, and users get a profile page where they can track details about experiences that have interested them as well as leave comments and rate experiences they have already won. For those with experiences to offer, listing fees are based on the starting price and begin at GBP 1.50; closing fees range from 1.5 percent to 5 percent of the final selling price. Sellers can also rate those who have bought from them. Jay Nguyen, managing director of Sweemo, explains: “Sweemo gives everyone the opportunity to access special experiences that simply aren’t available in any other marketplace. We are motivating and inspiring people to recognise the incredible experiences within their own lives and making them available to others. They can be weird, wild or wonderful—so long as they can be enjoyed.” Yet another business idea that should appeal to consumers who are driven by experiences, also known as transumers. (Related: Experience stores.) Website: www.sweemo.com / Source: Springwise/Trendwatching (www.springwise.com)

Fabricated Reality Trends and References

Fabricating Reality Concept Drawing

Fabricating Reality Map of Constructed Situations

01 Waking-up

02 Morning shower

03 Breakfast in a hurry

04 Walking to the station

05 Crammed in tube on the way to work.

06 Station busy as always. Trying to get out.

07 Finally out of the station. Walking to work. The city’s skyscrapers are visible at a distance.

08 In the lift to work. Packed as usual.

09 Bored at work. Falls asleep at his desk.

10 Out for lunch. The place is packed too.

11 He takes a card from his pocket. It reads Reality Holidays.

12. In a Holiday Agency

13. Back home on the tube

Black Screen for 2secs.

14. Airplane

15. He sees the island from the airplane.

16. Leaving the Airport.

17. Outside the airport.

18. Hanbury Street.

19. Hotel Entrance.

22. He is taken for a make-over session

23. Styling session

24. Instructions

25. Outside. New look. Meets new friends.

20. Entrance to the hotel

21. Inside

Title title tile subtitle subtitle subtitle

Fabricating Reality Disneylondon

Reality vs. Representation - Ken Adam’s ‘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 Kubrick’s 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 clearly distinguish reality from its simulation. This paradigm stems from the growing reliance of contemporary societies on the use of technology, digital imagery and instant communication in everyday life, all of which are substitutes of much of our social lives, our physical interaction and the individual witnessing of the world . In addition, it has been argued that these technologies can only contribute to the future disintegration of many of the social aspects of society, speculating on a future scenario of a home-based society interacting through screens or physical avatars. Jonathan Mostow’s film Surrogates (2009), explores a world where people live at home and use “humanoid remote control vehicles” as avatars for everyday interaction; although the androids in Surrogates may look extremely realistic, an American company called Anybots began marketing a simple version of similar type robots last year, mainly promoted to telecommuters.

Technology addiction - “The sheer stress of separation from my iPhone”, Lucy Tobin 2012 [...] "Smartphone users are suffering from anxiety and withdrawal symptoms when they do not receive any messages," [...] Symptoms stretched to hearing "phantom vibrations", such was their distress at being disconnected. [...] Signs of our addiction are everywhere. Trips to the flicks disturbed by fellow film-fans' faces lit up not by Meryl Streep's Maggie or The Artist's somersaulting dog but by the BlackBerry's insistent red flash, and its owner checking what's bothering it. Restaurant dinners are put on pause as friends read texts and tweets and send the same, so everyone knows everyone else is having SUCH A GOOD TIME!! [...] It's got so bad that one blogger has issued a call to arms. The post - so popular it has received the ultimate online accolade (a string of spin-off YouTube videos) - is titled Don't be a Dick During Meals with Friends. The rules are as follows: The game starts after everyone has ordered. Everybody places their phone on the table face down. The first person to crack and flip it over loses the game. The loser pays for the meal. The purpose of all this, the blog concluded, "was to get everyone off their phones, free from Twitter/Facebook/texting, and to encourage conversations".

Fabricating Reality Reality vs. Simulation

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 façades 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 Glenn’s 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 quarter of Princelet Street and Wilkes Street has been exaggerated, emphasizing the historical qualities of the façades to the utmost detail.

Fabrication Spit&Bang seems to be the epicentre of London’s apparent quest for authenticity. From the All-Saints all-fake superstore and to the façades 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 .

Contrast “Rebellion makes no sense without repression; we must remain forever convinced of capitalism’s fundamental hostility to pleasure in order to consume capitalism’s rebel products as avidly as we do. “ As Thomas Frank argues in the quote above, the image of the capitalist city is one of the main factors that contribute to our feeling of consumption: the presence of an establishment that we wish to revolt against. Can the proximity of the city of London be a encouraging factor in the consumption of dissent in Spit&Bang?

Interaction On a weekday afternoon, the Starbucks coffee house on Brushfield Street is crowded. However, this is not the vibrant, loquacious and fraternizing crowd that one would expect: this room upstairs, not so large in size, is filled with dozens of people sitting in close proximity and in absolute silence, each submerged in their own laptop or smartphone. There are no conversations and there is no social interaction, only unconditional submission, and even the sound of an opening bag seems to disturb a few. A multitude of similar places exists in Spit&Bang, and is part of the symptoms of how the use of public spaces has changed in recent years with the advent of new technology. Similarly, the habit of posting personal ads that used to fill walls and windows or the small challenge of asking for directions, have all given place to a culture of diminishing social interaction.

Spit&Bang Evidence of Hyperreality

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 façades 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 some 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.

Repression A unique hand-built brick arched wall from the 1840s is one of few remains in the site of the new Shoreditch Station; this wall is neglected, vandalised and damaged. On the southern end of the site, a series of contemporaneous Victorian arches and tunnels await their faith; these are part of a series of listed structures around the site that once had the same usage as the new station. Yet, the new developments are built around these elements, circumnavigating the political difficulties of reusing or integrating the existing structures. Similarly in Cheshire Street, Bacon Street and Sclater Street, new developments are under way, both erasing every trace of what was there before and ignoring the existing urban composition. This will be the beginning a new quarter, built on the historical site of the Brick Lane street market, which together with the development of the new Shoreditch station site (shown on the left) will replace the historical with the generic.

Spit&Bang Selecting Memories

Aerial view of the Truman Brewery complex

View of Brick Lane, looking south

View of Directors’ House on Brick Lane

View of Board Room

Old Truman Brewery, Brick Lane The Old Truman Brewery is the former Black Eagle brewery complex located around Brick Lane in the Spitalfields area, in the London Borough of Tower Hamlets. It was established by the brewers Truman's which subsequently became Truman, Hanbury and Buxton. The Director's House and former Brew House are listed buildings. The site's first associations with brewing can be traced back to 1666 when a Joseph Truman is recorded as joining William Bucknall's Brewhouse in Brick Lane. The Black Eagle Brewery was constructed in the early 18th century (c.1724) and eventually employed over 1000 people, becoming the largest brewery in London and the second biggest in Britain. In the mid-18th century Huguenot immigrants introduced a new beverage made from fermented hops, which proved very popular. In 1888, Truman, Hanbury, Buxton & Co became a public company with shareholders, but the balance of production was now shifting to Burton. The Brick Lane facility remained active through a take-over by the Grand Metropolitan Group in 1971 and a merger with Watney Mann in 1972, but it was in terminal decline. It eventually closed in 1988.

Aerial photograph of East London by the Royal Air Force, 1941

View of Qaker Street, looking west

View of Brick Lane, looking north

Interior of Directors’ House

Site History Truman Brewery

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 site of an abandoned electrical sub-station. Although the existing façade was maintained and incorporated in the new building, it has been lifted from the ground and there is no use of its existing structural elements, the existing façade is simply used to clad the lower half of the new building.

Dresden Neumarkt - Historical City Centre, 1960-present The historical city centre of Dresden in Germany, was completely destroyed by the RAF during the second world war. Since the 1960’s the centre is being rebuilt as it originally was designed. Our Lady’s Church, in the picture above, was opened to the public in 2005 and the buildings around Neumarkt Square are currently being completed.

References Three examples of historical reconstruction

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, 1933 The winning entry for the palace of the Soviets in Moscow depicting a statue of Lenin at the top, would have been the world’s tallest structure at the time if built. Construction started in 1937 but stopped at the time of the German invasion in 1941 and was never resumed.

Boris Iofan Soviet Pavillion, Paris World Expo, 1937 The societ pavillion in the 1937 Paris world exhibition was placed across from the German pavillion, both in a defiance against each other. The Societ building, designed by Iofan, embodies Stalinist architecture in a six-storey high sculpture of a worker and a peasant girl with a hammer and a sickle.

Frédéric Bartholdi Statue of Liberty, Paris/New York,1886 This neoclassical sculpture of Libertas, the Roman goddess of freedom, was a gift to the United States from the people of France, dedicated in 1886. The structure of the statue was designed in collaboration with Gustave Eiffell and Eugene Viollet-le-Duc. The head and the hand with the torch were built prior to the completion of the design and were exhibited in Paris and New York from 1876.

References Loos, Melnikov, Iofan and Bartholdi

Spit&Bang: A Return to the Past in the Age of Three-Dimensional Mechanical Reproduction The inevitability of progress implies that we are often asked to make a choice between saving the old and creating the new. Nevertheless, there is an evident contradiction today, in many urban environments of the developed world, that we search for uniqueness and relish authenticity when, simultaneously, we allow the erasure of historical places and buildings within our cities. More recently however, we are increasingly inclined towards the simulation of an idealized image of the past to its minutest details, exaggerating even elements of shabbiness and decay. Already buildings are being three-dimensionally printed and soon the benefits of Spit&Bang draws attention to the implications of hyperreality in the built environment, and how it contributes to the amplification of a sentimentalist production of physical memories of our past, exploring how the reliance of technology in conjunction with the misinterpretation of reality and its simulation can only result in the loss of our referential past, and trigger a desperate attempt to reassert the feeling of this same reality, which is being lost. May in this process the Truman Brewery be reinvented as itself, the Petticoat Lane Market as a shopping Arcade, the Old Bishopsgate Station as a new Transport Museum, the Brick Lane Market as an old Market Hall or the old Hospital of St. Mary Without as a new NHS centre built upon its ruins, which never existed? Current three-dimensional scanning and printing technology allows us to replicate any object in nearly instant speed. In addition video capability in mobile phones is being converted into portable three-dimensional scanners, and in every corner of the world are sprouting three-dimensional printers that can increasingly replicate any three-dimensional sample with incredible precision. However, as we fear the advance of technology and a further loss of the sense of reality, can our panic to simulate an idealized image of the past in combination with our ability to replicate any physical object, result in an ambiguity of references and styles which only makes reference to itself and can only further reinforce our loss of both the past and reality? Can Spit&Bang become a replication of itself, appropriating physical elements from a local database of scanned three-dimensional samples, amalgamated into advanced building technology? nanotechnology will be brought into the process, integrating the power of microscopic physical properties with our ability to build any physical form. Large budget constructions will likely have full-size custom molecular assemblers installed on site, manufacturing a building in one go; however, conventional construction sites can integrate molecular assembly machines in smaller scale, allowing building parts to be efficiently designed, fabricated and assembled on site, and adapting design details to local characteristics, labour skills and availability of tools. Performance and design characteristics of these parts, such as structural and insulation properties or architectural finishes, can be instantly modified and compiled as the building is assembled.

Similarly to the advent of photography in the 19th century we are entering a new age of three-dimensional replication and soon we will be able to use the three-dimensional medium of reproduction in our everyday lives. For architects and designers this may now represent a new age of copyrights and lawsuits over illegal sampling of their products and buildings, but for the typical citizen it may mean that it can now use, own and produce any physical commodity ever wished for.

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.

Online communities Thingiverse started a few years ago as an online community to share open-source technologies, ideas and designs. Today, especially with the advent of the RepRap project, the community is filled with numerous downloadable designs for objects, tools and other things that can be 3D printed, milled or laser cut at home.

3D printing materials and Technologies The most common 3D printers at the moment are plastic extruders (like the Rep Rap), granular materials binding (Zcorp machines) and SLA stereolithography. The advance of the SLS (selective laser sintering) process has largely contributed to the accuracy of the final products. Common materials that can be used include various polymers (Nylon, ABS, Policarbonate), plaster or starch powders and metals (eg.titanium widely used for jewellery design); other projects, including the development of a chocolate printing machine, have been announced.

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 DIY 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.

Multi-material/Composite 3D printing The much anticipated development of composite or multi-material 3D printing is here. Many manufacturers are developing printers that can simultaneously print in 2 or more compounds as seen in the images above. In terms of simple applications such as prototypes, this means that softer flexible polymers for instance can be printed alongside rigid ones and allow for flexible and movable joints. For science and medicine this represents a massive leap since it is the beginning of an era of printed prostheses and moulds of body parts.

Current 3D Printing Technology References

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.

Waag Society - Hypercrafting In October 2011 a team of architects and local mud craftsmen realized a joint project in the Netherlands which combined the use of laser cutting technologies for the fabrication of a building frame consisting of wooden layers, and the posterior application of mud and straw involving the frame.

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.

The first 3D printed house - Marco Ferreri Last year, the Italian architect and designer Marco Ferreri produced, in collaboration with Enrico Dini from D-Shape, the first house printed as one single piece. It was exhibited at the Milan Trienalle.

Rael San Fratello Architects In addition to the embracing of current rapid prototype techniques and production of design products, this practice has been developing techniques and production modes that allow the construction of high-definition concrete parts. The images above show a bench and a façade panel assembled from several complex parts printed in concrete.

Printing the World References

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.

Trimensional - iPhone as a 3D scanner Using the iPhone camera and processing capabilities, the Trimensional App was created to create a 3D mesh from a simple video taken in the dark using the iPhone camera. This converts in almost real-time the video/image into a 3D file that can be manipulated and printed. More importantly, it represents a massive step from laser/point cloud scanning into video scanning; since this is a type of technology which most of us carry in our pockets, it opens the door to a multitude of future inventions and possibilities.

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 handheld portable equipment.

Microsoft Kinect hacked and turned into real-time 3D scanner In 2010 Microsoft released what is probably its best ever invention, a movement and speech sensor that can be used to interact with games, television and other software applications. Together with the release of the product, Microsoft released also the SDK that allows developers to create additional software and exploit the capabilities of the hardware. Since then, a large community has been developing a multitude of hacks that allow the possibility for several interactive applications, including 3D scanning. Since the availability of a Windows version last month however, this 3D scanning technology has incredibly improved and now allows real-time scanning of people, object and spaces using common computers to process the information.

3D Scanning Current Technology

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.

Scanning with geographical localization and assembling models Similar to what Google is attempting to achieve by scanning the world, there is currently a substantial amount of development in the assembling of scanned, photographed and geographical data that will allow us to visualize with extreme accuracy our urban environments and the built environment in general.

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.

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.

Tommy Hinks - Converting spatial data into usable models One of the main difficulties of the point cloud technology is the conversion to simple 3D files which can be manipulated, rendered and printed. Tommy Hinks has developed a system for his PhD that converts the point system into cubes of manageable size that can be quickly visualized manipulated.

BIM Integration - 3D scanned data in design process It is becoming common to integrate 3D scanned files of existing buildings into the design process, especially into Building Information Management software. This allows an accurate visualization and effective integration with the new designs, as well as visualization of buildings for maintenance and conservation purposes.

3D Scanning Cities, Buildings and BIM Integration

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.

Carbon Nanotubes Typical molecular structures single or combined nanotubes as in the image above. The latest scientific tests of carbon nanotubes (CNT) show a structural strength over 300 times superior to high-carbon steel.

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.

Carbon Nanotubes Infused Metal Fibre A transmission electron microscope (TEM) image of multi-walled CNTs grown on a stainless steel mesh substrate. A scanning electron microscope (SEM) image of 20 micron An SEM image of about 1 micron long CNTs in a mat-like long CNTs grown on stainless steel mesh substrate. arrangement grown on stainless steel mesh, under high magnification. An SEM image of about 1 micron long CNTs with a density of within 10% across a stainless steel mesh substrate.

Nanotechnology Current and theoretical technology

Incorporated fixings for assembly

Nanocarbon Tube Structural Lattice

Integrated services

Material appearance from scan database

Titanium Dioxide protective environmental layer

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 database 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.

Building elements The building is constructed by a series of blocks which integrate structural and environmental properties as well as fixings for assembly. The external face is printed with materials and textures from the database.

Truman Brewery The fabricated old elements find their way into the new building, as an assemblage of parts and dresses that seem to have been reclaimed from remaining ruins.

Spit&Bang Technology A Return to the Past in the age of Three-dimensional Replication

Site Analysis The site analysis defined five distinct areas within Spitalfields and Banglatown, which represent different social groups as well as different attitudes towards dealing with the representation of the past. The project brings to the site the elements of these different areas, as a replication of a miniSpit&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 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 Banglatown itself, its informal title of London Curry Capital, 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 appearance of social openness, and the clear distinctions and boundaries within our societies, which intensify the ever increasing difficulty of social mobility, as well as the interaction between the different social and cultural factions.

Conceptual Strategy The project explores how the fabrication of the past in Spitalfields and Banglatown is often a representation of itself and, playing with this idea, brings the different aspects of Spitalfields and Banglatown into one place, fabricating a small version of Spit&Bang in the site of the Old Truman Brewery. The analysis of the site and the ideas explored in the dissertation defined a series of attitudes and stances towards the past that prevail in the area, from the exaggerated historicism of Spitalfields Market and Brushfield Street to the fabrication of decay in the Princelet Street area and the neglected ruins of actual historical evidence of Victorian industrial constructions. Spit&Bang explores the idea that we can technically scan and sample the architectural elements in the area and integrate their reconstructed version into a three-dimensionally printed design. The main focus of the project is the brewery itself, a new built micro-brewery that exploits the site’s name and association as a brewery. This is a fully working brewery that produces beer for a public venues in the site and in the area. In addition the site is dressed with different elements that derive from the different areas and aspects of Spitalfields and Banglatown.
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Spit&Bang Site fragmentation as design component

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BREWERY Factory 1 Malt Storage and Milling Brew House Fermenting Aging and Storage Storage Packing/Bottling Parking/Loading Area Offices and Staff Facilities Staff Wet Areas Entrance/Lobby Pub 150m2 250m2 150m2 100m2 50m2 75m2

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VERTICAL CIRCULATION & SERVICES

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First Level

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100m2 30m2 25m2

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FIRST

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40m2

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150m2

OFFICES & STAFF FACILITIES
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MALT STORAGE

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Brewery Pub Pub Back of House Pub Storage

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GROUND

Ground Level

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75m2 BAR BACK OF HOUSE

Ground Level
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Vertical Circulation & Services 14
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BREWERY BAR BOS 100m2

Vertical Circ. & Service Core Emergency Stairs Plant Area

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Public Areas Kitchen /BOH

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BASEMENT

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ARCADE 20 Covered External Areas 1200m2

AGING AND STORAGE

OPEN FERMENTER

TANK FERMENTERS

HEAT EXCHANGER

WHIRLPOOL

KETTLE

LAUTER TURN

MASH MIXER

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RUIN 21 Total Area 100m2

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 Ely’s 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 Ely’s 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.

Brewery Programme The new brewery is designed to accommodate the necessary facilities for the production of beer that will supply the new brewery bar and the existing venues on site. In addition to the local consumption, the surplus production will be bottled and sold on site or distributed to other local venues. Based on estimations from the consumption of beer in existing pubs in the area (source), the maximum production capacity for the brewery has been estimated at 20,000 litres per week or 1,000,000 litres per year. This is a maximum output for the production, and it is estimated that the facilities will normally produce half of this amount, the equivalent to approximately 17,500 pints of beer per week. This volume of production defines the facility as a micro-brewery. The required areas and necessary equipment for the brewery facilities have been calculated using information from brewing systems suppliers and manufacturers as well as precedents from existing breweries. It has been estimated that the total area required for the brewery is approximately 1,100m2, including the offices and staff facilities but excluding the brewery’s public house and public visiting areas.

Spit&Bang Programme

SPIT & BANG

SITE & BRIEFING - LOCATION

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Old Truman Brewery

Brewery seen from Hanbury Street entrance

Liverpool Street Station

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Site Location Map at 1:5000  showing boundary of Spitalfields and Banglatown Ward and location of site
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Site Location Map at 1:5000  showing Spitalfields and Banglatwon Ward boundary and location of site for design project

Brewery seen from corner of Dray Walk and Wilkes Street

Thesis Design 1: Site, Briefing & Technology [ARCT 1036]

Brewery Site and External Environments

Perimeter clamping PTFE/Aerogel Skin Clamping edge plate with neoprene layer Overlapping edge printed onto cladding panel Drainage Channel Steel section Roof Truss fixed to perimeter steel truss 2x Double PTFE skin with aerogel insulation on top skin layer Stainless steel clamping strip with neoprene protective layer Roof Truss (Carbon Tanotube Reinforced Aluminium I beam)

Carbon Tanotube Reinforced Aluminium I beam Steel sections 3D printed façade panels Sealed gaps 3D printed cladding section fixed to underside of beam 3D printed horizontal elements fixed to underside of cladding

Cross-fixing plates Double PTFE skin interlayered with aerogel insulation

Façade panels fixed to vertical L steel section frame 3D printed cladding section fixed laterally to truss Perimeter Composite Steel Truss

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 façade 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 façade panels.

Roof The roof is a double PTFE skin insulated with aerogel and supported by Carbon Nanotube reinforced Aluminium Trusses and beams. The high strength and low weight of the aluminium allow these elements to be relatively small in comparsion to similar steel structures, meeting the design intent of achieving structural elements with a fragile appearance. The roof skin is broken into small fabric sections which are clamped to the edges of the beams and the edge of the roof. The darker strips of PTFE are double, containing a zone of mould. The structural rigidity of the roof is achieved by the lateral bracing of the beams, which connect the roof as one single structural element. Both the trusses and the aluminium beams are clad with 3d printed panels with the appearance of wood; these are bolted to the aluminium frames and the visible bolts are applied a treatment of fake rust paint.

Brewery Roof Details

Frame clamping bolts Stainless steel clamping strip Neoprene protective layer Double PTFE skin interlayered with aerogel insulation Stainless steel clamping strip Neoprene protective layer Double PTFE skin interlayered with aerogel insulation Neoprene protective layer Double PTFE skin interlayered with aerogel insulation Stainless steel clamping strip

Cross-fixing plates Carbon Tanotube Reinforced Aluminium I beam 3D printed cladding section fixed to underside of beam

3D printed horizontal elements fixed to underside of cladding

Roof Truss (Carbon Tanotube Reinforced Aluminium I beam)

3D printed cladding section fixed laterally to truss

Envelope - Roof The roof components are all prefabricated and assembled on site at installation. The main roof trusses in CNT reinforced aluminium support the lateral bracing of the same material which is fixed using cross fixing bolted plates. The roof skin is clamped to the edges of the bracing elements and of the roof edge, using bolted stainless steel plates inter layered with protective neoprene layers. The 3D printed cladding is fixed to the underside of the bracing and laterally to the trusses using small bolts. A coating of fake rust is applied to these bolts.

Brewery Roof Details

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 structures above ground are constructed, coordinated with the installation of the precast concrete stairs in both stair cores.
Carbon Nanotube Reinforced Aluminium Truss Fire Stair Core Lift Core Perimeter Steel Composite Truss Columns Steel I section Carbon Nanotube Reinforced Aluminium Truss

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Site Preparation; Excavation; Propping of excavated area;  Laying of Ground Source Heat Pump; Building Foundations.

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Casting of base concrete structures - Raft Slab, Perimeter  Wall, Buttresses and Capping Beam.

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Casting of underground concrete structures including lift and  stair cores.

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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 façade supporting frame is installed followed by the façade 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. Once 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 pavement and rear façade can now be finalized.

Fire Stair Core Capping Beam Buttresses

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Casting of concrete structures above ground; installation of  precast concrete stairs.

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Perimeter Steel Structure - Columns and Bracing followed by  partly pre-assembled truss.

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Cantilevered Trusses - Prefabricated Trusses are installed and  fixed onto cast fixings on concrete side and bolted fixings on  steel side.

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Perimeter Basement Wall Reinforced Concrete

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Installation of lateral bracing for roof trusses; Laying of feed  pipes four mould and plants within the roof system.

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Façade - the panels that have been printed and pre-assembled  on site since the beginning of construction are now installed  onto the main steel frame and concrete structures.

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Roof - Roof skin is installed over the trusses and clamped to  the top panels of the façade. Fit-out - This is followed by the fit-out of the internal  structures and finishes.

Brewery Structure and Construction

PTFE/Aerogel roof skin clamped to roof edges and lateral bracing elements

CNT reinforced aluminium bracing

Double PTFE  skin with aerogel layer Roof Truss (Carbon Nanotube Reinforced Aluminium) Perimeter Campling Composite Steel Truss
Façade - fixed to steel frame (see details)

Carbon Steel perimeter structure tied to concrete core and buttresses below

Roof Drainage
Internal skin - fixed to steel frame

Façade panels fixed to vertical L steel section frame Facade panel (6no. 3D printed pieces)

Reinforced Concrete core Rear façade - fixed to steel frame which is fixed to concrete structure

Perimeter truss - composite structure allows fixing of roof trusses and increases rigidity Internal bridges - steel structure with CNT reinforced aluminium components

Underground structures 3D printed panels and reclaimed components supported by surrounding steel frames

External Pavement Capping Beam Perimeter basement wall
Reinforced concrete perimeter structures - wall and buttresses

Brewery Main Components and Envelope

Pre-assembled façade panel Façade panels fixed to vertical L steel section frame

Bolt/Thread cast within printed panel

3D printed panel overlap detail for drainage channel Drainage Channel

Gap sealed prior to installation of panel

Titanium Dioxide coating applied on outside
Composite Steel Truss

Façade panel perimeter steel frame 3m x 2m

Vertical bracing Steel I section

Steel angle supports on underside of frame

Façade panels fixed to vertical L steel section frame Facade panel (6no. 3D printed pieces)

Intermediate horizontal element
300mm I section Steel beam

Intermediate vertical elements

300mm I section Steel Column

External Pavement Capping Beam Perimeter basement wall Buttress

Brewery Façade details

Opening Scene
one scene pan from interior to ruins View moves from cityscape slowly back into room from first scene. The TV is repeating the same image that is seen on the cityscape through the window.

Petticoat Lane Arcade

Details of Petticoat Lane Arcade (street canopy detail & shop front add-ons)

New Truman Brewery
Details of New Truman Brewery (cracked timber construction & chimney)

Medium plans of Petticoat Lane Arcade (street cafes and tables & part of canopy) Medium plans of New Truman Brewery (interior of main hall & view of swimming pool/cellars)

Wide views of Petticoat Lane Arcade (entrance arches & main road junction)

Hospital of St. Mary without Bishopsgate

Wide views of New Truman Brewery (view from Ely’s Yard & view from Hanbury Street)

Details of St. Mary’s Hospital (sign hanging & gothic vaults)

Timeline & Storyboard

Curry Tower
Details of Curry Tower (sweet shop front & hint of stacked streets arrangement)

Medium plans of St. Mary’s Hospital (cloister & partial external view showing contrast of gothic ruins and new building) Medium plans of Curry Tower (raised street view & external view of structure with Brick Lane) Details of TfL Headquarters (victorian brick arches & Shoreditch High Street bridge) Medium plans of TfL Headquarters (underground platform & external view of perimeter wall)

Wide views of St. Mary’s Hospital (street view showing building & view from centre of cloister) Wide view of Curry Tower (view of building and Brick Lane relationship & view of indoors streetscape) Wide views of TfL Headquarters (view of Shoreditch High Street & view from Bethnal Green Road) Wide views of Brick Lane Market Shopping Mall (view of building from Sclater Street & interior view of central void) Wide views of Cityscape with reference to previous views of 6 buildings - the view begins to unveil the city that lies beyond and the relationship of the 6 projects withthe site

Timeline & Storyboard

TfL Headquarters

Brick Lane Market

Cityscape

Details of Brick Lane Market Shopping Mall (stalls & street/mall façade)

Medium plansof Brick Lane Market Shopping Mall (partial view of external volume & internal ramps arrangement)

Wide views of cityscape views begin unveiling the whole city and show additional buildings (most shown in the first Spit&Bang drawing)

Summary/ Storyboard

Summary/Timeline
Opening Scene 1 view camera pans Petticoat Lane Arcade 2 scenes - details Curry Tower 2 scenes - details Tfl Headquarters 2 scenes - details Brick Lane Market 2 scenes - details New Truman Brewery 2 scenes - details Hospital of St Mary Without Bishopsgate 2 scenes - details Petticoat Lane Arcade 2 medium plans Curry Tower 2 medium plans Tfl Headquarters 2 medium plans Brick Lane Market 2 medium plans New Truman Brewery 2 medium plans Hospital of St Mary Without Bishopsgate 2 medium plans Petticoat Lane Arcade 2 wide plans Curry Tower 2 wide plans Tfl Headquarters 2 wide plans Brick Lane Market 2 wide plans New Truman Brewery 2 wide plans Hospital of St Mary Without Bishopsgate 2 wide plans Cityscape Hovering at house roof height 3/4 wide plans Cityscape Hovering/pannng above buildings 3/4 wide plans Closing Scene Inverse of first scene 1 view pan

Continuity, Sound and Pace

Music
background music low and growing background music continues low, allowing raw sounds to be understood background music faster/more dynamic and a slight increase in volume background music with higher pace, begins to mix in volume with raw sounds background music finale starts background music increases pace background music pace and volume decreases slowly and fades out

Continuity, Sound and Pace

Sound
TV/Destruction/ Construction/Rubble/ Crane signal Local street sounds Local street sounds + Bangladeshi music Office sound + railway noise Local street sounds + market sounds Pub sounds + Factory/Brewery sounds Hospital sounds machine/steps Local street sounds Local street sounds + Bangladeshi music Office sound + railway noise Local street sounds + market sounds Pub sounds + Factory/Brewery sounds Hospital sounds machine/steps Local street sounds Local street sounds + Bangladeshi music Office sound + railway noise Local street sounds + market sounds Pub sounds + Factory/Brewery sounds Hospital sounds machine/steps City sounds in background City sounds in background volume decreases City sounds in background volume decreases substantially and fades out

Tempo
One scene/Pan slow/medium pace slowly increasing speed 6x2 scenes slow pace (still or nearly still camera) 6x2 scenes medium pace (camera moves slightly and scenes are shorter) 6x2 scenes fast pace (camera moves fast and scenes are shorter) 3 scenes fast pace (fast camera move) 4 scenes fast pace (fast camera move and upwards) 1 scenes/Pan medium pace slowly drecreasing speed (medium camera move)

Spit & Bang Storyboard & Timeline

camera raised and focused on beer barrels wider angle reduced as camera moves forward

view from building entrance towards centre of brewery
00” 01” 02” 03” 04” 05” 06” 07” 08” 09” 10” 11” 12” 13” 14” 15” 16” 17” 18” 19” 20” 21” 22” 23” 24” 25” 26” 27” 28” 29” 30” 31” 32” 33” 34” 35” 36” 37” 38” 39” 40” 41” 42” 43” 44” 45” 46” 47” 48” 49” 50” 51” 52” 53” 54” 55” 56” 57” 58” 59” 1’00” 1’01” 1’02” 1’03” 1’04” 1’05” 1’06” 1’07” 1’08” 1’09” 1’10” 1’11” 1’12” 1’13” 1’14” 1’15” 1’16” 1’17” 1’18” 1’19” 1’20” 1’21” 1’22” 1’23” 1’24”

camera advances and focuses on interior of cell

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site entrance from Hanbury Street

restaurant façades

Dray Walk view

Dray Walk arcade detail

Ruin detail

Ruin general view entering into Brewery Brewery - view of central bridge Brewhall detail I View of the pub Brewhall detail II down cobbled ramp detail of wall entrance to underground

view of cellar metal bars

pub room I

underground detail I

focus on brewery entrance Street and people raw sounds Brewery industrial sound

camera movement from street view towards building entrance

scene of restaurant façades breaks continuity

camera moves forward parallax effect unveiled by camera movement

initial camera position

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2’14”

2’15”

2’16”

2’17”

2’18”

2’19”

2’20”

2’21”

2’22”

2’23”

2’24”

2’25”

2’26”

2’27”

2’28”

2’29”

2’30”

2’31”

2’32”

2’33”

2’34”

2’35”

2’36”

2’37”

2’38”

2’39”

2’40”

2’41”

2’42”

2’43”

2’44”

2’45”

2’46”

2’47”

2’48

2’49”

2’50”

2’51”

2’52”

2’53”

2’54”

2’55”

2’56”

2’57”

2’58”

2’59”

3’00”

long corridor view camera behind corner

underground detail II

view of cellars hall

cellars detail

underground detail III corridor begins to unfold pub room begins to unfold brew hall begins to unfold corridor unfolds more pub room unfolds more brew hall unfolds more Ruin unfolds Restaurant façades unfold Dray Walk arcade unfolds Final Scene - unfolded pieces as debris in space

Street and people raw sounds Brewery industrial sound

camera moves and focuses on stair and door

Spit&Bang Chronogram