1.0 PPROJECT 1.

1
WINGS OF DESIRE CHRONOGRAM

PROJECT 1.2
TWO PERSPECTIVES: GRAFFITI AS ART/VANDALISM

Project 1.1 Wings of Desire

PROJECT 1.2
TWO PERSPECTIVES: GRAFFITI AS ART/VANDALISM

Graffiti as Art

The artist’s perception of Brick Lane and the area surrounding Spitalfields Market Spitalfields Market Brick Lane

Commercial Street

Graffiti as Art

The artist begins to see the Spitalfields area as a ‘blank canvas’. Spitalfields Market Brick Lane

Commercial Street

Graffiti as Art

The artist’s perception of Brick Lane and the area surrounding Spitalfields Market Brick Lane

Commercial Street

Graffiti as Vandalism

The perception that some people may have of the Spitalfields area and of Brick Lane, where the Graffiti is seen as a form of vandalism. Spitalfields Market

Brick Lane

Commercial Street

Graffiti as Vandalism

Some people may begin a process of wanting to ‘clean up’ the city by removing the graffiti. Spitalfields Market Brick Lane

Commercial Street

Graffiti as Vandalism

The perception of graffiti as vandalism encourages a city which has the same architectural language where the ability to express yourself becomes more difficult. Spitalfields Market Brick Lane

Commercial Street

Brick Lane Timeline

Bricks and tiles are beginning to be made in the area Protestants started to migrate to England to escape religious persecution

Late 16th Century

1500

Approximately 5% of the population of London were Huguenot with about 23,000 in Spitalfields

1700

Bangladeshi population, in Britain, is approximately 275,395. Bangladeshi population in Tower Hamlets is 1971 65,553 The War of Independence in Bangladesh caused the country to become unstable. This encourage more male Bangladeshis to migrate to Britain for work The Huguenots moved into wealthier areas of London making way for new immigrants

2001

1860 - 1880

Brick Lane market was developed

17th Century

Mid 19th Century Irish immigrants escaping the potato famine moved into the area 1850
The first Bengali Muslims arrive in Britain

Bangladeshis families began to join the male members of the family in Britain which led to a rise in the Bangladeshi community Labour shortages within the UK, coupled with the economic hardship that was facing East Pakistan encouraged Bangladeshi males to move to Britain

Late 1960s

1950s - 1960s

1500

1600

1700

1800

1900

2000

40,000 to 50,000 Huguenots sought refuge in London from France. It is believed that the majority of these settled in London and in particular Spitalfields. These over spilled into Brick Lane. The area became known as ‘weaver town’ due to the skills that Huguenots brought to the area

1670

1900 Jews formed about 95% of the population
Huguenots operated 12,000 silk looms in the area

Late 18th Century

Bangladeshi in Spitalfields population, in 1905 Britain, is Aliens Act introduced into Britain to approximately 6,000 1970s stop any immigration into the country Bangladeshi families joining the male family members was at its peak

1961

Bangladeshi population, in Britain, is approximately 162,835 2005 The estimated Bangladeshi population in Tower Hamlets is 63,800

1991

Spitalfields Market Timeline 1197 1700’s

The medieval hospital called ‘The priory of St. Mary of the Spittle’, is founded.

The City of London constructed the western extension of the new market. It was opened by Queen Mary in November, 1928 The City of London gained direct control of the market Large numbers of Jews began to settle in the area. Robert Horner, a former market porter, bought a short lease on the market. He also started work on a new market building

1926 - 1928 1920

Large numbers of Huguenots settled in the area after fleeing religious persecution from other countries. They brought with them their weaving skills Following the Great Fire of London, thousands of people camp on the Spital Fields

1880s 1876

1666

The new Spitalfields development situated at Crispin Place and Bishops Square opens next door to Old Spitalfields Market Ballymore unveiled plans to revitalise the Horner Buildings and enhance the Old Market Ballymore acquired the Old Spitalfields Market from SDG

2005

2002

The site was known as Spittle Field and was used as a grazing area for cattle

1660’s

1500

1600 1670’s and 1680’s 1682

1700

The Huguenots moved into wealthier areas of London making way for new immigrants

1860 - 1880 1900

1999

1800

2000

The area surrounding Spittle Field was used for residential development.

John Balch, a silk thrower, was granted a Royal Charter by King Charles II. This charter allowed him to host a market on Thursdays and Saturdays in the area of Spital Square

The seventeenth century buildings surrounding the market were demolished. The market itself, was given an iron and glass roof The new market building was completed.

1883 - 1900 1893 1900s

Due to limited space the market was forced to move to a new part of London, Leyton

1991

Edward Metcalfe inherited the site and began a building programme. This included a central market place, a market house and an area for stalls

1684 -1686

It’s estimated cost is £80,000

The current Spitalfields Market was established

1992 2008

Maltese, Irish, Scots, West Indian, Somalian and Bangladeshi communities all settle in the area through out the next century

The restoration work to preserve the Horner Buildings is completed

Focusing on the

use of graffiti

within Spitalfields and Brick Lane,

the project began to develop the idea of graffiti as a spatial entity. For this, Kurz Schwitter’s Merzbau was used as a precedent, where using his own home, Schwitters began to place three-dimensional forms within the exisitng spaces which resulted in new spaces being created. Elements have been taken from Schwitter’s Merzbau and placed upon both Spitalfields and Brick Lane as a form of spatial graffiti. Continuing this idea of spatial graffiti, the following pages use elements from Spitalfields Market and place them upon Brick Lane and also elements from Brick Lane, upon Spitalfields. brings Spitalfields and Brick Lane together. The last collage,

Brick Lane Signs Brick Lane Lamposts Brick Lane Mosque Truman Brewery

Elements from Brick Lane placed upon Spitalfields.

Brick Lane Graffiti

Brick Lane Pavement

Curry restaurants

Shops from Spitalfields Signs taken away

Covered Walkways

Security Guards

Elements from Spitalfields placed upon Brick Lane.
Shop fronts cleared Glass Structures

Pavement from Spitalfields Market.

Columns taken from Spitalfields Market. Lamposts from Brick Lane.

Archway from Brick Lane.

Spitalfield shop fronts. Bridge from Brick Lane.

Brick Lane Market Stalls.

Brick Lane shops. Traffic Route. Pedestrian Routes.

2.0 PROJECT 2.0
THE WALKER AND GOOGLER FILM 2.1:SPITALFIELD MARKET: TWO PERSPECTIVES FILM 2.2:THE WALKER SURVEILLANCE

The ‘walker’ experiencing Spitalfields Market is represented

within this collage. It attempts to portray that the ‘walker’ is able to view the entire area simply by changing position and moving through the space. It also tries to represent ‘realtime’ by using images that have been taken on different days and at different times. For example, the collage includes images that were taken when the market played host to a number of stalls selling a number of different items, but other images were taken when the market is empty and it is only a vast space surrounded by the fixed restaurants and shops that live within the market. Whilst the ‘walker’ can experience these changes, the image that is presented to the viewer of Google Maps is fixed and therefore the ‘viewer’ is not aware of the changes that are constantly happening in Spitalfields Market.

Collage 1

Collage 5

Collage 3

Collage 2

Collage 4 Collage 2

Collage 4

Spitalfields Market as seen from Google maps are represented within these collages.

Collage 1

It is easy to see how our perception of the area is manipulated and distorted. Google Maps allows us to see the city through the eyes of a camera lens. This camera is situated on top of a car which travels around the city mapping the environment. The car, however, is restricted. Narrow streets, private land and pedestrian streets are just some of the problems faced by the camera.

Collage 3

Collage 5

Brick Lane, as seen from Google maps.

Collage 1

Collage 2

Collage 1

Collage 2

This image is mapping the camera used within Google maps in order to create the previous collages. At certain points, it is visible that the camera’s position in relation to the market changes as the distance between the built environment and the camera varies. Also, the entrances into the market, although approximately the same size, the position of the camera at each differs. At one point the viewer is able to see into the market and through to the opposite entrance whilst at other entrances the position of the camera doesn’t allow this and the viewer is only able to see a glimpse of the space that lies within. The white space visible inside Spitalfields Market on the drawing, is the area that the Google Map cameras do not represent. These spaces are not visible to the viewer. Does this therefore imply that the space within the market ceases to exist past the boundaries of the camera used within Google maps?

Camera Postion Projection Outline Viewing Area Built Environment

Google Maps portrays the built environment.
These images show how When using Google maps, the camera has already been on a route determined by the fabric of our built environment. Although the user of Google maps can, to some extent, choose the area that they want to view, the angle at which they view it is always fixed and predetermined. Although it portrays a 3-dimensional city, when analysing the way in which it works and its restrictions, it soon becomes visible that the user of Google maps is only being represented with a 2-dimensional view of the city. Viewing Spitalfields Market through Google Maps we are only presented with the facade of the market, with only a glimpse of the space within. Google Maps represents the space as a shell, and so for the person using the program, the space ceases to exist or the use of it is unknown and they are able to create their own reality.

how Google Maps represents a 3 dimensional space as Spitalfields
The images to the left show Market is represented through still images.

Spitalfields Market: Two Perspectives
Project 2.1 Film

The Googler

The Walker

presented with a facade of the market, the googler walker is able to enter and experience the market and according to Michel De Certeau

is unaware of what happens within whilst the

“The street geometrically defined by urban planning is transformed into a space by walkers...” Here, the digtial meets the real.

Technology Development Timeline
Surveillance Internet Google Maps

The use of camera systems that monitors and tracks vehicles and license plates is announced Arpanet makes the first connection

1997

1969

Metropolitan Police again use temporary cameras in Grosvenor Square. This time to monitor anto-Vietnam War demonstrators Metropolitan Police install two temporary cameras in Trafalgar Square, on two separate occasions, to monitor the crowd

1968

1960

Cameras are installed by British Railway to monitor vandalised tracks near Dagenham

1965

Four underground stations are installed with video surveillance systems The first trans-Atlantic connection is made

1975

The majority of England's major 1987 cities have installed video Local authorities begin to install surveillance systems video surveillance systems at garages The city of Bournemouth installs video surveillance

1996

1985 1985

The internet becomes commercialised Surveillance systems are installed at Cash Points Speed cameras and traffic light cameras and introduced on the

1995

1994

Google latitude is included in Google Maps which allows the user to share their location May Google Maps now includes Street View for 5 major U.S. Cities Google Earth is unveiled

2009 February

1973

The first virtual communities are created Cameras are installed in areas of London that are used for public protests

2007

1984

1992

2005

1960
1961

1970
1971 1974

1980

1990

2000
1996

2010

A video surveillance system in installed at a London train station

Email

1987 The Internet grows from 1000 to 30,000

Four CCTV cameras are installed in Liverpool’s city centre as part of a police experiment

1964

The business ‘Photoscan’ sells video surveillance systems to retail outlets in order to deter shoplifters

1967

Video surveillance systems are install on major roads in London

Permanent cameras are installed in Grosvenor Square, Whitehall and Parliament Square by Metropolitan Police Within England, that are 67 cameras have been installed

1969

Video surveillance systems at football matches is introduced

1975

MUD – The earliest 1989 form of The proposal for the World Wide Web multiplayer 1991 games is First web page and the first webcam created created

1979

Local authorities install systems in council estates

1988

Newcastle installs a video surveillance system that is closed-circuit. This allows it to link to the main police station

1992

Three quarters of the crime prevention budget by the government is spent on CCTV

Google Maps goes live

2005
London public transit directions are added to Google Maps

July 2011

Google is created

1998 1998

1969

The IRA bombing of Bishopsgate, London results in the "Ring of Steel" being constructed around the city’s financial district

1993

Face recognition software is used in London

Google Maps Live

Technology advances have found ways of transferring great amounts of information and data at the click of a button, and the use of live feed cameras through out the city. enabled us to bring new meaning to Google Maps. It has

still image from a camera that was determined by the route of city enabling ‘googlers’ to view the city through a live feed. together to create one constant image combining the vectors of movement and time.

No longer a

a vehicle, cameras have now been installed through out the The previous still images produced by Google therefore, come

Date and time of live Camera projection Camera projection Camera position Area visible by camera

High levels of surveillance, Spitalfields 2020
The number of surveillance centres across the city in has increased, due to the increase in the number of cameras and therefore the information and data sent and received. The number of live cameras within the city is dramatically increased due to the ability to have wireless networks. Cameras are placed at eye level height in order to scan and use facial recognition.

Unmanned Aerial Vehicles are a part of everyday life constantly flying over the city, sending live footage back to the control centre and to police officers. Every police officer’s uniform includes a camera and microphone. The camera is able to scan the public and is directly sent through a face recognition database in order to ensure the identity of that person.

All police officers are trained in using the UAVs, allowing the to trace any members of the public.

Every person has implanted which their every move.

a chip tracks

These cameras also allow Google Maps to create a live feed for its users.

Security Officers are placed through out the cities on privately owned areas.

Privately owned areas of the city are increasing the number of cameras in their sites in order to adhere by the new laws.

Every member of the public must carry an identification All vehicles are card with them at tagged allowing all times. them to be traced and tracked.

The area including and surrounding Broadgate Street is

driven and is a high density area in terms of cctv and surveillance cameras.

financially

The area surrounding Spitalfields Market compared and to Commercial that of Broadgate

Street,

Street is of a lower density of surveillance cameras but there is still a considerable amount.

The area surrounding Brick Lane, which Bangladeshi consists community of a has strong a

lower building quality and less that of Commercial Street

suveillance cameras compared to

Surveillance levels in the area.

Broadgate Street.

and

The Googler’s Route

Using google maps to move around the site, it is impossible to follow the route of the walker. the googler and to enter

The restrictions do not allow areas recorded as certain still

images all vectors of time and movement are lost.

The Walker’s Route
not visible to the

The area explored here by a walker shows how some areas, googler

become visible to the walker. A depth is given to the area that terms of movement, time, sound, touch, smell and also in space. Google Maps cannot express, in

“Morals reformed - health preserved - industry invigorated instruction diffused - public burthens lightened - Economy seated, as it were, upon a rock but untied - all by a simple idea in Architecture!”
Jeremy Bentham, The Panopticon Writings

- the gordian knot of the Poor-Laws are not cut,

Jeremy Bentham was a British Philosopher, who in the year 1785 began to work on a plan for a prison called the Panopticon. The idea is based around The tower is

a single tower within the middle of a circular room, surrounded by prison cells.

designed for the occupants of it to be able to look out and observe the people within the cells, to look into the tower. Therefore, the prisoners however, the prisoners within the cells are unable never know when they are being watched and so the being disruptive or breaking any rules.

possibility of them being watched deters them from

“...the Panopticon must not be understood as a dream building: it is the diagram of a mechanism of power reduced to its ideal form.” Michel Foucault, Discipline and Punish, 1977

Project 2.2 Film.

The The Panopticon a tower where the observer

walker combine to create but The decreased crime rates bring Through technological advances, the move recorded through our own eyes. government is able to watch our every a new meaning to the recorded images of our every day lives. An area unseen by googlers now becomes visible through the eyes of the walker where do these

realities

of

each

a new urban environment, environments exist? In the real or virtual world? whilst one walker may choose to ‘see’ certain aspects of the built environment another may choose to ignore it blurred. The boundaries have been

can look into the surrounding cells, without being seen. For the occupants of the cells, they can only assume that they are being watched at all times.

“So

constrain

it

is

the madman to calm, the workman to work, the school boy to application, the patient to the observation of the regulations.”

the

not

convict

necessary

to

to

good

use

behaviour,

force

to

3.0 THE FINANCIAL TRANSPARENCY
ROLES REVERSED RBS HEADQUARTERS, BISHOPSGATE THE FINANCIAL TRANSPARENCY FILM 14.12.2012

Roles reversed, can we survey the banks?
compared to the role of the panopitcon.

Whilst the architecture used for banks presentes us with a limited transparency it can be can see and perceive what is happening within the banks, yet it is the people inside these tall glass structures that look out onto the city and have access to all of the information. As with the Panopticon, it is an imbalance of power. The architecture implies that we, the public,

Can this power be reversed? Where the inmates are able to see the watchman instead of being watched themselves, can this take place in the role of the banks? within the banks?

through the walker and googler, take the role of the watchman and survey what happens

Can the public,

In a democratic society can a true Financial Transparency take place?

Architecture associated with banks
today transparent. able to imply that the structures

structures promote the idea that we are are able to see inside. transparency. penetrate the buildings It is a false and

The large glass skeletal

are

our own reflection or the reflection of the surounding buildings.

We are presented with This idea of

transparency is strenghtened by many of as that of the RBS building on Broadgate.

the main entrances into the banks, such The glass used here allows the passer-by to see into the large atrium, but this visibility is limited, as other areas of the building remain hidden.

The Royal Bank of Scotland’s London
Headquarters is situated on Broadgate Street, near Spitalfields Market. large the area structure of Spitalfields is dominant and within The

the transition between the market and Broadgate Street.

marks

Collage 1 Collage 2

Collage 3

Collage 1

Google Maps’ view of the RBS building is greatly restricted.
Nearly two facades of the building are not visible as the ‘googler’ navigates around the site and at times, the facade becomes disjointed. Collage 3 Collage 2

Placing the Panopticon on-site,
with watchman’s tower. the RBS building replacing

the

THE FINANCIAL TRANSPARENCY FILM 14.12.2012

Camera and Panopticon Movement Scene 1: Panopticon

Stills taken from film

Camera Camera Movement Camera Direction

Camera and Panopticon Movement Scene 2: Panopticon on-site

Stills taken from film

Camera Camera Movement Camera Direction

Camera and Panopticon Movement Scene 3: Deconstructing the Panopticon

Camera Camera Movement

Camera and Panopticon Movement Scene 4: Walker

Camera Camera Movement

Camera Movement Scene 5: Googler. Movement from Google Maps, into Streetview and then into the Blender Model

The Walker’s experience of the
Panopticon on-site.

The Googler’s experience
of the Panopticon on-site.

The Walker and Googler combined
can possibly allow the user to physically manipulate the building.

The blender models used within the film, including the panopticon, the site and the panopticon placed on-site.

4.0 THE PANOPTICON AS A LITERAL MODEL
EARLY DEVELOPMENT WORK INITIAL SITES: PRISON, SCHOOL AND COMMUNITY CENTRE DATA MOSHING

The structure visible when all of the cells are in place, in motion and when they are all out across the city.

The structure of the Panopticon on-site, seen by the walker.

The movement of the cells out of the frame.

After 15 years of existence, the
role of the panopticon has succeeded, resulting in many of them becoming derelict. As their primary role is no

longer needed, the cells themselves soon start to break down and as they move across the city, they begin to city.

become embedded and stuck within the

The project will now begin to focus on the role of the cells as they become integrated within the city and also hold the cells.

the remaining structures that used to

question. Is there one system which observes and serves the whole of the city? Or, does one panopticon exist within each borough? If focusing on the banks, are there a series of these panopticon Is this structure and the idea of being able to observe restricted to the banks, or can there be another use for this building?

The scale of the panopticon within the city is an important

type structures found across the financial districts of the city?

The movement of the panopticon across the city when
they are positioned within each borough.

Is the form restricted and are the panopticons found around the city connected with eachother? Can the form
follow the Thames allowing the ‘cells’ to move both north and south of the river?

The structure sitting over the London Thames.

Cells that have caused destruction to existing structures have to be adapted and have to fully integrate the
structure that they now sit upon. existing fabric

They become a part of the

Cells that are situated in more open spaces, and in areas
structures are independent. Because of this, they are not as who do come into contact with surrounding structures.

where they do not come into any direct contact with existing restricted in developing into new programmes such as those cells

Cells that have landed on the roof tops of the city
can be treated as independent programmes or as programmes that are dependent upon the structures on which they have landed. The skyline of the city has been changed.

Design Concept for the ‘cells’.

Cell Design.
the cells.

Plan, Elevation and Isometric drawing of one of

Within the panopticon, each cell would be similar in their design although no two will be the same. Once the cells have landed and adapted to their programme, each would be unique.

new position within the city and also their new

Exploded Cell
The of components. cells will

be

entangled within the city, these elements can of their new sites and programme.

Therefore, when they become

constructed

of

a

number

be physcially manipulated and adapted to each

Site 1: Brick Lane

The first site is situated within Brick Lane, next to the Truman Brewery.

Surrounding Buildings

Access directly onto the site

Vehicle roads immediately surrounding the site

Site 2: Spitalfields

The third site is situated in Spitalfields, next to Christ Church.

Surrounding Buildings

Access directly onto the site

Vehicle roads immediately surrounding the site

Site 3: Shoreditch High Street Station

The second site is situated by Shoreditch High Street Station.

Surrounding Buildings

Access directly onto the site

Vehicle roads immediately surrounding the site

The images show the range of prisons from a different number of countries, ranging from the brand new state was seen as the main deterrent. The images include of the art centres to the old prisons where isolation the Eastern State Penitentiary, the Halden Prison in Norway, the justice centre in Leoben, Austria, Kerbokan Prison, Indonesia and also an installation exploring the space within a prison cell.

“Caseros was conceived as a paradigm of ‘modern’ architecture: Architecture was its transformed form followed into its an enemy

function.

surveillance rather than its primary means. Despite its extreme transformation its form remained related to function. What was inverted, however, was for whom from its original impermeable nature to its new porous condition servitude.” revealed the inversion in form functioned for. The transformation of its façade architectural

of

Gaspar Libedinsky

Data Moshing

The following images are tests in data moshing, where the underlying data that creates a photgraph has been altered. text has been added, deleted and repeated randomly, which has resulted in ‘glitches’ becoming visible in the images. images below are the original files. The smaller For each image,

Design Concept: Architecture Moshing I
physical object can be manipulated too?

The first design concept for the buildings derives from ‘Data Moshing’. The building will play off

If an image can be distorted and manipulated is it possible that a this idea where the structure can be changed.

Together the three buildings will survey the banks. to physically react to this.

what happens within the financial system, the buildings will be able

Depending on

Architecture Moshing II
Whilst the buildings affects of this.

system, people will be able to see and feel the visible but the spaces inside and use of the building will also be affected. Not only will the changes be

react

to

the

financial

Architecture Moshing

Architecture Moshing

Movement of the structure.

Static areas within the School

In order to begin designing the layout of the school, a number of functions will have to be stationary. and toilets. areas include the entrance, kitchen, reception area These

Static areas within the Community Centre
and kitchen.

The areas that will be stationary within the structure of the community centre will be the entrance, toilets

Static areas within the Prison

The areas that will be stationary within the prison minimum number of cells will have to be static.

will be the kitchen, showers, entrance and also a

5.0 THE FINANCIAL DISPARENCY: ACROSS THE CITY
DIGITOCRACY

The project will now revert back to the site of the RBS Headquarters where a building known as the ‘Communication Centre’ will sit. However, using the concept that has been explored in the previous pages, where the cells become embedded within the exisitng fabric of the city, the Communication Centre will act as the hub to these cells. The cells will all contain a social programme and together they will monitor the activity within the financial system. The following pages explore the concept of the cells taking on new socail programmes and embedding themselves in the existing structure of the city.

6.0 THE FINANCIAL DISPARENCY
COMMUNICATION CENTRE MEDIA WALL

Programmme
Whilst the building acts as the communication hub for the social programmes that are situated around the city, this building also takes on a social programme itself. The use of the building mirrors the skin and media wall that are found on the exterior of the project, and so not only will it now host a small thaetre to exhibit films but it will also host a digital and media gallery. The building will also host a cafe and bar area which will be able to host both day and evening events.

Design Concept: The Parasite
This new programme that is becoming embedded within the city and upon the RBS Headquarters is seen as an annoyance by the financial system. seen as a parasite. It is a programme that is invading their privacy, and because of this, it is Also, this project would not exist if the fianncial system was a success, however, because all trust has been lost due to the system, as a form of consequence, the exisitng buildings have to sacrifice physical space in which the new social programmes will take place.

Intial steps for the parasitic form
The initial steps that were taken in order to create a form for the parasite were to take a step back to the original form of the panopticon. By placing it on-site and decosntructing it, a simple form was produced that allowed the project to move forward and answer a number of questions when thinking of the parasite. The images to the left and on the following page show a number of forms that were explored.

As the

form begins to progress,

questions of materials,

structures and fabric start to develop, for example, is it supported underneath or is it hung from the exisiting? The form also begins to penetrate the exisitng RBS building and again raises question where is the correct area to penetrate, for example, in this current form the parasite enters the roof of the entrance. This may require a lot of work and so other areas may need to be explored.

The

final design proposal,

includes two forms that are a part

of one parasite that feeds through the exisitng RBS building. Whilst one penetrates the entrance atrium of the host building, the second form will continue to feed off the circulation and sit on top of the lower level of the roof, creating a connection with Bishops Square. The first lower form will house a media gallery whilst the second will house a cafe/bar area.

7 1 Entrance to gallery space 2 Moveable walls to allow maximum flexibility for artists 3 Entrance to theatre 4 Small Lecture Theatre (55 Seats) 5 Double height gallery space 6 Media wall with monitors 4 7 Connection to existing circulation 3

Media Gallery Space
This gallery space will host media art and film, mirroring the role of the skin of the building. It will showcase local artists and also artists that have been turned down elsewhere. It also houses a 55 seat theatre where films can be shown and the

1

2 5

space can also be used for meeting for members of the Digitocracy.

7

6

Cafe and Bar space
1 Entrance to bar seating area 2 Bar and Cafe counter 3 Open bookcases and shelves for the shop 4 Cafe Seating Area 5 External Balcony Space 6 Connection to the existing Ciruclation 7 Optional Gallery Space.

2 1

Cafe and Bar space
Projecting out over Bishops Square and with direct views of Christ Church, the cafe and bar area sits on top of the RBS roof. 3 4 It houses a small shop area and can be used for day and evening events, therefore allowing the building to be used whilst the media wall is also in use. It also offers the opportunity for a smaller exhibition space. 5

6

7

Circulation
5 The circulation within the building is integral to the idea of the new building acting as a parasite and feeding off certain 8 4 elements of the host building. system that this is most apparent. In order to gain access to the new building, the user must first enter the existing RBS building and use the escalators, which up until now, have not been accessible by the public. to enter the new building. On reaching the first level of the escalators, the use is then able However, in order to gain access to the second area of the parasite, which includes a second smaller gallery, cafe and open shop, the user must first re-enter the host 7 3 building. Climbing the existing stairs, the user is then able to enter this area. As the parasite ‘plugs’ into the existing circulation of the host 1 Existing escalators of the host building. 2 Entrance to the first area of the parasite. 3 Re-entering the host building by gaining access to the 2 stairs. 4 Re-entering the second area of the parasitic form. 5 The cafe and shop area. 6 Ground floor access to the lifts for disabled users. 7 Access to the first area of the parasite from the lifts. 8 Access to the second parasite from the lifts. building, disabled access can be easily adapted as the existing lifts can be used and allow access to both areas of the parasite. It is within the circulation

6

1

Responsive Architecture
The information collected by the new social programmes will be shown to the public through their exterior skin. financial system will be portrayed here. The use of colour and light will be integral as the activity within the

The initial design idea for the

Media Wall

situated on the facade of This physical

the building, facing Bishops Square was for it to run across the majority of the facade and for it to touch the ground at one point. connection between the media wall and ground creates and supports the idea that the skin of the parasite is beginning to spread across Bishops Square and therefore, the city. Similar to the skin of the parasite, the media wall will be a combined photovoltaic and medua wall, allowing it to become a self sufficient organism.

Media Wall
The media wall will mirror the activity within the finanicial system, through the speed and colour of the light. A faster and brighter wall will indicate a busy period within the system whilst a dimmer and slower change of colour will represent a dip and a quieter period.

Interactive Media Wall
Whilst the skin of the parasite mirrors the activity within the financial system, the media wall that resembles a skin growing over the RBS building will be situated on the facade of the building that looks out onto Bishops Square. The public are therefore able to interact with the wall allowing them to become a part of the parasite that is feeding off the financial system and also a part of the Digitocracy.

Growth of the Media Skin
The simple light weight steel structure that supports the media wall will be used through out the city. This is because, the media wall will be used as the skin of the other social programmes, therefore strengthening the concept that although individual programmes, they are a part of a Digitocracy.