SO UTH BAN K CENTR E , LO NDO N
BA INTERIO R & S PATIA L DESIG N
BASE
U NIT 9 : EX PANDED CIN EMA
2 019/2 0 2 0
STUDENT: AMINATA FA LL ID: FA L16485459
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contents about photographic surveys southbnak as a film & culture hub
page 4 page 8 page 34
part 1 concepts influences location
page page page page
40 42 54 64
part 2 base a concept Base b concept base c concept programme & user experience
page 76 page 80 page 98 page 114 page 124
technical drawings & details final proposal
page 136 page 156
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ABOUT The BASE experience is for anyone and everyone with an interest in film, cinema and the general desire to expand one’s mind. The reality of modern and contemporary cinema is that the mainstream is vastly based on a Western narrative. London has one of the most ethnically diverse population in the world. It is considered to be one of the world’s cultural capitals with a diverse range of cultures and people. For this reason alone, it is only right to push for diversification and broadening of cinema and film education. There is great importance in positive and accurate representation of social and cultural groups that make up huge portions of the world’s population. BASE is three-part series of film installations, celebrating and exploring film as a product of the African diaspora.
In the same ways that we are working towards decolonisation of the curriculum, we must also work towards diversifying and decolonising the film and cinema industries.
Based at the Southbank Centre, the project takes it’s user on a visual, spatial, educational and entertaining journey through the site by combining small public experiences with larger, intimate film experiences.
Historically, people of colour in film and cinema are portrayed through the lenses of people who do not relate to, or experience the same things culturally and socially.
Exploring cinema through the lens of the diaspora...
BASE aims is to dismantle stereotypes of people of colour in film - specifically African people and to in turn, enlighten the public to the huge spectrum of people and creativity of the diaspora.
What does this look like? Who is this for?
Do you know of any mainstream films (fictional or non-fictional), portraying African or Caribbean protagonists as scientists, astronauts, engineers or superheroes? In order to encourage younger aspiring directors and actors to strive for what are considered “unconventional” roles, it’s my plan to create a space dedicated to films that show exactly these kinds of pictures, both short and full-length.
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BASE A
BASE B
‘Base A’ acts as the starting point for visitors to gain an introductory understanding of the experience through augmented reality. For non-users, it simply acts as an modernised folly. ‘Base A’ acts as a point of purchase for screening tickets through QR Code Scanning.
‘Base B’ acts as the meeting point between A & B. When users follow the AR path up the National Theatre staircase, they come to a walkway exhibition if you will - exhibiting various works of African & Caribbean directors, set designers, visual artists and actors. The arrangement of cubes, lightboxes and screens are available for the general public to sit and interact with one another whilst learning more about the project and the films currently screening. ‘Base B’ also acts as a point of purchase for screening tickets through QR Code Scanning.
BASE C
Once the user walks through the subway tunnel under Waterloo Bridge, they will eventually reach the third and final Base, which is the screening room. The space not only acts as a mini-cinema, but also is an ideal size for talks and conferences. Tickets for screenings are available at the desk inside.
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external & internal photographic surveys
mapping a visual journey through the southbank; the national theatre, the hayward gallery & queen elizabeth hall & purcell room
The mapping process I have chosen to undertake was for the most part, photographic - I explore the incredibly prominent use of colour at the Southbank, Brutalism in architecture and motifs. I also use mapping to explore the social life that the Southbank brings to life, including the skateboard culture that gathers crowds of tourists and brings to life the spirit of London.
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Conducting my visual site research, I had to travel to the site a number of times, but the two experiences that highlighted the spatial qualities of the Southbank Centre were mapped on my drawing as “1” and “2”. The lines illustrate the exact routes I walked.
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colour contrasting:
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brutalist vs bright
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One of the first things I took note of, even at the first encounter of the site years ago, was the use of colour contrasting. I was incredibly attracted to the Brutalist architecture and even more so the use of the bright yellows that are dotted all around the site. The staircases, sign-posts and painted metal coatings all encompass the Southbank’s creative direction and general aesthetic, reminding me that the site is a classic Brutalist icon, but also allows a modern, more colourful take on some of the structures.
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Perhaps one of the most colourful of locations at the site was the skatepark. I was interested in the graffiti that covered the same brutalist columns dotted all over the site, and the fact that not only did they stand out against the grey/black tones of the site, but they gave the concrete columns even more life in my opinion.
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iconic architecture: brutalism @ the southbank
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When I approached the circle outside the National Theatre on my walk, I noted this spot as one of my ‘interest points’ for my project. Not only is it approximately 13 metres in diameter, providing lots of space for a potentially new site it is also located in one of the most populated areas of the Southbank. The footfall here was one of the highest at the site, due to the pedestrians using the bankside walkway most to explore the Southbank Centre.
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My second point of interest during my journey through the site was the balony of the National Theatre, overlooking the Bankside walkway and various other sights across the Thames River. I was of course drawn to the famous brutalist structures that are visible from Waterloo Bridge, but also the huge amount of space that the balcony had to offer.
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royal festival hall interiors: a fusion of brutalism and colour
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Royal Festival Hall Interior
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Royal Festival Hall Interior; Lobby & Cafe 30
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Source: ArchDaily 32
An interior detail that caught my attention, both due to shape, size and lighting were the triangular/pyramidal ceiling motifs. The ways in which the ceiling structures are able to project such bright and colourful lighting, whilst also staying true to the neutral lighting of the room gave me new ideas to explore colour, lighting and more acute angles to my project. At this point, I began to gain inspiration from the angular structures of the site, whilst also using a range of colours to create a visual contrast.
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southbank centre as a film & culture hub
Image: ‘Kiss My Genders’ group exhibition, Hayward Gallery 35
FOR THE PEOPLE
‘OUTSPOKEN’
Monthly live poetry and music nights and a champion for diversity of voice in writing and performance. I was introduced to Outspoken by a friend of mine who also shares an interest in spoken word poetry amongst other styles, particularly from the perspective of British people of colour.
What’s on The Southbank Centre is known by many gallery-goers as a cultural hub. Having visited the centre a number of times to actually experience the number of events offered, I was able to see just how intersectional and diverse the programmes were, and how they catered to so many demographics. Film, Theatre, Music, Art and Design exhibitions are held regularly and I’ve been able to see a number of plays including a new adaptation of ‘Three Sisters’, originally by Anton Chekhov, rewritten by Inua Ellams, set in Owerri, Nigeria during the Nigerian Civil War between 1967 and 1970, and staged at the Lyttelton Theatre.
‘AMONGST THE TREES’
In the summer of 2019 I also visited the ‘Kiss My Genders’ group exhibition, which was a showcase of over 30 artists, celebrating and exploring gender identity.
Poetic, adventurous and thought-provoking group exhibition exploring our relationship with trees and forests. Sculptures and installations, drawings, paintings and photographs and artworks celebrating the soaring scale of trees.
One very prominent reason I have always been drawn to the Southbank is that is a cultural hub - and truly is a representative space for so many different groups of people living in London and the rest of the world. 36
the importance of representation and intersectionality
‘MELTDOWN’
‘KISS MY GENDERS’
The annual festival held in London, featuring a mix of music, art, performance and film. Each year the an established music artist or act directs the event and they pick the performers of their choosing. Previous directors have included M.I.A, David Bowie and Patti Smith. The festival has been held annually since 1993.
Kiss My Genders brought together over 100 artworks by artists globally, who employ a wide range of approaches to articulate and engage with gender fluidity, as well as with non-binary, trans and intersex identities. The works shown span the past 50 years.
‘LATIN AMERICAN
‘KINETIKA BLOCO’
WRITERS: WOMEN TELL THEIR STORIES’
Contemporary voices in Latin American literature Ariana Harwicz, Chloe Aridjis and Laia Jufresa share excerpts from their most recent books.
A performance group with an exuberant mix of young brass and woodwind players, drummers, steel pan and dynamic dancers all in costume creating a “unique new British Carnival sound with a decidedly London edge” (BBC Radio2). draw our influences from the Caribbean, Brazil, West and Southern Africa, New Orleans jazz, Funk and Hip Hop.
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A SET, A VENUE SOUTHBANK CENTRE ON FILM: 9 MOVIES SET AT THE ICONIC BUILDINGS
An interesting point fact that I discovered whilst researching more about the Southbank’s history, was that the site was actually used as a film set for films as early as ‘The Happy Family’ (1952) Other examples of films set at the site include: • • • • • • • •
Three Cases of Murder (1955) The Long Arm (1956) Straight on Till Morning (1972) Four Weddings and a Funeral (1994) The Boat That Rocked (2009) In The Loop (2009) Meet Me on the Southbank (2013) Man Up (2015)
I find it fascinating to see the physical changes that the buildings have had over the years.
THE HAPPY FAMILY (1952)
The cast of all the films mentioned are of course predominantly made up of white British and European actors, which prompted my project’s agenda of diversifying and decolonising the way we see film - including the actors and production involved.
FOUR WEDDINGS AND A FUNERAL (1994)
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SOMETHING FOR EVERYONE: FILM EXPERIENCES AT THE BFI SOUTHBANK
A live presentation of 2001: A Space Odyssey in association with Warner Bros., Southbank Centre and the British Film Institute
2001: A Space Odyssey WITH LIVE ORCHESTRA
TOURING
AFRICAN ODYSSEYS
Experience film scores with live orchestras. ‘Touring’ is presented across the globe with partners such as Sydney Festival, the New York Philharmonic Orchestra, the Hollywood Bowl, Philharmonie de Paris and Teatro Colon.
Offering an informal space where BAME filmmakers, activists, artists and creatives can introduce and discuss their work with fellow practitioners. The programme consists of inspirational films by and about the people of Africa, from archive classics to new cinema and docs.
BFI FLARE
WOMAN WITH A MOVIE CAMERA SUMMIT
Also known as the London LGBTQ+ Film Festival. Founded in 1986 and takes place every Spring. There is a large selection of genres and themes, such as love, romance, friendship, sex, identity, transformation, art, politics, community and also a selection of short film programmes.
“Still woefully under-represented in the DVD & Blu-ray markets, films (particularly archive titles) by women directors still do not have the visibility they deserve. [...] We want to ensure that titles by women filmmakers get greater attention and discussion.” - BFI 39
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concepts
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first concept: a pop-up cinema with a multipurpose screening & exhibition room
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During the initial stage of experimentation with 3D shapes using SketchUp, I took interest in the shape of the ceiling post in the main lobby of the Royal Festival Hall. Both the ceiling columns and lighting structures sparked interest within me to follow a similar, geometric design theme. I started with a shape similar to the pyramid-like octagon.
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Top view of an arrangement of pods, testing the different appearances of possible arrangements. I began to expand my shapes and experiment with rotation, flipping sides, stacking and layering. I came up with an idea to create a ‘pod’ resembling a space shuttle or an industriallike enclosure to hold people.
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Isometric view
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At this point I had chosen which of the shape formations I would be basing the model of the screening room.
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I knew I wanted to create a practical, walk-able space that would be available for pedestrians to pass through during the day. I considered the possibility of making this space multi-functional.
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The plan was to create both a small pop-up cinema exhibition space, showing the works and short films of various young and old filmmakers of African and Caribbean descent.
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Below are my ideas for the materiality of the space. the shape and space is largely based on the theme of extraterrestrial travel and space-age elements. I felt as though a clean, white vessel could be a nice aesthetic approach, giving a retrofuturistic feel to the space. alternatively I could have gone for a darker, more metallic approach. I chose the latter...
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influences... a study of futurism, its subdivisions and afrofuturism. ...is it possible to create a fusion of these styles?
image: Atomium Building by AndrĂŠ Waterkeyn
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PRECEDENT AR CHITECT: BATEK AR CHITEKTEN + ESTER B R UZ KU S AR CHITEKTEN
P ROJ ECT NAM E: ATO MIU M
LO CATIO N : B R U SS ELS , B ELGIU M
Y EAR O F CO M P LETIO N : 2 017
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As soon as I found out about this building and looked it up, the images I saw were extremely eye-pleasing and embody what I personally like about architectural design. The landmark building stands 102 m (335 ft) tall. Its nine 18 m (60 ft) diameter stainless steel clad spheres are connected, so that the whole forms the shape of an iron unit cell, magnified 165 billion times. The building’s interior is just as visually exciting and encapsulates the outer-space feel.
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UNDERSTANDING FUTURISM AND AFROFUTURISM
Theme Building, Los Angeles (LAX) Airport, resembles a landed spacecraft in post-modern Googie style.
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image: Jean-Claude Mézières, The Fifth Element concept art
Afrofuturism in music has been a prominent theme for musicians such as Sun Ra, Grace Jones, Erykah Badu, Janelle Monae and others. When it comes to film, I’ve noticed the majority of pictures were independent and had very little exposure to mainstream audiences. Arguably the most popular mainstream afrofuturistic film is ‘Black Panther’, which opened a lot eyes including mine, to what science and technology in art, music, design and film look like through the eyes of African people, and therefore creates a space for a narrative other an the Westernised norm. Images below from top to bottom: Black Panther (2018), Afronauts (2014, short film), Space is the Place (1974).
Some of the first design styles that influenced my thinking when it came to starting this project included The Space/Atomic Age (which subsequently influenced Googie architecture), Retrofuturism and more generally, the world of Science-Fiction in film. I was initially attracted to the aesthetics of futurism and its subdivisions; the acute angular structures that are present in the Googie style, and the sleekness of the retrofuturistic style and Streamline Moderne and films such as The Incredibles (a childhood favourite), The Fifth Element and so on. When researching these post-modern styles I understood in the back of my mind that these styles were solely based on the futuristic vision of the white American in the 1930’s until the 1960’s. As much as I found these styles to be aesthetically pleasing, I wanted to immerse myself in to movements and styles that I could also relate to as a Black British woman of the 21st century. I looked further into my interest in Science Fiction and ways in which the theme could be expressed through the lens of people who looked like me, and came from similar backgrounds. I delved deeper into the movement of Afrofuturism, which is essentially a cultural aesthetic, philosophy of science and philosophy of history that explores the developing intersection of African diaspora culture with technology. This felt a lot more relevant and authentic to me as a person and designer. 59
The following illustrations depict the proposed space’s dimensions and technical views (elevations and plans)
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280cm approx.
180cm approx.
60cm approx. 400cm approx.
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Proposed interior/ceiling shot. I wanted to create a shattered, TARDIS-like effect when it came to the ceiling, where the exterior is very hard, metallic, industrial and the interior is light, with a large array of windows to let natural light in.
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location
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Here, I created a quick visualisation of what my model might look like in context of the site. I imagined the space to be one where people could walk in via one entrance, look, read and watch the short films and other material. Once they have done so, the person would exit via one of the other two entrances. At this point, I began to re-evaluate the scale of my proposed space and that it was in fact too small. Considering the size of the staircase and how ambitious the project actually is - I felt as though my mini-cinema could use a larger space. I decided to look into more precedents that held more relevance to my project in terms of creating a cinema/screening space, and to look into projects that have taken advantage and/or responded of the surrounding environment.
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PRECEDENT AR CHITECT: O H . N O. S U M O
P ROJ ECT NAM E: STAIR WAY CIN EM A
LO CATIO N : AU CK LA N D, N EW Z EA LA N D
Y EAR O F CO M P LETIO N : 2 012
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I came across this project by ‘Oh.So.Sumo’, an experimental design collective. The stairway street cinema was designed with the aim of tearing people away from screens of their phones, and have them engage in a shared event. The collective used the surrounding environment and its people as inspiration for this project. They transformed a very small, short stairway into a glowing, hooded cinema where passers-by could duck inside, perch on the cushioned steps and watch films projected onto the screen. The final outcome was so well-proportioned, and fitted really well into the environment, beyond simply the project’s social insertion.
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PRECEDENT AR CHITECT: O M RI R EV ESZ
P ROJ ECT NAM E: PO P IN , PO P O UT, PO P U P
LO CATIO N : V ENICE , ITA LY
Y EAR O F CO M P LETIO N : 2 017
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Another example of a pop-up cinema that caught my attention straight away was the collapsible ‘Pop In, Pop Out’ street cinema, which was next to a canal in Venice, Italy, expanding, contracting, opening, and closing as its program changes. It acts as a social gathering point during the day, and transforms into an open-air cinema by night. I was really inspired by this particular project, because of how innovative it was. It was the first time I had come across a collapsible street cinema, which served both social and educational purposes. The structure uses film to reflect on the centenary of the Soviet Russia Revolution, and was opened for the 74th Venice Film Festival as part of the V-A-C’s Venice Art Biennale 2017 exhibition ‘Space Force Construction’.
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a change of plan
I came to the realisation that I needed to aim much higher with my design concept. I needed to aim for a larger experience and make the most out of the huge amount of space provided by the site. I decided to stick with the concept of a cinema/screening room, but to create a series of installations - the cinema being one of them. I felt the need to expand my idea of cinema beyond just a room for showing films. The experience had to be more memorable and unique for users. I visited the Southbank a number of times in the space of a few months and decided to create the installation series in a way that would show a clear connection between them, physically. The idea of creating forms that contrasted the surrounding environment in terms of shape and colour was appealing to me. I studied examples of Deconstructivism in architecture and what differentiates the style from other angular styles.
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cohesion
base a
base b
base c
The figure to the left illustrates where I was initially interested in setting my design (circled in red). Upon revisiting the site and analysing the spatial properties, I decided it was a lot more beneficial for me and everyone potentially involved in this project to use the spaces provided. The three spots marked sparked interested because of the close proximity to each other, making it possible to provide a clear pathway to each base - without being too directly close to each other. it takes roughly 2 minutes to walk from each base to the next, and they are separated by barriers such as the National Theatre balcony and Waterloo Bridge. At this point I decided I would be creating the three ‘bases’ at which my project would take place.
original base
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base a
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I decided to start exploring the circle just outside the National Theatre in more detail, because I knew I had to take advantage of the shape and size, so I began with taking measurements and analysing peoples movements, and whether or not people interact with this space or not, despite it being large and empty. I noticed that there wasnt a lot of footfall inside the circle, which was most likely because there was nothing inside the space. I stayed there for about an hour measuring, peoplewatching and noticed only about 3 girls who interacted with the site they used the slanted stone platforms to sit. I wanted to create a space for people to sit more comfortably, and make use of the circular space in a more experiential way. In a sense, ‘Base A’ would act as a folly, while also potentially directing participants onto the next ‘Base’.
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I knew I wanted to incorporate the theme of spaceships with the aspect of a foreign object crashing into a surface. I thought of two instances where this would happen in my mind; a meteor crashing into the Earth’s atmosphere, or even more outerworldly -- a space shuttle. The other idea that came to mind straight away was the concept of a ball smashing into a field of glass. Whether the ball is a golf ball, a bullet or a rock, I wanted to portray this ‘base’ as the primary spot for my series of installations -the first stop that my shuttle has made on Earth after being heavily impacted by a physical force. The image on the right shows the beginning of my thought process in designing ‘Base A’. To seek further inspiration, I decided to look back on a film that was shown during the ‘Films on Friday’ series at Chelsea; ‘2001: A Space Odyssey’...
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FILM STUDY FILM : 2 0 01: A S PACE ODYSS EY
DIR ECTO R: STA N LEY KU B RICK
P ROD U CTIO N D ESIG N : H . LA N G E , A . M ASTER S , E . AR CH ER
Y EAR: 19 68
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I began thinking of how I wanted to present my folly, and what spatial properties I would incorporate. I rewatched the film to analyse the production design, colour schemes and architectural styles that may have influenced some of the scenes. I really liked the idea of sticking to my plan of creating a space based on geometry and outerspace-themed elements, so I made a note of the octagonal tunnel shown during the film (pictured left). I also was interested in the use of colour and light during this picture, and became more interested in creating a chromatic experience, and a space-themed, shuttle-like aura.
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PRECEDENT III AR CHITECT: B ER NARD TSCH U MI
P ROJ ECT NAM E: PAR C D E LA VILLETTE
LO CATIO N : PARIS , FRA N CE
Y EAR O F CO M P LETIO N : 19 87
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Parc de la Villette, is an example of a collection of follies and buildings by Bernard Tschumi. I found out about this project when I was around two third of the way through my own project. I noticed many similarities, such as the use of colour-contrasting, the use of geometric forms (spheres, cylinders, cuboids etc.). Tschumi envisioned Parc de la Villette as a place of culture where natural and artificial are forced together into a state of constant reconfiguration and discovery.
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Following the film study, I began my foamboard modeling experimentation process. In an attempt to create a tunnel-like structure with a more angular, geometric approach, I chose to use a nonagonal cylinder as the basis. I cut away one of the 9 sides, to create an entrance point, and made a flat base with rectangular holes to slide the 8 window panes into. I also cut another smaller piece of foamboard to slide over the window panes and provide extra support for the structure overall. The finished model did not require any glue, tape or other adhesives, due to this reason.
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base b
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Base B is the link between the first and the last points of the series. I initially imagined the walkway exhibition to have a tunnel formation, where the user walks through the L-shape, watching the screens, which would have various types of information. For example, one screen would show a particular genre, which the user can interact with using touchscreen technology - and sroll, seeing what films are being shown, and the stories behind them. There would also be film posters, movie stills, interviews and articles surrounding the African & Caribbean diaspora in film.
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I came up with a quick mock-up of what the shape and size might look like in comparison to the average 6-foot tall person. In some ways, I really like the way that the space is enclosed, and the visitor wouldn’t actually know what the space is - until they entered. However, this enclosed space was also the exact reason why I felt I needed to change this idea. I realised, I needed the space to be more visible to the general public. I also wanted the space to be more spatially dynamic. There needed to be more cohesion and shapes, colours and styles that reflected the general theme of my project. I decided to scrap the L-shape tunnel and re-imagine what my space could be if I made the walkway exhibition more exciting, and less of an ‘entrance, then exit’ scenario. I sketched a cluster of cubes, that I imagined to represent a cluster of lightboxes, screens and blank boxes for seats. This way, people are more inclined to actually stay for longer, sit down with a friend, read, scroll and have a generally more inviting experience.
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The model-making process here shows what kind of scenario I was imagining, but with fewer cubes. I came up with an idea of including a very tall column with scrolling LED lettering, reading “NOW SHOWING�. Moreover, the concept for Base B became a vision of a mini city. I imagined the cubes and columns to resemble a city of skyscrapers - London. I also considered the possibility of building a floor path, made of thin rubber or plaster, in the shape of the River Thames. I considered this because not only is the Southbank is an iconic complex of buildings situated directly on the Thames, but also - within the context of the minicity, it represents the river at a smaller scale so visitors can then identify that the cluster of screens and lightboxes represent the cluster of buildings of the city.
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Sometimes when I sketch, I tend to do so very quickly in a rough, scribbly way in order to get my ideas across to myself, in my own mind and make sense of my ideas. I challenge myself to do so in less that 60 seconds... Here, I did so, illustrating the current design idea of Base B, but in this sketch I added some spikes, just as I did with Base A around the sphere, imitating a meteor crash.
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base c
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For my third and final base, I chose to use the empty space next to the Hayward Gallery, via Waterloo Bridge. When I visited the site, I measured all the spatial details, including steps, doors, spaces, walls and floor space. When I took the photos & measurements, I made a 1:1 scale model in SketchUp, so I would be able to build my cinema screening room proportionately. In cohesion with the other spaces in my series, I wanted the roof of my cinema to relfect the same sharp, erratic forms that A & B exhibit. I needed the forms to be highly visible from the surrounding environment, notably from Waterloo Bridge, where passengers on buses would be seated high-enough to see down to the floor of the Southbank Centre.
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programming & user experience
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Base A: User interface
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home
The ‘Now Showing’ page will show the title, along with the synopsis of the film below. If the user selects the film, there will be a longer list of details, such as actors, directors, producers, genres, age restrictions and recommendations.
The user will have the ability to scroll through various titles and select the time/ date. The user can alternatively select the date and see which pictures are being shown on that particular day.
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home
Since there are 32 spaces in the cinema room, the booking process is simple. For a specific film screening, there will be a maximum of 32 tickets. The remaining tickets available will be shown in real-time on the user interface.
‘Scan Me’ feature involves the user’s location services on their phone and the direction in which they are facing. The point at which they are standing, will determine where they will be pointed to on the virtual/augmented path.
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BASE
expanded cinema
Programme full-length
‘Crumbs’
‘Hidden Figures’
‘Black Panther’
‘Pariah’
‘Brown Girl Begins’
‘Spiderman: Into the SpiderVerse’
‘An Oversimplification of her Beauty’
‘The Brother From Another Planet’
‘Space is the Place’ ‘Sankofa’ ‘The Last Angel of History’ ‘Supa Modo’ ‘Yeleen (“Brightness”)’ ‘The Sin Seer’ ‘Blade’ ‘Coming to America’ ‘Born in Flames’ ‘Us’ ‘Touki Bouki’ ‘Get Out’ ‘Sorry To Bother You’ ‘The Watermelon Woman’
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Short films
‘They Charge for The Sun’ ‘Afronauts’ ‘Kwaku Ananse’ ‘Monsoons over the Moon’ ‘Robots of Brixton’ ‘Pumzi’ ‘To Catch a Dream’ ‘Hello, Rain’ ‘Janelle Monae: Dirty Computer’
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Base b: User interface
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technical drawings & details
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‘Shards’: Metal plates with Plexiglass protective layer.
‘Upper hemisphere’: Wooden foundation, plaster filling, Metal plate covering, plexiglass protective layer. Glass ceiling: top layer.
Painted wood, glazing compound.
Glass ceiling: lower layer.
‘Lower hemisphere’ ‘Shards’
‘Nonagonal step pyramid’: painted wood, metal and plexiglass.
‘Enclosure’: Glass windows, glosspainted wood, plexiglass.
BASE A: Exploded Isometric View Scale: 1:5000
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278.5cm
40ยบ
Isometric View (Top image) Roof Plan (Bottom image) Scale: 1:4000 139
225.7cm
30cm 15cm 678.9cm
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388cm
91.5cm
278.5cm 35cm
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188.7cm 170.5cm
380.2cm 462.6cm
536cm
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390.4cm
797.5cm
637.6cm
BASE B: Roof Plan Scale 1:6000
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BASE B: Elevations Scale 1:6000
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49.0cm
417.6cm
119.7cm
518.7cm
297cm
320.9cm
120.2cm
795.2cm
BASE C: Isometric Views Scale: 1:6000
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Recycled rubber path
‘Shard’
Glass roofing
LED Screens/Lightboxes
Metal support rods
LED Ticker
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4 84
1
79
7.5
cm
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Wooden foundation, plaster filling, Metal plate covering, plexiglass protective layer.
Roofing: Wood, metal, plaster & paint finishing. Screen.
32x Panton Chairs. Projector. Partition. Walls: Wood framing, glazing compound, semiopaque tinted glass windows, sound absorption panels. Steps: gloss-painted wood and metal. Flooring: wood, metal, and plaster. Bottom base foundations: Metal, Wood, Plaster.
BASE C: Exploded Isometric Views Scale: 1:4000
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481.3cm
793.2cm
500.2cm
373.1cm
163.5cm
BASE C: Floor/Bottom Plan (Top image) Roof Plan (Bottom image) Scale: 1:6000 150
BASE C: Isometric Views Scale: 1:6000
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375.2cm 62.2cm
273.9
10cm
BASE C: Elevations (Front, Back, Right, Left) Scale: 1:6000
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AA
BB
CC
BASE C: Sections AA, BB, CC Scale: 1:3000
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BASE C: Section DD Scale: 1:6000
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final proposal
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up...
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under and through...
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expanded
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d cinema
Promotional Poster
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J U N E 20 20
FAL16485459
EXPANDED CIN EMA