2016-7
Adam McFall Gullbergsvass Filmhus North Studio V / Inhabited Field
Project Statement.
Filmhus : Synopsis
As the city of Gothenburg gears up to begin one of the most substantial and prominent alterations to the urban grain of its city centre, this project seeks to critique the path the city has chosen to follow, and offers a reactionary proposal to bring a sense of balance to the new districts being formed, and to root these new neighbourhoods firmly in the existing city context. This is achieved by considering film, both the process of making film and existing examples of Swedish cinema, as a catalyst for architectural design at the scale of the city, the building and the user. Through a mix of film study and production of film using modern, digital film making techniques, the relationship between film and architecture is
explored to reveal insights into a ‘filmic’ architecture: one which is influenced by the production and consumption of film media. A masterplan is then developed with the production of film in mind, such that there is a wide variety of spatial conditions which allow local filmmakers to use their immediate environment as a city-scale set, allowing the masterplan to be captured on film as it grows and matures. At the centre of this development is the Filmhus, a public institution devoted to media
production, housing all the tools necessary for both amateur and professional filmmakers to practice their craft. The institution is to be constructed on the remnants of an old railway line for a logistics distribution centre in discreet stages, growing as the masterplan and local population grow around it. This project is situated temporally after the Central Station development plan is complete, some time in the mid 2020s, and ends around 25 years later, after a generation of new creatives have lived, recorded and celebrated the experience of the birth of a new civic district.
Contents.
Gullbergsvass Filmhus
Gullbergsvass: (Re)Claimed Territory
Film: Setpiece Neighbourhood
Rail: Infrastructure + Opportunity
Making Ground
Cinematographic Exploration
Leveraging Rail
Historic Objects: Adaptive Reuse
Architecture of Film
Moving Architecture: On the Rail
Gullbergsvass Masterplan: Lost Ground
Neighbourhood Conditions: Sets and Scenes
Platform for Development: Legacy
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Gullbergsvass. Gullbergsvass. (Re)Claimed Territory
Section Introduction
This section considers the physical ground of the site, Gullbergsvass, within its historical context as manmade ground, and the implications this reclaimed territory has had on the city since its inception. The idea of the reclaimed territory as a historic ‘object’ is then considered architecturally as a starting point for a public sauna which uses a prominent existing structure. The resultant proposal is then situated within a masterplan for the area, developed simultaneously. This masterplan and the sauna act as a contextual primer for the site visit to Gothenburg, acting as an anchor for exploration and the discovery of architectural possibilities after visiting the area.
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Making Making Grou Ground. nd.
Filling, Carving, Growing. Gothenburg’s unique position on the West coast of Sweden on the bank of a wide river has meant that the city was historically, and continues to be, one of significant strategic importance. Its proximity to Western Europe and unhindered passage to the North Sea and Atlantic Ocean by boat made Gothenburg into a prime port city, with the development of the city largely shadowing the growth of the port. The urban grain of the city, as seen in this 1818 map is quite unusual, with a formal jewel-like city grid on the inside of
the moat, and a more organic and informal settlement forming to the West, inhabiting and carving space into the bank of the Göta älv. Even in its nascent form, the city had began to carve, mould and fill in land where it was necessary. The highlighted region to the East is the approximate location of modern-day Gullbergsvass. This map shows the historic, natural waterline, which once touched the very edges of the Göta Lejon fort.
RECLAIMED TERRITORY
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Making Making Grou Ground. nd.
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Hultmansholm. The area which now forms modern-day Gullbergsvass did not exist at the beginning of the nineteenth century. The land, as seen in the 1818 map, was part of the river. In the early nineteenth century the area was roughly piled, filled and drained so that it could be used as grazing area for livestock. At this point the ‘ground’ had an interstitial status: it was neither water nor solid ground. It remained in this form until a carpenter, Nicolaus Hultman, acquired the land from the city and began to construct houses and farm amenities
to support the mainland. For this reason, the area is known historically as ‘Hultmansholme’, or ‘Hultmans Islet’. After this, the area gained legitimacy tentatively, through the gradual filling of moats and draining of waterways. By 1881, the area was indistinguishable from the rest of the mainland, and was included in the city plan (Right), a document which laid out a development strategy for the area. The usage for the area was to fall inline with the Hultman’s vision: a new mixed-use neighbourhood which would house both industry
and worker accommodation, empty space portioned to the expanding railway. As seen in this map, the city blocks were to be much larger than those within the moat, or those seen to the south in emerging Stampen. The scale of the area would allow for these generous blocks, and there is some logic to the arrangement due to the alignment of the proposed city blocks with the existing industrial area to the North.
underestimated the impact of railway technology, and, as is evident by looking at the site today, the near-entirety of the islet was handed over to the railway and the industry it was designed to support.
This plan was, largely, unrealised. The city planners had
City Plan of Gothenburg (1881)
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Looking out towards Hisingen
Junctions. 3 (p.12) - While the area was once the Eastern frontier of the city, modern-day Gullbergsvass now sits firmly in the city centre, within the ‘Centrum’ statistical area. In terms of civic administration, the area is at a critical junction of five very diverse statistical areas. The poorer locales to the north on the Island of Hisingen, Centrum to the West, Ostra Goteborg to the East, and the primarily suburban district of Orgryte Harlanda to the North-East. Gullbergsvass today is a hole in the public realm of the city centre: ravaged by the boom of the railway era and the related industrial
activity, the area has fallen into a state of abandonment due to industry moving towards the outskirts of the city as the cost and logistical advantage of being in the city centre dwindle. The area is a back door, a blank facade, a disconnected and impenetrable district - entirely exclusive from the urban grain of the city centre. Its prime position and historical importance suggest it should act as a key bridging element between the disparate regions surrounding the core of Gothenburg, but it acts as the opposite: a wedge, driving these neighbourhoods apart, while offering no amenities in return.
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132 / ostra Gรถteborg
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133 / ORGRYTE HARLANDA
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CRITCAL JUNCTURE
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Interrogation. It was possible to begin interrogating this space by modelling its extents to highlight the area as an added ‘piece’. It became an interesting and productive thought experiment to consider the reclaimed land as a discreet object, rather than a continuation of the natural landscape.
trived and realised. By removing all but the critical context, this model along with a series of additions became important in understanding the area and the potential it has for development. It became possible to imagine possible new connections to the existing urban grain, as well as a new interface with the waterfront.
Much like a bridge or canal, the added land was engineered, con-
Masterplan model of Gullbergsvass and Centrum, including the Central-station development area plan.
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Historic Historic Objects. Objects. Adaptive Reuse
This model was a more intimate exploration of the form of the natural coastline, and considers the added piece in more literal terms, as the physical ground added to the area.
was curious: its purpose was to accommodate farmland and future expansions to the railway, however in a modern context it could be read as a green axis, in direct contrast to the contemporary condition of the site.
The original 1889 area plan was cast into the object to show a ghost of the civic presence that could have been. The modern railway routes are cast into the gaps to show their incisive nature. The generous space which encloses the proposed city blocks
(Above) Gullbergsvass Masterplan strategy development drawing, Overlaying historic context.
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Tinget i Sig. The discovery of the Tinget-i-Sig (Thing in Itself) research project helped to ground the idea of the ‘historical’ object in theory. Lead by Lisa Mouwitz of the Medical History Museum of Gothenburg, the inspiration for the project a small book of poems produced to celebrate the quin-centenary of the Royal College of Surgeons, Edinburgh, in which poets were invited to chose an object in the collection and to write a poem about it. Tinget-i-Sig sought to recreate this juncture between historical objects and artists by inviting a number of
artistic practitioners from a range of disciplines to select an object from the museum archives and produce a piece: be it sculpture, drawing, installation, music piece etc. Mouwitz writes that she believes these ‘everyday’ objects can tell a story about a place, however it needs to be teased out by the observer. The creative and in some instances, playful interpretation of the historical objects offers a new imagining of history.
exploration: could historic architectural ‘objects’ be considered in the same way? To what extent could the ‘everyday’ historic architecture of a place tell us something new? Could the reclaimed land be considered a ‘historic object’?
This was an interesting line of thought in terms of this architectural
Drawings by Linda Spaman for the Tinget-i-Sig project (2013).
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Gasclokan, (1950) looking West on Martin Krakowgatan.
Gasclockan. A prominent feature which is a strong visual element in both historical and contemporary photographs of the Gullbergsvass area is the ‘Gasclockan’, a dry gas works situated near the waterfront on the Eastern portion. Its relative height, colour and generally intimidating physical presence made it a local curiosity: what was the story of this industrial monument?
At 86m tall, the tower is one of the tallest structures in the city. This is compounded by the relatively flat topography of the city centre, resulting in the Gasclockan being visible from great distances away. Its purpose was to deliver gas to support the heavy industry of the area, however once the bulk of the industry had left the area the Gasclockan was decommissioned, but remained standing silently as a specter of the neighbourhood’s industrial past. Despite being relatively unpopular with local residents, the Gasclockan is undeniably an iconic feature of the Gothenburg skyline, and worthy of further study.
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Gullbergsvass Gullbergsvass / / Centrum. Centrum
Gasclockan.
Central Station.
Bus Terminal.
Shopping Centre.
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While on-site in Gothenburg, I embarked on a journey to the Gasclockan. Starting at the Central Station, I traversed the labyrinthine network of crossings and elevated walkway to the Lapstiffet, tracing the waters edge until I arrived at the Gasclockan. It is positioned in a curiously disconnected patch of green space, with the base encircled by trees. While there is no public access to the interior of the tower, groups of urban explorers and artists have been known to venture inside. Aside from the brief relief of trees and green space in the immediate context, the surrounding area is barren with only residual
industrial activity sustaining the local businesses. The waterfront was lined with boats. Small vessels, likely owned by local residents rather than businesses. The waterfront in this area is not a celebrated feature as it is further down the river, such as at the Opera House, however there was a quiet dignity and sense of serenity to the waterfront which did not demand attention.
Gasclockan and Gullbergsvass waterfront from Hisingbron
Gasclockan from Gรถta Lejon
Close-up shot of the cladding system on the Gasclockan
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Masterplan: Strategic Moves. Before I understood the true nature, and scale, of the area, a masterplan strategy was proposed as a primer project prior to the study visit. There were two key moves for determining the masterplan strategy: I All unproductive, damaging or disconnecting transport infrastructure is removed, and replaced with green corridors, influenced by the grand green ‘grazing’ pastures of the 1881 city plan.
II The remaining space is overlaid with the original 1881 city plan, with the proposed city blocks reinstated. Roads are offset from these city blocks and reconnected to the roads which encircle the area. A circle is offset from the centre of the Gasclockan, creating a larger green space at the base, building on the existing green area. These strategic moves resulted in the masterplan (far right) for Gullbergsvass which sought to strip out the most damaging
elements, and reclaiming the area for the city. This masterplan strategy was not without its flaws. This was revealed during the study visit and further reflection on the finer details of how the area interacts with the rest of the city. The proposed masterplan strategy was over simplistic. There was also a misunderstanding of scale, with the proposed green corridors being too large so suit the city-centre context.
Gullbergsvass masterplan strategy (pre study visit)
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Historic Objects: Adaptive Reuse. With Tinget-i-Sig in mind, it is interesting to consider the Gasclockan as a historic object we could learn from. As an icon for the area, it has some potential for development. As part of the pre-study visit primer, a public sauna was to be developed in a location in Gothenburg, therefore the Gasclockan was chosen to house this new public amenity. The argument for placing a sauna; an intimate and semi-private setting, in the core of a defunct gas works is a case of adaptive
reuse. Working in tandem with the masterplan development, the Gasclockan Sauna would be the first project in a line of public amenities to draw people into the area. By using the Gasclockan shell, a familiar element is retained as a gesture to the area’s industrial past, while having a forward-looking and productive new function. The form of the Sauna in section lends design elements from the valve which would have been at the centre of the Gasclockan when it was in operation.
The roof is removed, and refitted with a flexible polymer sheeting which would funnel rainwater into a filtration system. This would then trickle into a plunge pool at the centre. The sauna volume projects radially from the central plunge pool, incorporating stepped seating so that users can control their heat exposure. Access is gained via the existing stairs leading to a service level
Tensile polythene rainwater collection system
Sauna room, with views out to the city through perforations in the tower’s cladding.
Existing steel frame structure of the Gasclockan
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Gasclockan Sauna. The sauna is elevated off the ground level so that the base of the Gasclockan can be used for public events such at art installations and social gatherings. This is prompted by the existing incidence of underground art and music events. The material is treated, local timber (Spruce) in various configurations, as this warm, human-centric material has traditional roots in sauna design. The wood tones also match the weathered metal shell of the Gasclockan, offering an interesting contrast between hard industrial
materials as the exterior finish, and soft materials on the inside. This relationship will be explored later in the design of the main project.
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Gullbergsvass Gullbergsvass Masterplan Masterplan.. Lost Ground
Recovering Lost Ground. It was clear after the initial exploration and primer that Gullbergsvass was in need of urgent regeneration: its continued existence in its current state is not sustainable for future urban development. Its complexity and scale mean that it will be a challenging area to develop, however its proximity to the heart of the city centre, and the multitude of opportunities to connect the two areas are compelling. The attitude of the city planning
department is, however, not in-line with this way of thinking. Gullbergsvass is currently at the back of the development queue, with a projected start date some time in the 2050s.
This date is so far in the future that the planning department have effectively handed off responsibility for the area to the next generation: the outline study is filled with asterisks, calling for further reports to be
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conducted before serious development work can begin. The area is indeed extremely complex. The E45 highway, a 3,000 mile long roadway which connects the Northern most point of Sweden to the Southernmost point of Italy, intersects the site before going underground to the West of the site boundary. The site also contains both active and defunct railway infrastructure which is difficult to reconcile, as the passenger railway line still leads through Gullbergsvass to Gothenburg Central Station. This drawing maps the proposed
developments for the centralstation area, the connecting element between the city centre and Gullbergsvass. The city has planned a massive densification effort (enclosed in the circle), which would see a cluster of buildings far taller than any other in the surrounding area. This proposed masterplan effectively creates a wall between these two districts, however by walling off Gullbergsvass this will make it more difficult to reconcile in the future.
(De)Densification. My masterplan strategy is a reactionary proposal to the densification effort around the central station area, and is situated temporally after this development has been completed, some time after 2025. This pushes ahead the Gullbergsvass development by 25 years, while also creating a sense of balance for the area by juxtaposing high and low density. This Gullbergsvass masterplan combines many of the same design moves as
the the previous masterplan project conducted before the study visit: the introduction of green routes, reference to the historic City Plan of 1881, and the framing of the Gasclockan. The key features of this masterplan are the long, low blocks which line wide boulevards. These blocks are then intersected with narrower, more intimate streets for local residents. By breaking up the blocks in this way, it makes the area more traversable by foot. These long blocks are low in
Gasclockan Sauna
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the centre, but high at the ends perpendicular to the direction of the sun, allowing the maximum amount of sunlight to permeate the city blocks. The high blocks at either end also offer a greater variety of living units: these higher end blocks would house apartments, with the centre of the block occupied by townhouses and retail units. The sweeping lines of the site are derived by the curvature of the railway line. This line serves the passenger railway station, and therefore must be retained. Little focus is paid to the waterfront area in general,
however this is a conscious design decision. The waterfront area had a relaxed atmosphere, and focusing development in this area would likely distract from the core goal of this masterplan: to weave the urban grain of the city centre into Gullbergsvass. The waterfront will see new residential and commercial units, however it will not undergo a significant regeneration effort to create a grand ‘promenade’.
Filmhus: Catalyst for Development At the centre of this masterplan is the Filmhus: a public film
production studio, equipped with all of the tools necessary to shoot, edit and screen film media. Situated at the very centre of this masterplan, at a junction of public green spaces, the Filmhus is the anchoring element which will act as the catalyst for development: the Filmhus and the masterplan are co-dependent, with the masterplan acting as the set for film being made, and the film acting as the reason for the masterplan to continue growing.
Key view corridors
Connection nodes
Masterplan drawing, showing the focus area, exisiting urban context and the proposed central station development plan
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Green Corridor. Lending a design element from the 1881 city plan, and my previous masterplan, this scheme will incorporate a number of green routes, creating connections to those already in the city centre. The most prominent green space in the city is that surrounding the Gรถta Lejon, to the South-East. This masterplan strategy extends this green space, and creates a number of linking satellite spaces. A North-South green axis intersects the Filmhus area, with a number of smaller green spaces occupying squares in the place of city blocks.
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Site Access and Amenity. Site access for deliveries, vehicular traffic and the emergency services is achieved through roads which connect to Gothenburg city centre. The Filmhus area is well served by roads. Areas which are missing roads will have large paved or gravel areas for temporary traffic in the event of an emergency.
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Rail Film:: Setpiece Neighbourhood
Section Introduction
Film, both the creation and consumption, became a point of interest and an interrogative tool for examining the city of Gothenburg during the study visit. This chapter will explore the world of film on a number of scales, from the personal experiences I captured on film in Gothenburg, the complex nature of Swedish cinema, and the production of film on a large scale. Over the course of this project I engaged in digital film making and began to explore different modes of film representation in terms of exposure and angles, and developed a novel, custom designed screening apparatus for the consumption of my film at the Winter exhibition.
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Cinematographic Cinematographic Exploration. Exploration.
Capturing Thresholds. In order to gain some understanding of how the city of Gothenburg worked, I chose to capture a series of ‘threshold’ videos whenever I felt I was passing from one threshold to another. These were not always obvious: clear thresholds such as inside/outside were simple to capture on film, but the sense of something above/below, the passage of time, or the invisible crossing from one territory to another, be it public/private, or road/pavement: these were more challenging and opened up a dialogue as to what could constitute
a threshold. On my return, I began to categorise my threshold films into types, and then group those types into lager groups of similar experiences. This exercise helped me see the city in a new way: although it could have been conducted anywhere, the process of capturing spatial or environmental changes made me more aware of the dynamic, constantly shifting nature of our passage through the city.
Threshold catalogue, featuring all 20 threshold conditions, including start/stop, open/closed, light/dark.
Light/Dark
Start/Stop
Object Overhead
Open/Closed
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50% Grey, the ideal background colour for any intensive colour work.
Process: Colour Grading. During the editing process I began to color grade my footage to achieve a certain effect, and to create a uniform colour language throughout my film library. Using the colour grading tools in Adobe Premier, the footage was complied, coloured, cut together and stabilised within the software. The potential architectural implications of colour grading work are interesting: for the eye to most accurately interpret colour in a screen, the surroundings (the wall behind the monitor etc.) must be 50% grey.
After colour grading
Before colour grading
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Categorising Experience. After the initial categorisation phase, I began to map where these incidents occurred throughout the city, in order to find some sort of pattern: was a certain threshold condition more densely concentrated in a certain area of a city than another? What were the architectural implications of these overlapping threshold types? It became a novel way of mapping and understanding the city: one through constant change.
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SALTHOLMEN / 17.10.16 / 10:22AM
FJÄLLGATAN / 17.10.16 / 1:07PM
FJÄLLGATAN / 17.10.16 / 1:09PM
STEN 17.10.16 1:10PM
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SKANSEN LEJONET / 17.10.16 / 2:37PM
E6 UNDERPASS / 17.10.16 / 2:43PM
E6 UNDERPASS / 17.10.16 / 2:44PM
E6 / 17.10.16 2:45P
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STADSBIBLIOTEKET / 18.10.16 / 9:38PM
STADSBIBLIOTEKET / 18.10.16 / 9:40AM
STADSBIBLIOTEKET / 18.10.16 / 9:42AM
KUNG 18.10.1 9:47A
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STORA TEATERN / 18.10.16 / 12:52PM
ULLEVI / 18.10.16 / 1:06PM
ULLEVI / 18.10.16 / 1:06PM
GÖTA 18.10.1 3:02P
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STENALINE / 17.10.16 / 1:10PM
NORDSTAN / 17.10.16 / 1:38PM
NORDSTAN / 17.10.16 / 1:38PM
KRUTHUSGATAN / 17.10.16 / 2:22PM
KRUTHUSGATAN / 17.10.16 / 2:22PM
KRUTHUSGATAN / 17.10.16 / 2:23PM
KRUTHUSGATAN / 17.10.16 / 2:23PM
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E6 / 17.10.16 / 2:45PM
FRIGGAGATAN / 17.10.16 / 2:46PM
FRIGGAGATAN / 17.10.16 / 2:47PM
STADSTEATER / 18.10.16 / 9:04AM
GÖTAPLATSEN / 18.10.16 / 9:10AM
KONSTMUSEUM / 18.10.16 / 9:13AM
KONSTMUSEUM / 18.10.16 / 9:13AM
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KUNGSPORT / 18.10.16 / 9:47AM
STORA SALUHALLEN / 18.10.16 / 10:24AM
KUNGSGATAN / 18.10.16 / 10:27AM
BRUNNSPARKEN / 18.10.16 / 11:52AM
HAMNGATAN / 18.10.16 / 12:08PM
LILLA TORGET / 18.10.16 / 12:12PM
MAGASINGATAN / 18.10.16 / 12:15PM
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GÖTAÄLVBRON / 18.10.16 / 3:02PM
FRIHAMNEN / 18.10.16 / 3:04PM
FRIHAMNEN / 18.10.16 / 3:05PM
FRIHAMNEN / 18.10.16 / 3:10PM
CENTRALSTATION / 18.10.16 / 3:54PM
CENTRALSTATION / 18.10.16 / 3:55PM
MASTHUGGSKYRKAN / 19.10.16 / 2:51PM
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Let the Right One In (2008) Interior recording suite
Film Diary: Appraisal. The second part of my experiment with film was to engage with Swedish cinema, in order to understand the ways in which the Swedish population choose to portray themselves, and others, on film. By choosing films set in Sweden, and produced by a largely all-Swedish cast and director, I thought it may have been possible to understand something more fundamental about the Swedish people through the medium of film. Of the films I studied, there were a number of similarities across all titles, mostly concerning an unsettling
atmosphere, and largely bleak settings and characterization. One of the key themes was of being trapped and wanting to break out: in each film, a character is bound by some stricture, be it a social/ paranormal/financial issue: in each title, there is a struggle between the characters and their setting: a sense of malaise or resentment about their current situation. Another troublingly frequent occurrence was the sense of apathy shown towards the characters by the ‘public’ (represented in a number of ways).
Ata, Sova, Do
Let the Right One In
Mig äger ingen
Show me Love
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Let the Right One In
Film Diary: Set Pieces. The set-pieces used in these films were of particular interest, as I was attempting to distil a quintessentially ‘Swedish’ style based on the types of buildings seen, so that it could feed into the masterplan project. Many of the films portray housing as squat, bleak brick blocks on the outside, but with warm and inviting interiors. This contrast is interesting to note, and fed into the masterplan strategy as I opted for long, low volumes interspersed with green space. Many of the films had particularly
striking interior shots, Mig Ager Ingen in particular, which was shot partly in Gothenburg. The steel mill he works in is shot in such rich colour, but the warmth of the light is bitter-sweet, as is explained through the narrative of the film. Show me Love had a particularly honey toned colour profile, making the romance in the story feel even more close and heated. It also made every interior shot appear warm and inviting, although this is ironic as there is a lot of hurt and dark themes explored in this film.
Ata, Sova, Do.
Mig Ager Ingen
Show Me Love
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Architecture Architecture Of Of Film. Film.
Design through Film. The search for a distilled ‘Swedish’ architectural language through film comes as a thought experiment related to the nature of planning: it is interesting to consider that the city of Gothenburg was willing to put Gullbergsvass at the end of the development queue, 50 years or so into the future. Questions arise: how do you plan so far ahead? Is it even possible to do so? Gothenburg 50 years from now could be impossibly futuristic to our eyes, and any architectural proposal considered now, to be applied 50 years from now, must be approached with caution, and its limitations understood.
But what if there was a fundamental course of action that is inherent to the Swedish condition? It is entirely possible that, through researching the way Swedish people act and present themselves on film, especially through the set-piece design, perhaps a thoughtfully considered plan could be put in place. This experiment is linked to my design through film method: by filming the masterplan being placed down, it is possible to reflect on my own work in way that was previously not possible. The act of filming, editing and presenting a work allows this critical distance.
Camera and tripod set up for a filming session in the Gap Gallery.
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Film process.
Stills from study video.
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Concrete and steel stand manufacturing area / Research Workshop
Configuring. The act of viewing film and the process of creating film became richly interlinked as I began to consider the design of a film studio. On a smaller scale, I was able to engage with the installation of a small cinema ‘screening’ area in the studio. The screen was constructed out of a thin painted board, mounted onto a steel frame cast into concrete. Engaging with these architectural materials helped me formulate a material strategy for my film studio architecture - one of timber, steel and concrete - just as my stands had been made.
Setup for the Winter exhibition, 2016
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Precedent: Visual Porosity. The architectural intention of the Columbia College media production centre was to make the film-making process more visible. The ways the building explores the film-making process operates on two levels: firstly, certain spaces within the building have been up-scaled in order to create a productive educational environment: back-of-house spaces which would normally be very tight have been expanded so that students can be part of the process. Secondly, a number of architectural decisions have taken
cues from the film-making process, such as the framing of certain internal views. As an educational facility, there are a number of spaces which would not exist in commercial film production, such as classrooms and faculty offices; however the functioning elements of the facility are of ‘professional’ quality. This precedent was particularly useful in determining the specific programmatic requirements of my scheme.
Columbia College, Chicago
1:500
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Precedent: Solid + Void. This wonderfully simple example of how little a film studio could ‘be’, inspired me to create a simple, flexible film studio solution composed of large volumes with stacked support space. This film studio in Barcelona has one large picture window, allowing light to stream into the walkway on the side of the offices. The recording suite is indirectly lit and silent, ideal for interior shots. The space is also an entirely blank canvas, with a flexible system of tiles etc.
Filmhouse in Barcelona
Floorplan of the Filmstudio in Barcelona. Two main volumes: active filming space, and support. 1:200
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Lineage. The linear nature of the site allows for a timed development of buildings. Starting with the workshop and prop manufacturing facility, residents begin to get used to the idea of film permeating the neighbourhood. Years later, once there is a sufficient following by local professional and amateur filmmakers, the media production center will be built, offering work space and all the amenities used by the film-making industry. The two other buildings, the dock-in cinema and the cinema building are built as the area growths further and requires new amenities.
Site plan represented as a floating acrylic shelf for the summer exhibition (2017)
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Site. Each building in the Filmhus is located along a critical axis, in relation to the wider masterplan. The most important building, the media production centre - which acts as the heart of the scheme, sits at the intersection of the two green axes. The masterplan has been ‘softened’ around the Filmhus buildings so that access can be maintained, and there is a comfortable buffer between public realm and private property.
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Beginnings: Media Production Centre The media production centre is designed around the same principal as the Filmstudio in Barcelona: a solid, lined, heavy box for filming, and a support space which, in this case, is suspended from the ground so that the ground level is kept clear for the movement of people, props and equipment.
Early models of the production centre
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Tectonic Language. The structure of the production centre is that of a steel frame and solid concrete volume in conjunction. Both of these elements sit atop a concrete plinth. A network of steel elements comprise the secondary support system, which suspends the catwalk and workspaces above the ground level. Twin, parallel steel beams carry the roof structure and rooflights.
Universal Access. A series of ramps are built into the concrete plinth. These ramps comply with regulations regarding
pitch, with a gradient of 1:20. Due to the nature of the material, the concrete will be raked to allow for better grip during wet weather.
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Material Language. Concrete is the main external finish used, alongside aluminium fins fixed to the face of the concrete. The concrete is a shared element across the whole scheme, as each of the four buildings sit atop a concrete plinth. Steel and aluminium fins are also used in each of the four buildings.
Media production building models
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Parti Diagram
Arrangement. The arrangement of the building is such that the office and work-spaces are set apart from the studio space. The studio spaces are entirely enclosed by the concrete volumes, with the open plan workspace occupying the remainder of the area within the steel frame. The railway line cuts through this so that the screening room / carriage can dock in place. When this is in place, it is possible to walk from one side of the track to the other without having to go upstairs. The top line connects the warehouse to the production centre so that heavy goods can be transported
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from one to the other.
Part Elevation
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Cladding sample
Detail. The projecting window pod is an important detail as it references my ‘threshold’ study primer. The pod represents a number of threshold conditions, as it projects from the face of the building, creating an object above for the user at ground level, and, in other parts of the building, acts as a transitional space between parts of the building. In terms of its build-up, the projecting window pods are pre-fabricated timber pods with acoustic insulation and an in-built solution for indirect, diffused lighting. The external projecting pod is slightly different in that it
partly utilises a steel frame as it is not being supported at the other end, as it is on the interior side of the building. The pods themselves are clad in timber, and are surrounded by aluminium fins when projecting externally. These fins are fixed to the face of the concrete, which is exposed though the gaps in the fins. The concrete is treated with transparent waterproof sealant to avoid damage.
Projecting window pod, 1:20.
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Interior of carriage
Detail. The carriage uses a maglev rail in place of the standard European track gauge as it was insufficient to carry an object of this width. Maglev rails are also far quieter, and do not require a driver - therefore it can be controlled remotely. By eliminating human error in this way, the maglev carriage is far safer than an equivalent rolling stock carriage. The carriage houses a 35 seat cinema, capable of projecting 35mm film onto a 4:5 aspect screen, approximately 3m wide. The seats are gently raked to allow for optimal
viewing, without greatly increasing the height of the carriage. The carriage passes through the media production building through a set of sliding doors on either side. These doors are part of the thermal envelope of the building, and are only open while the carriage passes through.
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Environment. The environmental strategy for this building is to leverage thermal mass to provide some level of heat to the building’s core. The polycarbonate cladding in the atrium area is designed to trap heat in during winter months, however in the event that the space becomes too warm, the electronic sensors on the smart rooflights will open to allow cool air into the space. The cinema carriage is fitted with a heat recovery system, as are the cinema volumes in the Cinema + Archive centre. Due to the low-lying surrounding,
the building is not overshadowed significantly throughout the year. Due to acoustic requirements, the building will not leak noise, and every effort has been taken to ensure that the ambient noise level in the workspace zone is kept to a minimum through the use of acoustic materials and baffles. The main mechanical heat source for the building is an air-source heat pump, located at the very edge of the plinth behind a metal grate, so that it has access to fresh air.
Smart rooflights with electronic sensors allow hot air to escape.
North light streams in through workspaces on this side of the platform.
Acoustic baffles on timber ‘airlock’ pods mean each space is acoustically insulated. Baffles above workspaces mean ambient noise is softened.
Direct solar gain on exposed concrete walls contributes to thermal mass
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Archive. The cinema and archive buildings share an architectural language with the rest of the scheme, however the cinema volume in particular is unique as it has a more expressive, rounded form which takes some design cues from the iconic art-deco cinema typology. The radiused edges are derived from geometric restrictions on the site, however the projecting bar/cafe element on the first floor breaks free of the geometric rules seen elsewhere on the site. The main cinema volume seats around 300, and has a full 21:9 as-
pect ratio Anamorphic widescreen for modern digital film projection. The volume also houses a cafe, bar, and exhibition space. The archive building as a suite of small, bookable screening rooms for small groups or individuals. Groups can play media from the cinema archives, or they can supply their own. The rooms are fitted with a small 35mm projector and 6 cinema seats.
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Archive. The archive centre houses the research arm of the institution. Here, archival footage is held and researched for posterity. Every copy of each film made in the Filmhus is stored here, so that future generations can learn about the foundation of the new neighbourhood. The archive space is separated from the exhibition hall by a double circulation loop. The archive centre also has a small screening room for lectures and talks. The rest of the floor space is devoted to public exhibition space. The institution will put on shows periodically, however this space
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was intended as public amenity space. This building shares a similar material language to the media production centre, however this building has timber stud walls as internal partitions.
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Archive. The archive centre has a catwalk suspended in a similar way to the media production centre. It can be accessed from two sets of stairs one at the front, near the carriage dock, and one near the rear, inside the cinema volume. This is also where the lift is located. Outside, the archive building as an amphitheatre that the carriage can dock into and screen film on the larger screen.
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Gullbergsvass Gullbergsvass Filmhus. Filmhus.
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Neighbourhood Neighbourhood Conditions. Conditions. Sets and Scenes Spatial Variety. There are a number of different spatial conditions within the masterplan area. The threshold study was helpful in determining the placement of certain elements such as the new water inlet and precise curvature of the street. The informal neighbourhood which develops around the Gasclockan is purely circumstantial, however it is an interesting reality to consider. I purposely avoided making the masterplan reality ‘perfect’, as this is not a productive environment for film making. For a film to have a rich setting, there needs to be a variety of film locations, therefore
it is important that the Gullbergsvass Masterplan contains some low-wealth areas.
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Rail Rail:: Infrastructure + Opportunity
Rail: New Beginnings. It was the boom of the railway industry that lead to Gullbergsvass being in the state it is today: a largely abandoned district scarred by rampant industrial development and subsequent depreciation. Therefore a fitting new beginning for Gullbergsvass would be to use the railway productively: to turn the defunct infrastructure into something positive.
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Leveraging Leveraging Rail. Rail.
Threshold City. This was done through creating a moving element which could dock, and become a part of each of the four buildings. It has a slightly different relationship with each of the four buildings, and the outside. The moving element is a carriage, driven my a maglev track. The carriage would house both a small, 35 seat cinema screening room, as well as a 9m traditional widescreen cinema screen on a retractable arm.
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Moving Moving Architecture. Architecture. On the Rail
Carriage. The carriage has a similar architectural language to the rest of the scheme, however it is clad entirely in aluminium to keep weight down. The body is constructed from steel section, not unlike a shipping container. This, however is a bespoke element as the use of a shipping container in this instance would not be economically viable, or deliver to as high a degree. A set of four bi-folding doors which retract and tuck away to the side reveal the large cinema screen. In the smaller volume, a large pivot door allows people to enter the room grandly.
In the middle, a walkway is positioned so that it is possible to walk from one side of the track to another when the carriage is docked at that point.
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Detail. The maglev element wraps around the bottom of the chassis, as well as the aluminium fins, creating a flush effect.
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Configuration. The interior of the cinema volume has soft acoustic ply and recessed house lights. It is warm and inviting.
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Plug-in Cinema The plug in cinema dock is simply just the seating part of a cinema, with a retractable shuttered door at the screen end. When the carriage docks into position, the shutters can be open, and the retractable screen is locked into position. The screen can seat around 175, and has its own public amenities: WC/Ticket Booth etc. The screen is designed to be used by the media production staff as a test facility for films, however it can also be used for informal gatherings and special events.
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It shares a material language with the rest of the scheme, being made primarily of concrete, timber and poly-carbonate.
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Workshop + Carriage Maintenance This is the location in which the carriage is repaired and serviced. It also houses a number of workshops for the creation of props and other parts for the filming process. The freight line also begins here: the storage centre to the rear provides the media production centre with equipment such as cameras and rigging. This is transported on a carriage similar to the cinema carriage.
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Platform Platform For for Development. Legacy
After. At the heart of this project is the spirit of commentary and questioning of modern planning/ development techniques. To that end, it would be short sighted to imagine my proposed masterplan strategy as the final, and indefinite form of the site. Gullbergsvass is steeped in a rich and varied history, and this masterplan is designed to provide a platform for future, indeterminate developments. This is achieved through the material selection of concrete, steel frame and prefabricated timber joinery. The heavy concrete plinth and containers are designed to last,
whereas the steel and joinery is detailed to unscrew and pack up: this easy disassembly process means that these materials could be used elsewhere if necessary. One possible future for the area, after films have been made and content has been produced: the structures could be gutted and the whole Filmhus area be transformed into a green space, completing the green axis proposed by the original masterplan.
Vision of the scheme without infill
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References. References.
Literature Bruno, G. (2011). Atlas of emotion. 1st ed. New York, NY [u.a.]: Verso. Concrete detail design. (1986). 1st ed. London: Architectural Press. Owlnet.rice.edu. (2017). Film Glossary. [online] Available at: http:// www.owlnet.rice.edu/~engl377/ film.html [Accessed 3 Apr. 2017]. Lamster, M. (2000). Architecture and film. 1st ed. New York: Princeton Architectural Press. Mouwitz, L. (2013). Tinget i sig (Thing-in-itself). The temporary
exhibition currently on display at the Medical History Museum of Gothenburg. Papers on Anthropology, 22, p.318. Shonfeld, K. (2001). Architecture, film and the city. 1st ed. [Place of publication not identified]: Routledge.
Images p. 6 - 1815 Gothenburg Map (https://upload.wikimedia.org/ wikipedia/commons/thumb/a/aa/ Map_Goteborg_Lindgren_1815. jpg/1024px-Map_Goteborg_Lindgren_1815.jpg) p.7/10 - 1889 Gothenburg Map https://upload.wikimedia.org/ wikipedia/commons/8/8c/Simon%27s_1888_Gothenburg_map. jpg p.19 Drawings by Linda Spaman for the Tinget-i-Sig project (2013). p.24 - Historic Gullbergs-
vass http://www.gp.se/ nyheter/g%C3%B6teborg/ gasklockan-rivs-nerifr%C3%A5n-och-upp-1.3729614 p.50 - Let the Right one In https:// upload.wikimedia.org/wikipedia/ en/5/5e/Lack_of_ceiling_cropped. jpg p.60 - Columbia College http://www.archdaily.com/67247/ columbia-college-chicago-media-production-center-studio-gang-architects/50094d8128ba0d27a7002376-columbia-college-chicago-media-production-center-studio-gang-architects-photo