The Memory Machine - Berlin by aimmaj

Aimee Major 33212525 MArch Year 2

A Cinematic Construct of New Commons 2013 - 2014

The Memory Machine // Berlin Mitte

Programme I : Two Minute Film Essay Workshop I : The Directors; Experiments and Manifestos Programme II : The Film Essay Through the Foreign Gaze Workshop II : Set, Lens and Screen I Programme III: Forensis Investigations Workshop III: Constructing and Filming the â&#x20AC;&#x2DC;Moment Modelsâ&#x20AC;&#x2122;

Semester Three: DS3

Programme One: Two Minute Film Essay

The Brief Using the Film Essay style, produce a two minute moving picture which portrayâ&#x20AC;&#x2122;s an overview of your thesis ideas. This may incorporate a mixture of own footage, archival footage, still images, stop motion and drawings.

Programme I : Two Minute Film Essay Stills & Scene Analysis Agent of Memory// Sigrid Paul

Shot Description

limiting sense of scale.

Cinematography: eye level tracking shot of platform. Greyscale. Deep space creating single perspective and sense of scale.

redirect focus onto character. Greyscale. Shallow space focuses gaze towards

Sound: Ethereal non-diegetic music.

Shot Description Cinematography: Eye level stop motion. Greyscale. Flat Space results in only one Sound: Ethereal non-diegetic music.

Sound: Ethereal non-diegetic music. perspective.

Shot Description

Cinematography: Eye level static shot of new character. Greyscale. Shallow space creates a single focus in the shot.

Cinematography: Low angle handheld shot. Greyscale. Shallow space creates single focal point.

Cinematography: Relatively low angle shot. Greyscale. limited space creates suspense.

Cinematography: POV shot suggests there is another peripheral character looking upon the main characters. Greyscale. Shallow space creates single focal point.

Sound: Ethereal non-diegetic music.

Sound: Ethereal non-diegetic music. Mis-en-scene: Well known landmark sign in Berlin is shown creating a referential code for the viewer to associate with. The viewer will understand that the character

Mis-en-scene: The intimacy of the two main characters connotes that they are empathise these emotions.

Programme I : Two Minute Film Essay Stills & Scene Analysis Agent of Memory// Sigrid Paul

Shot Description

Cinematography: POV eye level tracking shot, speed increased creates feeling of urgency and confusion. Greyscale. Relatively deep space.

Cinematography: Close up eye level static shot. Greyscale. Flat space creates single focal point.

Cinematography: Low angle handheld shot. Greyscale. Shallow space creates a single focal point in the shot.

Cinematography: Eye level montage shot. Greyscale. Flat Space results in only one

Sound: Ethereal non-diegetic music.

Mis-en-scene: Another landmark checkpoint in Berlin creates referential code for

Mis-en-scene: The short proximity of the camera to the character implies deep sadness and intense emotion. This is exaggerated as the character dominates the whole frame.

viewer realises the seriousness of the situation as they associate the particular uniforms with military personell.

Shot Description

Cinematography: Relatively low angle static shot. Greyscale. Shallow space creates single focal point.

Cinematography: Eye level shot of increased speed shot. Greyscale. Limited space creates suspense.

Cinematography: Eye level POV increased speed shot. Greyscale. Deep space creates single perspective focusing viewers attention down the corridor.

Cinematography: Eye level close up static shot. Greyscale. shallow space creates single focal point.

Sound: Ethereal non-diegetic music.

Sound: Ethereal non-diegetic music, gradually crescendos to imply a pending climax.

Sound: Ethereal non-diegetic music, reaches crescendo implying a resolution in the story.

she is smiling. The lightness of the scene implies a lift in emotions. understands the characters sense of urgency with the increased speed of the shot.

Workshop One: The Directors; Experiments and Manifestos

The Brief

clips and stills.

essay.

Workshop I : The Directors; Experiments and Manifestos Cave of Forgotten Dreams // 2011 // Warner Herzog

Scene One

Shot Description

Analysis

Cinematography: crane shot of vineyard, starting at eye level and slowly progressing to a high angle. history of the caves.

Scene Two

Shot Description

higher up the cliff faces.

Mis-en-scene: natural tones of the cliff faces and foliage, naturally lit in a deep open space.

Analysis

Workshop I : The Directors; Experiments and Manifestos Cave of Forgotten Dreams // 2011 // Warner Herzog

Scene Three

Shot Description

Analysis

First revelation of the cave focal point. Contrasts in dark and light areas. with the fading of the light, suspends the viewers attention, creating excitement for the next discovery.

Scene Four

Shot Description

Analysis

Ancient preserved paintings on the walls of the cave. of the cave walls.

By directing the torch to the edge of the frame, the cameraman is implying there is more to see, which is then revealed as the camera pans across the caves.

Workshop I : The Directors; Experiments and Manifestos Cave of Forgotten Dreams // 2011 // Warner Herzog

Scene Five

Shot Description

Analysis

Start of the scientists journey to the caves as they endeavour to analyse the discovery Cinematography: eye level steady cam from within the car follows the road to the caves arriving at the car park. The rain comes in and out of focus, the tonal range within the scene a monotonous range of greys.

This is reinforced with the fading out of the â&#x20AC;&#x2DC;etherealâ&#x20AC;&#x2122; sound track into the diegetic sound of the scene. Denoting to the viewer that the

Sound: The sound track transitions to a series of simple minor chords gradually fading into diegetic sound of the scene.

This approach to the caves juxtaposes the initial introduction to the location which used a crane shot to give a feeling of surrealism.

Scene Six

Shot Description

Analysis

documentary. account of the caves, in a documentary style.

This is reinforced using voyeurism: the introduction of real people within their respectful professions.

Workshop I : The Directors; Experiments and Manifestos Cave of Forgotten Dreams // 2011 // Warner Herzog

Scene Seven

Shot Description

Analysis

Final approach to the caves else within the scene. accordance with the narrators commentary of the history of the cliff face. protagonist is introduced. and grey.

Scene Eight

Shot Description

Analysis

First shot from within the caves Cinematography: close up POV shot from a camera mounted on hard hat. Lighting of the shallow space is provided from the torches on

space.

Point of view perspective with amateur footage makes viewer feel part of scene.

Workshop I : The Directors; Experiments and Manifestos Workers Leaving The Factory // 1995 // Harun Farocki

Scene One

Shot Description

Analysis

Workers leaving the factory.

Women and men leaving the factory hurriedly, as if they are drawn work and are now individuals.

Sound: Begins silent , woman narrating.

Scene Two

Shot Description

Analysis

Comparison of two cities - D端sseldorf

Comparison of two cities - Detroit

These two clips are played one after the other to juxtapose the identical scenarios across different decades and different countries.

Editing Shot: 2 Fade in from still

Editing Shot: 3 Fade in The clips contrast in their content in terms of the mass of people

Cinematography : 1975 Volkswagen Factory, camera pans left to follow people running. There are no cars just factory. People running as if they have already lost too much time. Sound : Woman narrating, sounds of people running.

Sound : Woman narrating

Mis-en-scene : Deep space, street scene and focus still on the people.

Mis-en-scene : Deep space, street scene and focus on the people.

Workshop I : The Directors; Experiments and Manifestos Workers Leaving The Factory // 1995 // Harun Farocki

Scene Three

Shot Description

Factory Process

Editing Shot: Shot 5 Fade in

Editing Shot : Shot 7 Fade in

create full effect.

Analysis

Cinematography : large scale camera is at a distance Sound : Woman narrating Mese-en-scene : Industry Ford Factory, factory outlet of smoke

Scene Four Analysis The exits compress the workers, they move in one direction at a relatively fast speed; the cogs of the machine. The zoom in to the feet create a march of people without identity making

Shot Description The March Editing Shot : Shot 11 and Shot 13 Fade Cinematography : Flick through camera angles, along side to close up to show mass movement.

Mis-en-scene : Limited space, the camera remains still fading from different angles people walking, waist down. Shadows create depth and overlaps.

Workshop I : The Directors; Experiments and Manifestos Workers Leaving The Factory // 1995 // Harun Farocki

Scene Five Analysis The exits compress the workers, they move in one direction at a relatively fast speed; the cogs of the machine. The zoom in to the feet create a march of people without identity making the

Shot Description The March Editing Shot : Shot 11 and Shot 13 Fade Cinematography : Flick through camera angles, along side to close up to show mass movement.

Mis-en-scene : Limited space, the camera remains still fading from different angles people walking, waist down. Shadows create depth and overlaps.

Scene Six Analysis Workers leaving the Siemens Factory Berlin 1934. They are grouped in military formation to

and this one in formation. The white coats march the time they did their worst.

Shot Description The Military March Editing Shot : Shot 24 and Shot 25 Fade in from title Cinematography : Still camera, natural lighting on people Sound : Woman narrating

Workshop I : The Directors; Experiments and Manifestos Workers Leaving The Factory // 1995 // Harun Farocki

Scene Seven Analysis

their daily life in the factory. This was a prediction of our

Shot Description Metropolis Editing Shot: 29 Fade in to original footage. Cinematography: Camera keeps close, tight movement within the space. Sound : Woman narrating, dark oppressive piano original music. Mese-en-scene : Deep space, Synchronised march of people all wearing the same uniform. They are inside a tunnel with light from

Scene Eight Analysis This scene depicts how our modern leaving the factory movement when a train arrives at Kings Cross station provides similarity.

Shot Description Modern Day Editing Shot: 31 to 33 Fade in eye level. Low level lighting shows little detail.

Workshop I : The Directors; Experiments and Manifestos Workers Leaving The Factory // 1995 // Harun Farocki

Scene Nine

Shot Description

Analysis

The Picketer

This sequence shows the desperation for work, no matter how hard men of all ages wait watching at the gates for employment. As the camera changes angle from the man to the faces you can see the

Editing Shot: 37 Fade in

Sound: Woman narrating

Scene Ten

Shot Description

Analysis

Factory Process Editing Shot: 42 Fade in Cinematography: Sound: Woman narrating, music and sounds of the Docks Mis-en-scene : Off screen space, Docks two groups of people.

Analysis

Shot Description Factory Process

show the unhappiness of the workers and the law enforcement

decades later. The footage tried to show that the riots Cinematography: Outside a factory, empowering movement of the people. Sound: Narration, sounds of riots and music. Mese-en-scene:

Deep space. Outside a factory, people are

strike of industrial dispute.

control. The workers were exploited and were ask to much.

Programme Two: The Foreign Gaze

cultural history of a societyâ&#x20AC;? Shanay Jhaveri

The Brief

Berlin // A Divided City 1. Bornholmer Bridge

2. Schilling Bridge

MITTE

FRIEDRICHSCHAIN

KREUZBERG Gaps in the Wall // Escape Points

Mapping Memory: Matrix of Existing Monuments and Museums

MM. The Memory Machine day Berlin and its people.

1. Hamburger Bahnhof

art. 2. Bode Museum - Built 1904. Houses, sculptures, Byzantine art, coins and medals. 3. Pergamon Museum - Built 1930. Houses, antiquity, ings from Turkey.

4. Old National Gallery classical, Romantic, Biedermeirer, Impressionist and early modernist artwork. 5. Neues Museum - Opened 2009 designed David Chiphisotry collections. Altes Museum lection. 2.

7. Berlin Catherdral Church - Built 1905

4. 3.

10.

DDR Museum Germany

9. German Historical Museum

7. 10. TV Tower western germany when the city was divided.

9. 11.

11. Heinrich Zille Museum - Museum Dedicated to the life of Zille who was a lithographer.

12.

12. St Hedwigâ&#x20AC;&#x2122;s Cathedral

13.

13. Franz. Friedrichstadtkirche Church the french evacuies.

15. 14.

14. Neue Kirche congregation. 15. The Memorial to the Murdered Jews of Europe Museum of Communcation german communcation history.

17.

17. German Currywurst Museum Berlin - Opened 2010. 21.

19.

Topography of Terror - Built 2010. Collection of documents of evidence for the terror of the National Socialists. 19. Martin-Gropius-Bau rooms 20. Jewish Museum Berlin - Built 2001. Houses 2000 years of German Jewish History documented in collec-

20.

21. East Side Gallery - international memorial for Freedom. 1.3 km long section of the Berlin Wall consisting of 105 paintings of artists.

Programme II : The Foreign Gaze Memory in Berlin

Scene I

Cinematography: Panning shot across Berlin skyline. Greyscale. Sound: Narrator. Non-diegetic sound track Mis-en-scene:

memory. A city of monument.

Scene II

Scene III

Scene IV

Cinematography: frame fades out at the end of the scene.

Cinematography: High angle shot as camera looks down onto series of stills and

Cinematography: POV shot looking out of train window. Still shots of map. Quickly

Sound: Narrator. Non-diegetic sound track

Sound:

Sound: Narration. Diegetic sounds of train. Sound of camera shutter clicking.

Mis-en-scene:

Mis-en-scene: herself.

Mis-en-scene: Miriam looks out of the train window, following the wall with her eyes. Maps of Berlin Wall. Views of the fence in sequence.

Their memories remain a part of the city’s history, associated with physical places escape!”

Scene V

Cinematography: West Berlin. Sound: Narration. Footsteps. Camera shutter clicking. Soundtrack takes over. Mis-en-scene:

Scene VI

Cinematography: POV high angle shot looking down onto hands. Transitions into low angle tracking shot moving along ground. Sound: Mis-en-scene: Miriams hands shown with scars of the past. View of ground as

search of an escape route. By nightfall I hadn’t found any holes in it, not until the journey

Scene VII

Scene VIII

Cinematography:

Cinematography: Eye level shot

Sound:

Sound: Echoing drip. Non-diegetic soundtrack.

Mis-en-scene: Stasi Police swarm upon Miriam dragging her to the ground.

Mis-en-scene:

Dimitroffstrasse. The name alone still sends shivers down my spine, a notoriously of wire and cement, of asphalt and sand. If I had any future it was over there, and I needed to get to it.

empty.”

Programme II :

The Foreign Gaze

Two Short Films // Memory & Place: Berlin

Programme II : The Foreign Gaze Memory in Berlin

Scene IX

Scene X

Scene XI

Scene XII

Cinematography: Flashes of the interrogation room from different perspectives.

Cinematography:

Cinematography: High angled shot looking down on four characters. Series of photo

Sound:

Camera refocuses on dream scene.

Cinematography: state. Re-focuses on new setting.

Mis-en-scene: Interrogation room swims in and out of focus, shot from three different

Sound:

Sound: Four men discuss escape plot whilst non-diegetic music plays

window and interrogator.

Mis-en-scene:

Mis-en-scene: As uncertainty of location is resolved, new setting of underground

Mis-en-scene: discussing their escape plot whilst showing a series of maps and stills of Bornholmer Bridge.

voice:

Mans

eating and drinking. I was continually falling in and out of reality, delirium was setting in... What does the human spirit do after ten days without sleep, and ten days of isolation

Mans voice: “You need to get the train from Alexanderplatz to

Mans voice:

XIII

Scene XIV

Scene XV

Scene XVI

Cinematography: shot.

Cinematography:

Cinematography: High angle shot as camera looks down onto series of stills and

gradual fade out.

Sound: Continued narration

Sound:

Mis-en-scene: None

Sound: Mis-en-scene:

Miriam: “That I do not know” Mans voice:

Sound: Narration. Non-diegetic soundt rack. “Unfortunaley, the stasi found out that Miriams story

Mis-en-scene: confused.

Mis-en-scene: himself. Werner:

Miriam:

Mans voice: “Now that wasn’t

for recruiting me. It was common knowledge that I had various contacts in the

Programme II :

The Foreign Gaze

Two Short Films // Memory & Place: Berlin

Programme II : The Foreign Gaze Memory in Berlin

Scene XVII

Scene XVIII

Scene XIX

Scene XX

Cinematography: Series of stills

Cinematography: Archival footage overlaid with Eye level steadycam shot.

Cinematography: POV shot. High angle shots of CCTV footage.

Cinematography:

Sound:

Sound: German drunken chanting. Introduce non-diegetic sound track.

Sound: Echoing of shouting in train station. Non-diegetic sound track.

Sound: Non-diegetic sound track crescendos towards revelation.

Mis-en-scene:

Mis-en-scene: staggering drunk across the streets.

Mis-en-scene:

state I was caught trying to reach the West via Friedrichstrasse train station. I was had to do something.”

had to lay low.” All the way home I couldn’t get the image out of my head. It was my only hope of escaping.”

Scene XXI

Scene XXII

Scene XXIII

Scene XXIV

Cinematography: High angle steadycam shot. Fades out gradually.

Cinematography: state along Holzmarktstrasse. Frame freezes shot.

Cinematography: POV shot lowering with movement of character. Frame is slowed

Cinematography:

point.

Sound:

Sound: as the goal gets nearer.

Mis-en-scene: escape attempt was a dream.

Sound: Sound of tap dripping. Non-diegetic soundtrack Mis-en-scene: scene fades out as he falls asleep. n/a

Sound: Footsteps echoing. Non-diegetic sound track. Mis-en-scene: Warped perspective of street narows focus to something in the distance which gets nearer and nearer. Shot of gap in the wall is frozen. n/a

Mis-en-scene:

“I knew I could get to the West, all I had to do was cross the river

which gets closer and closer. n/a

Programme II : The Foreign Gaze Memory in Berlin

Scene XXV

Scene XXVI

Scene XXVII

Scene XXVIII

Cinematography: POV tracking shot.

Cinematography:

Cinematography: POV shot. Camera pans down to show movement of character.

Cinematography:

Sound: Diegetic sounds as leaving house. Door slams. Non-diegetic sound track starts quiet and progresses in crescendo as Werner gets closer to the wall.

Sound:

Mis-en-scene:

streets and unlit areas.

n/a

Scene XXIX

Scene XXX

Cinematography: Continued tracking shot. Frames gradually slow, and frame

Cinematography: Sound:

Sound:

Mis-en-scene: slips away

Mis-en-scene:

n/a n/a

Sound:

Mis-en-scene: n/a

Mis-en-scene: Werner swims West under the Schilling Bridge towards the river n/a

Workshop Two: Set, Lens and Screen

Weihsmann, 1997

The Brief

associated with that place / space.

Film Stills //

Scene I

of Britain to Berlin. Scene V

Introducing the characters and various locations which the viewer will relate to later

Scene IV

Scene II

Scene III

Portraying the desperation of people wanting to escape to the â&#x20AC;&#x2DC;freedomâ&#x20AC;&#x2122; of the West.

landmark associated with the City and its former division. Scene VI

Scene VII

she plans to escape the East. Scene X

closer to reaching her destination.

Scene IV

Scene VIII

sighted whilst on the train. Scene XI

Scene XII

path.

Miriam is trapped, her attempt at escaping has failed. She is well aware that the consequences will surely land her in prison.

Film Stills //

Scene XIII

Scene XIV

Change in focus implies Miriam is slipping in and out of consciousness and sense Scene XVII

Scene is concluded as Miriam falls into a deep sleep.

Scene XVIII

her plot an escape to the West. Although this stopped the continual interrogations, she was later found out and imprisoned.

Scene XV

Dreamlike state is implied as a continuation of the previous scene, creating confusion and disorientation. Scene XIX

Concluding Miriamâ&#x20AC;&#x2122;s story with the consequence of her attempted escape.

Scene XVI

time, and increasing confusion.

Workshop II : Set, Lens and Screen Key Space from Film

Bornholmer Bridge // Berlin Mitte

Bornholmer Bridge // 1:50 Set Model

Workshop II : Set, Lens and Screen Key Moment from Film // Feeling of Entrapment and Confusion

Dimitroffstrasse // Leipzig, Germany

Prison Cell at Dimitroffstrasse // 1:20 Set Model - Exploring Light & Textures

Film Stills //

Scene I

Cinematography: introducing the location of Wernerâ&#x20AC;&#x2122;s story. Scene V

Scene II

long journey ahead. Scene VI

Scene III

illumination. Scene VII

Sound track implies Werner is getting closer to freedom. Scene IX

Scene X

Scene IV

Scene VIII

the river.

Scene XI

Scene XII

guards.

Werner is unsuccessful in his attempted escape, and his desperation for freedom costs him his life.

Workshop II : Set, Lens and Screen Key Moment from Film // Feeling of Entrapment and Confusion

Schilling Bridge // Berlin, Mitte

Schilling Bridge // 1:200 Set Model - Projection of Movement Overlayed onto Spaces

Programme III: Forensis Investigations

Jean-Nouvell

The Brief

from the location of the memory agents attempted escape. The decision to explore the Schilling Bridge further is documented in this programme unravelling physical and mythological aspects of forensis relating to the site.

Programme III: Forensis Investigations Recreation of Wernerâ&#x20AC;&#x2122;s Journey Translated to the Site Journey // 1:500 Set Model Film Stills

Pin-pointing Crucial Moments of Space and Memory 1

1 2

4 3 5

Historical Analysis: Cartographic Evolution 1921

1926

1932

historical monument, protected as an example of industrial architecture.

to the water front.

1947

1961

The underground ‘Little Metro” line on Kopenicker strasser is still in operation,

The Berlin Wall was constructed, physically scarring the city and containing those living in the East. The wall ran along Bethaniendamm until it reached

During WWI, The ‘Memory Machine’ site had an Underground line running pneumatic dispatch system. The St. Andreaskirche on the Eastern side 1945

still in tact today. almost half of the original population had left the city. 1953

The wall continued on the East side along Muhlen Strasse. 2000

2005

Peiser-Weg. ‘Memory Machine’ site is cleared. Machine’ site is used as a car park.

Workshop III: Constructing and Filming the ‘Moment Models’

“The meaning of any architectural situation depends on the relationship of the triadic sequence of space, event and movement.”

The Brief

The moments captured throughout Werner’s journey are replicated as a projection of how spaces are perceived, or how they spark memory or emotion at a particular point in spaces.

Workshop III: Constructing and Filming the â&#x20AC;&#x2DC;Moment Modelsâ&#x20AC;&#x2122; Exploring Moments Through Models // 1:50

Spatial Moment Model // 1:50

Workshop III: Constructing and Filming the â&#x20AC;&#x2DC;Moment Modelsâ&#x20AC;&#x2122; Exploring Moments Through Models // 1:50

Spatial Moment Model // 1:50

Workshop III: Constructing and Filming the â&#x20AC;&#x2DC;Moment Modelsâ&#x20AC;&#x2122; Exploring Moments Through Models // 1:50

5. Descent into the Unknown

Spatial Moment Model // 1:50

Workshop III: Constructing and Filming the â&#x20AC;&#x2DC;Moment Modelsâ&#x20AC;&#x2122; Spatial Moment Models // 1:50

Spatial Moment Model // 1:50

Workshop III: Constructing and Filming the â&#x20AC;&#x2DC;Moment Modelsâ&#x20AC;&#x2122; Spatial Moment Models // 1:50

10. Ascent To Freedom

Spatial Moment Model // 1:50

The Memory Machine // Proposition

which store, project and explore the experiences and associations related to memory. The experience of the â&#x20AC;&#x2DC;Memory Machineâ&#x20AC;&#x2122; will evolve as new memories are donated

Location Plan // 1:2000

Eisfabrik - Former ice factory industrial complexes. Currently home to many squatters. Future industries..

Diary Rooms Depository Trench II

Former GASAG

Storage for Squatterâ&#x20AC;&#x2122;s Foraged Materials Artefact Tower / Projector Room

Calotype / Photography Archives Maria am Ostbahnhof - recently Depository Trench I

Ver.di - Trade Union HQ

Viktoria-Speicher

National

Programme Analysis // Approach from Kopenicker Strasse

Kopenicker Strasse // Existing

Approach to the Memory Machine

Programme Analysis // Depository Trench One

Artefact Depository // Artefacts at Risk

Trench Vaults // Controlled Environments

Programme Analysis // Seperate Environments

Spatially Segretated Environments // Museum of Memory and Tolerance, Mexico / Arditti + RDT Architects

Calotype Corridor - Hanging Archive Rooms // The Memory Machine

Artefact Tower - Sensitive Artefact Storage // The Memory Machine

Programme Analysis // Curation and Display

Photograph Viewing and Display Precedent

Viewing Room (off the Calotype Corridor) // The Memory Machine

Programme Analysis // Negative Spaces

Negative Space Precedent

Access to Hanging Viewing Rooms (off the Calotype Corridor) // The Memory Machine

Programme Analysis // Negative Spaces

Sensitive Photographs // Environmental Control Highly Sensitive • • • • • •

Architectural reproduction processes dyed organic materials most photographic processes, including negatives, prints, slides, and direct positives textiles watercolors

Storage and Viewing Chambers // The Memory Machine

Programme Analysis // External Digital Projection

Projection Mapping People Precedent

Artefact Tower and Projection Room // External Projections

Artefact Tower // View from Entry Level

Programme Analysis // Artefact Curation and Display

Analogue Artefacts Precedent

Artefact Tower // The Memory Machine

Programme Analysis // Diary Room Approach

Diary Depository // Paper Degradation

Organic Materials air is very dry, organic materials will give off some of their strength. Dampness can also cause mould and fungal growth on organic materials. Examples include: • • • • •

Wood Paper Cotton Linen Wool

Depository Trench Two // Controlled Storage

Programme Analysis // Depsoitory Trench Two

Book Shelving System Precedent

Diary Room // Storage and Viewing

Programme Analysis // Internal Digital Projection

Camra Obscura // Interior projects view of exterior and exterior projects view of interior

The Projection Room

Projection Room // Digital Viewing and Projection of People and Space

Site Plan // Ground Level // 1:500 1. Photograph Archives 2. Artefact Tower 3. Diary Rooms 5. Flea Market / Trade Stalls 7. One-way Access Road

2 4 6

The Diary Rooms Sectional Perspective // 1:100

Roof-Top Kino

Sectional Perspective // 1:50

The Memory Machine // Final Film Essay

Scene One

Scene Four

Scene Two

Scene Five

Scene Three

Scene Six

The Memory Machine // Final Film Essay

Scene Seven

Scene Ten

Scene Eight

Scene Eleven

Scene Nine

Scene Twelve