LAIKA FILMING STUDIOS

Marcello Maioli University of Greenwich 2018/2019 ARCT-1039 ARCT-1040 Unit 7

LAIKA FILMING STUDIOS

CURTAIN TWITCHING Starting from the themes extrapolated from Playtime, a 1967 film

by Jacques Tati , I created a short animation exploring ways to enhance the qualities of the office space from the film and continue the satire om modern architecture and technology. I chose to focus on the themes of alienation and the co-existence between old and new in terms of architecture and communities.

These themes will be shown through the design of a retro-fitted building in Shoreditch which will accomodate public and private programs. The building will function as a stop-motion filming studio focusing on analogue technologies to emphasize the overall tone of Shoerditch.

PLAYTIME In order to fully understand Jacques Tati’s satirical representation of the role of modern architecture in social alienation, I began by analysing the scene in which themes of “shifting realities of technology� are most evident. I then began identifying key elements in the production of this scene to re-create certain camera angles and techniques Tati uses. This encouraged me to exaggerate the themes and allude to the fundamental barriers that these create between the generations of the past and modern technological architecture.

Frames Extrapolated from the Office Scene from Playtime

Set Section 1:100

Set Section 1:100

Frames Extrapolated from the Office Scene from Playtime

Frames Extrapolated from the Office Scene from Playtime

Set Section 1:100

Set Plan 1:100

Frames Extrapolated from the Office Scene from Playtime

Set Plan 1:100

The Descent of Mr. Hulot

Camera Direction (Crab Motion)

This is an analysis of the camera movement in the escalator scene, as Mr. Hulot descends into the “cubicle maze�. Every second of this shot shows the offices in a new perspective. Mr. Hulot has total control from above but as he descends he slowly begins to lose both patience and orientation.

Understanding the depth of field in this shot is essential for my animation, in order to convey the infinite and sterile nature of the space to play on how generations of the past interact with new technological environments.

Axonometric Drawing and “Semi-Render” of my Interpretation of the Set Using Forced Perspective to Enhance the Depth of Field

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Axonometric Drawings of Set Components 1:200

• Plywood forced perspective base with metallic cubicles

• Plywood “bill-board” used to hold the lateral backdrop

Camera Rig

• Plywood “bill-board” used to hold the frontal backdrop

The set in Playtime was constructed for the movie itself. Tati did this so he could exaggerate the barriers that technology and modern designs impose on people who are not familiar with the environment.

I used many of the same techniques as Tati such as the use of photographed backdrops to convey the illusion of being set in central Paris, camera rigs to match the motion of the escaltor and metallic surfaces for the cubicles so the space would look very sterile and cold.

By working with a reduced scale I had to use forced perspective techniques to enhance the depth of field and convey the sense of infinity in my shots.

• Camera rig with parallel escalator prop used to match the descent in the movie with the set of the animation

Set Analysis Showing the Camera Movement and Breakdown of each Scene from the Animation

Scene 8

Scene 3

Scene 5

Movable backdrops

Scene 1

Scene 2

Scene 9

70 mm Scene 4

50 mm

Scene 6

Scene 7

This diagram summarise the animation in terms of camera movement and frame to set relationship. Each frame corresponds to the first frame in the sequence in my animation.

In order to achieve fluid movement with the character I took stills from the movie and ereased the background from each frame and kept the character to match it with my shots of the set.

Set Analysis Showing the Camera Movement and Breakdown of each Scene from the Animation

Scene 7

Scene 2

50 mm 70 mm

Scene 8

This diagram summarise the animation in terms of camera movement and frame to set relationship. Each frame corresponds to the first frame in the sequence in my animation.

In order to achieve fluid movement with the character I took stills from the movie and ereased the background from each frame and kept the character to match it with my shots of the set.

Photographs of the Set

Storyboard Calculating Camera Angles and Frame Duration

Scene 1

Scene 2

Scene 3

Scene 3 continued

Hulot looks at the never-ending rows of cubicles and begins to feel nervous.

Descent into the infinite and sterile environment of the office, Hulot becomes even more nervous.

Hulot reaches the floor and is immediately lost between the mastodontic metallic cubicles.

Hulot enters the never-ending layout of the offices.

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37 frames

53 frames

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Scene 4 As Hulot enters, the cubicles begin to move, engulfing him in the space and creating a physical barrier of cubicles.

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Scene 6

Scene 5 As Hulot walks through the cubicles the dimensions of the space begin to have their impact on his state of mind.

Hulot does not give up and continues to walk through the offices, never reaching a reference point on which to rely. He then stares into the horizon and suddenly the exterior walls vanish.

The “Vertigo Effect” Increase of anxiety as the space becomes impossible to escape.

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Scene 7 Infinite rows of cubicles seen from above as the camera moves ahead without ever reaching a limit.

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8 seconds 26 frames

Scene 8

Scene 9

Scene 10

Scene 11

Scene 12

The cubicles are seen from the sides with a “crab-motion” shot. The infinite, sterile and monotonous environment is emphasized.

Final scene of the animation where Hulot stares into the horizon without seeing a reference point and finally surrenders.

Shot from above showing the “location” of the set, the use of controlled light and filming techniques used to achieve forced perspective.

The camera rig used to shoot the animation in relation to the actual set.

Final shot showing the overall composition of the set in relation to the rigs and backdrops.

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11 frames

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8 seconds

Mechanical Elements used to Shoot the Sequences and Create the Illusion of a 1:1 Set

Behind the Scenes of the Animation

Animation Stills Showing the Final Product

NOSTALGIC SHOREDITCH Upon first visit to Shoreditch, my attention was immediately drawn to the paradoxical co-existence of new building technologies applied to the old commercial buildings that once accommodated textile factories and car parks. The almost theatrical feel of the narrow streets filled with coffee shops and vinyl stores. However, the “set” like aesthetic of retro-fitted buildings was what interested me the most as they immediately recall the illusions often seen in stop-motion animation sets of facades used for aesthetic purposes with intricate supports behind what the eye can see. The steel frames supporting a purely aesthetic façade, the irregular floors broken by maisonettes, large empty open plan spaces that were once filled with machines and people, now completely versatile and able to accomodate multiple programs.

Photographs Around the Journey

Journey Mapping 1:1250

London Borough of Hackney

The site is located within the vibrant community of Shoreditch. A nostalgic corner of London where new and old buildings appear to coexist in harmony and in some cases are dependent on one another. I was searching the area for the concepts of modernity and ideas I had previously extrapolated from Jacques Tati’s “Playtime”. Instead I found this manifestation under the same “roof” very often.

I began my journey with the intent of finding examples of misplaced modern architecture in Shoreditch and new buildings that sporadically stand out through the narrow and winding streets of Spitalfields.

Instead I found a peaceful coexistence between old and new with retrofitted warehouses, apartments and offices. The nostalgia and desire to maintain the history of buildings was evident in the maintenance of plaques, signs and photographs of what used to be.

The tiny coffee shops, the record stores that lurk patiently in each street, the old pubs and speakeasies next to tech company offices, fast food chains and 21st century roof extensions emanate the vibe of a community that appreciates the past and lives in its memory but recognizes the new age of technology by integrating both, together in architecture.

Existing Retro-fit Buildings in Wider Shoreditch Context 1:10 000 Ironwood Works

C-Space

The Tea Building

Second Home

Shoreditch contains the highest density of retrofit office spaces and tech start-ups in London.

These buildings feature open floor plans and flexible morphing spaces that are generally used as offices during the day and as recreational areas on the weekends and after work-hours. The buildings also contain living accomodations in most cases.

This co-existance is very difficult to achieve espescially on a larger scale where more units are needed to provide housing, larger spaces for recreational activities such as sports and communal service spaces.

1:2500 1960’s Industrial Shoreditch

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Brewery Banks Market Warehouses Garages Deposits Workshops

In order to find a possible sitewithin an existing building, that could be retrofitted to accomodate my program I began to identify all the historic commercial buildings that occupy Shoreditch. I only considered large industrial or office spaces.

I then cross-referenced this 1960s mapping to current information and identified four potential sites that satisfy the criteria to house living and working accomodations under the same roof.

SECOND HOME CASE STUDY ANALYSIS A case study identifying previous internal and external modifications applied to a retrofit building in Shoreditch. Essential in establishing precedent and analysing how the coexistence between architectures belonging to different eras can manifest themselves. By considering the floor and layout modifications one can understand how to repurpose a space and use the existing envelope as a “prop�.

1: 100 xploded Axonometric of “Second Home” and “Bluebell Apartments”

Photographic Study of Communal Spaces Within “Second Home”

“Second Home” is a key example of an innovative and flexible office space for tech start-ups. The use of plastic as a substitute to glass ensures complete noise insulation in each room and complete transparency in all communal areas.

The original floor plans of the textile factory, that used to inhabit the structure, show that the double-heights have been kept with only a few modifications in terms of form and joints where the curved, plastic walls now touch the flooring.

The original columns are still present as they carry out most of the weight of the floors above. Whilst the skin of the building has been cut in places to allow for the horizontal plastic screens and bar area to pertrude outwards and inwards making the facade appear lighter and more modern.

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1:25 Joint Analysis of “Second Home” Plastic Extensions

1:50 Bar Protrusion

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Joint 2

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Retrofit Facade Extension Joint 4

Joint 5

Plastic Spacer Plastic Screen Aluminium Joint

1:200 Original Floor Plans (Textile Factory)

1:200 Current Floor Plans (Second Home)

1:500 Site Context

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View From Above Staircases Floor Bathrooms Sectioned Walls Skylights

68 Hanbury Street used to accomodate a textile factory during the 60’s. It can be seen in the plans analysis, many of the original double-heights and loft spaces have been kept and only slighlty altered. The bathrooms have also been kept in the same location as the original building to make the most of plumbing.

However, when “Second Home” was built the original third floor was leveled and extended to accomodate more offices. Apartments where placed directly above creating a co-existing working and living program which is very common in Shoreditch.

2-4 GREAT EASTERN STREET In order to identify a possible site, I began by cross-referencing 1960s warehouses and offices to the closest DIY shop. This was necessary because of the high demand that the filming studio would have for materials. 2-4 Great Eastern Street would eventually prove to satisfy these criteria.

Approach to the Building From the Roads that Make the Intersection

Possible Sites within Existing Buildings in Wider Shoreditch Context 1:10 000

Elevations & Plans of the “Exchange Building”

Area of Interest

Elevations & Plans of “2-4 Great Eastern Street” Building

Overground

Elevations & Plans of the “Truman Brewery”

Streets

Shoreditch Master Plan

Sun Path

The building is located on its own pedestrian island behind Box Park in Shoreditch. The building is a collage of sorts, that combines old and new architecture.

The west side dates back to the 1800’s whilst the section directly above Leylands SDM belongs to the 1960’s. The sides also differ in functionality: the older one accomodates housing and a realestate agency whilst the later hosts office spaces and Leylands SDM. In both cases however, the commercial spaces are located at the ground floor.

Overground

Empty Unloading Lot Architecture Practices Shops

CONCEPTION, PRODUCTION & POSTPRODUCTION, RESOLUTION

I began by experimenting with ideas of flexibility and playfulness in my initial concept model in the same spirit of Heath Robinson by creating contraptions of pure folly that appear to function. The idea of a building that is constructed as a stage set persisted throughout my designs. It began with the similarities in retrofitted buildings and continued with the notion of a highly staged exterior broken by the functional interior.

3D Area Schedule of Existing Building and Proposed Spaces and Alterations

Tech Start-up Bathrooms Apartments Offices Commercial Space Client Meeting Rooms Staff Entrances Client Lobby Elevator Shaft Server Room

DIY Community

Atrium Bar Lounge Swimming Pool Laundry Room Electrictiy Line Ventilation Hot Water Slides

Bathrooms Apartments Workshop Showcase Space Wood Storage Plastic Storage Aluminium Staff Entrances

Section Exploring the Integration of Heath Robinson Style Mechanisms to the Existing Building 1:100

Making Space

Office Studios

Commercial Space

Set Design and Iterations

Public Course Space

Writing and Meeting Area

Skylights Set Assembly Section

Collection Mechanisms Set Manufacture

The intention was to seperate the existing structure into two sections: one dedicated to office space and the other to the DIY comunity. The office space with sleek interiors and high tech materials to clad and redesign the facade whilst the making side needed to reflect the interior DIY attitude. These two contrasting aesthetics would later clash in a central located atrium where the two communities can interact.

Rotating Filming Studio

Wes Jones NASA Memorial

I was drawn to the mechanics of his installations and architecture. The adaptability and ability to move each component to react to site conditions. Further application of this precedent can be seen in the overall mechanic aesthetic recalling camera rigs and prop structures behind sets.

Nat Chard House and Instruments

Mechanised Set Frame

The possibility of relocating essential service rooms and services such as bathrooms and ventilation. The facade becomes a scenic element when a steel structure is introduced.

This type of approach would ensure that interior spaces are maximised. Furthermore, there is a clear coexistance between new and old which could potentially manifest in a similar way in the junctions between the custom devices and the existing building.

Heath Robinson

Forced Perspective Mechanism

This type of “design� informs the overall DIY attitude of the inhabitants of my architecture.

The prop-designers and film-makers improvise rigs and solutions to adapt to new situations. The architecture of the filming studio should reflect these techniques and behaviours in terms of design and functionality of the spaces.

External Service Elevator

Design Drivers Experimental collage, investigating the use of Heath Robinson-like contraptions to create a functional series of spaces.The collage contains refrences to Heath Robinson, Sou Fujimoto, Second Home, DIY communities and workshops. The program will contain very diverse and often opposing design aesthetics in order to reflect both the “tech start-up” and the “DIY communities”.

Concept Section Exploring the Coexistance Between Existing Components and Retrofitted Technologies

1. Forced Perspective Component 2. Filming Studio 3. Coexistance Between New and Old 4. Camera Rigs Pertruding Outwards 5. Testing Space 6. Manufacturing Space 7. Leylands SDM 8. Leylands Storage 9. Projection Space 10. Entrance

1. Double Height Extrusion 2. Facade Cut to Allow More Light to Enter 3. Skylight 4. Exhaust Piping from Workshops 5. Communication Route 6. Roof Extension with Offices Below 7. Water Collection Entrance 8. Recyclable Material Slide 9. Human Slide 10. Recreational Pools 11. Elevator 12. Greenhouse for Apartments

North Elevation

West Elevation

Plan

East Elevation

South Elevation The concept model aimed at exploring the use of the interior structure of the building and how sections of the skin could potentially be extruded or removed to create new spaces and create common areas between the two communities.

Colourful plastic sheets, slides and skylights pierce the entire building to create small areas of direct light and collection points for waste materials for the DIY community.

The slides that run from the “tech side” to the “DIY side” and vice versa are passive exchange mediums for the communities.

The common areas expand on the notions of communal living extrapolated from Le Corbusier’s “Unite d’habitation” where social interaction between tenants occurs is designated areas on the ground and top floors.

1:100 Long Section of 1st Iteration

Section Line

1:100 Short Sections of 1st Iteration

Section A

Section Line A

Section Line B

Section B

CONCEPTION, PRODUCTION & POSTPRODUCTION, RESOLUTION

This section focuses on the development of technological components to be retrofitted to the existing facade based on the previously explored design drivers and precedents.

1:200 Plans of 1st Iteration

Area Schedule of Spaces with Necessary Connections to Optimise Distance of the Transport of Props and Sets

2nd Floor

1:500 Ground Floor Plan in Context

1st Floor

Ground Floor

Basement

Recycling Laboratories

Private Staff Entrances

Elevator Systems

Controlled Filming Spaces

Cinema Stairs

Section Bathrooms

Storage Public Entrances Projector Room

Mass Diagram of Spatial Division

Movement Throughout the Floors

Public Leylands SDM Private

Ground Floor Plan With Immediate Surroundings

Motorized Central Component for Rotating Communication Line

1:100 Pulley System to Transport Sets and Components 1:100 Pulley System to Transport Sets and Components

1:100 Pulley System

1:100 Pulley Mechanism Component with Temporary Jig

Motorized Central Component

1:100 Pulley Mechanism

1:100 Pulley Mechanism

1:200 of Pulley System Location

1:50 of Pulley System Location

e Boxes for Exhibition Purposes

1:100 Forced Perspective Boxes for Exhibition Purposes The pully system provides immediate comunication between the workshops, the testing spaces and the filming areas. The custom designed boxes fold open to fit the sets and characters.

Once they are in place the magnet releases the container in the intended spot.

Forced Perspective Mechanism

Forced Perspective Mechanism Plans and Elevation with Set 1:50

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Retractable Arms Base for Set Placement Steel Suspensions Backdrop Runners Cantilevered Steel Brackets Aluminium Guide for Set Components Motors Assembly Joints

Mechanism In Position from Existing Window Frame

Mechanism Retracting from Existing Window Frame

Camera rigs positioned in relation to the forced perspective mechanism for filming. The retractable arms of the mechanism can regulate depth of field based on the necessities of the set and frames. The adjacent camera rigs react to the inclination and can be positioned in multiple ways to satisfy the requirements for each shot.

Controlled Filming Space with Rotating Base to Respond to Light

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Side to Top Junction Detail

Rotating Base Frame Detail 1

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Location of Device on Fourth Floor

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Light Diffusion Mechanism Model

Light Diffusion Mechanism Plan 1:50

Light Diffusion Mechanism Elevation 1:50

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Retractable Arms Base for Set Placement Steel Suspensions Cantilevered Steel Brackets Aluminium Guide for Set Components Motors Suspension Joints Steel Support Brass Runner

Locking Junction for Overhead Camera 1

Exterior Services Fragment

Corrugated Steel Container 2

“X� Frame Support 3

Container Lift in Motion Container Sliding System 4

Retrofitted Support for Sliding Container 5

Exterior Services Fragment First Floor

Second Floor

Elevation

Plastic Junction Between Sliding Base and Set Support

“All-in-one� Camera Rig with Customized Rotating Set base for Filming

Set View on Rig

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Junction Between Sliding Backdrop Support and Base 2

Camera Stand Leg Junction to Sliding Component 3

Sliding Camera RIg Base and Calibrated Height 4

Third Floor Location of Device

Mechanism in Action Diagram

1:200 Exploded Axonometric of the Multiple Floors and Maisonettes

1:500 Floor Layouts of 1st Iteration

Underground Floor

Ground Floor

First Floor

Second Floor 1. Staff Entrance 2. Shaft System for Delivery 3. Staff Elevator 4. Public Elevator 5. Plastic Recycling Laboratory 6. Wood Recycling Laboratory 7. Aluminum Recycling Laboratory 8. Assembly Space 9. Course Space 10. Cinema 11. Public Bathroom 12. Private Bathroom 13. Storage 14. Leylands SDM 15. Leylands Storage 16. Lobby Entrance 17. Projector Room 18. Filming Equipment Storage 19. Filming Spaces 20. Forced Perspective Mechanism

1:100 Long Section

Section Line

1. Staff Entrance 2. Staff Elevator 3. Public Elevator 4. Cinema 5. Public Bathroom 6. Private Bathroom 7. Storage 8. Movable Storage 9. Leylands SDM 10. Leylands Storage 11. Lobby Entrance 12. Projector Room 13. Filming Equipment Storage 14. Filming Spaces 15. Forced Perspective Mechanism 16. Writing Area 17. Pully Mechanism 18. Filming Rig 19. Controlled Lighting Room 20. Light Enhancement

1:100 Short Section

Section Line

1. Staff Entrance 2. Staff Elevator 3. Public Elevator 4. Cinema 5. Storage 6. Lobby Entrance 7. Projector Room 8. Filming Spaces 9. Forced Perspective Mechanism 10. Writing Area 11. Filming Rig 12. Light Enhancement

CONCEPTION, PRODUCTION & POSTPRODUCTION, RESOLUTION

This section focuses on the combination of the previously developed components into the architecture with attention to the retrofitting of the components in relation to the site and the interior.

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Shoreditch High Street Boxpark Shoreditch Commercial Street The Stage Shoreditch Great Eastern Street Shoreditch House

1. Timber Canopy 2. Steel Rig for Container Lift 3. Container 4. Entrance 5. Ground to Roof Atrium 6. Stone Decorations 7. Polycarbonate Screens 8. Steel Staircase 9. Hydraulic Runners 10. Screening Device

1:500 Axonometric Showing Existing Elements and New Components

New Previously Existing

The design aims at integrating and “retrofitting” highly technological components onto an existing facade as much as altering the structure in order to “free” the interiors and allow the exterior to be sectioned through and liberated from existing columns and load bearing walls.

The main objective and aim of the technologies applied to my project include maintaining the existing brick facade and separating it from any structural restraint by substituting the existing interior concrete columns and floors with steel rigs and beams to support the sliding floors and the retrofit mechanical components onto the facade.

1:200 Axo for Reference

Sliding Floor in Locked Position

Plywood floor sections are used to ensure that alterations can be easily made to accomodate machinery and be removed or pierced to axcess electrical outputs present in the void space between the gypsum board and the walkable area.

Sliding Floor in Motion

Plywood Sliding Floor Component Steel Guide and Track Gypsum Board

1:200 Axo for Reference

Roof with Teak Deck

Concrete, insulation and waterproof membranes located at the extremities of the building (roof and ground) ensure water impermeability and reduce heat loss. Isolating the interior spaces from the exterior environment.

Concrete Tile Flooring

Teak Deck Waterproof Membrane Fiberglass Insulation Concrete Slab Steel Gypsum Board Concrete Tiles

Cutaway Axonometric

Model In Section

Teak Deck Plywood

Insulation Concrete Steel Stone Aluminium

Mirror Cladded Steel Copper Brass Corrugated Steel Brick

The colour coded model distinguishes between the types of materials used. There is a predominant use of steel for structural support. This decision was taken in order to make the interior more flexible and eliminate the previously existing concrete columns that divided the floors into sections.

Because of the filming activities undertaken in the interior the space needs to be volatile, hence the presence of sliding floors and interchangeable exterior components capable of reacting to the exterior conditions.

Mechanic Components Retrofitted to Facade

Motorised Floor Raiser 1

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Forced Perspective Mechanism

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Acrylic Joint to Polycarbonate Screen

Roof Canopy and Stairs Connecting the Double Heights 2

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4a,b

The mechanic components are fitted to the stone slabs present throughout the facade.

This allows the steel frames that support the screens and the forced perspective mechanism to be cantilevered from the facade. The existing stone works as a counterweight.

The copper and brass materials work as guides on which the components can slide and react to the environmental conditions of light and the necessities of the interior.

4b

Junction to Facade

Junction Between Light Diffusion Mechanism, Existing Brick Facade & Steel Beam

1:10

1:100 Section with Components Capable of Moving

The highlighted floors have the capacity of vertical movement to ensure interior flexibility of space when working with large props and sets. These motorized floors essentially work as lifts cantilevered from the steel colonnade system that also supports the brick facade. Furthermore, the retrofitted components on the facade also react to light and adjust by moving inwards and outwards. My technology investigations aim at allowing said motions to occur.

Cutaway Axonometric 1:50

1. Steel Column Braced Onto Concrete Block Foundation 2. Motorized Steel Lift Mechanism to Raise and Lower Floors 3. Translucent Polycarbonate Screens 4. Aluminium Screen Case 5. Brass Guide Cantilevered from Existing Brick Wall 6. Steel Hydraulic Motion Mechanism to Regulate Screen Movement 7. Existing Brick Wall 8. Secondary Brick Skin 9. Fiberglass Insulation 10. Air Gap Between Brick Layers 11. Stone Slabs 12. Stone Decorative Elements 13. Forced Perspective Mechanism 14. Acrylic Cladded Junctions 15. Steel Support for Set Platforms 16. Steel Columns Supporting Lift Theatre 17. Lift Theatre 18. Teak Canopy 19. Steel Cladded in Acrylic Water Proof Membrane to Collect Water 20. Double Glazed Glass 21. Timber Window Screen 22. Teak Deck 23. Void Space to Drain Rainwater 24. Concrete Block Foundation 25. Concrete Tiles with Resin Gloss Finish 26. Concrete Slab Resting on Existing Foundation 27. Aluminium Junction From Steel Column to Support Free Standing Brick Skin 28. Steel Beams Running From Column to Column 29. Steel Guide Beam for Sliding Floor 30. “I” Beam 31. Void for Electrical 32. Waterproof Rubber Membrane 33. Gypsum Board 34. Plywood for Flexible Alterations to Output Electrical 35. Stone Window Frame 36. Concrete Base Step 37. Steel “X” Frame for Temporary Flooring 38. Steel Braced Timber Steps 39. Corrugated Steel Frame Supporting Steps 40. Void to Run Secondary Sliding Floor

1:100 Long Section

Section Line

1. Staff Entrance 2. Staff Elevator 3. Public Elevator 4. Cinema 5. Public Bathroom 6. Private Bathroom 7. Storage 8. Movable Storage 9. Leylands SDM 10. Leylands Storage 11. Lobby Entrance 12. Projector Room 13. Filming Equipment Storage 14. Filming Spaces 15. Forced Perspective Mechanism 16. Writing Area 17. Pully Mechanism 18. Filming Rig 19. Controlled Lighting Room 20. Light Enhancement

1:100 Short Section

Section Line

1. Staff Entrance 2. Staff Elevator 3. Public Elevator 4. Cinema 5. Storage 6. Lobby Entrance 7. Projector Room 8. Filming Spaces 9. Forced Perspective Mechanism 10. Writing Area 11. Filming Rig 12. Light Enhancement

CONCEPTION, PRODUCTION & POSTPRODUCTION, RESOLUTION This section focuses on the resolution of the previously developed work with particular attention to incorporating the filmic qualities into the space. The following work also clarifies the mechanical designs in terms of motion and impact on the interior space.

New Components Retrofitted to Existing Facade

1:200

East Elevation

South Elevation North Elevation

West Elevation

Retrofit Components Existing Facade

External Views

1:100 Ground Plan

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Public Entance Public Exhibition Exhibition Storage Public Bathrooms Leylands SDM Unloading Area Leylands SDM Translucent Screen Wheelchair Ramp Stairs Leading to First Floor

1:100 First Floor Plan

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Light Diffusion Component Large Set Area Character Manufacture Detailing Final Adjustments Filming RIg Staff Bathrooms Container Lift

1:100 Second Floor Plan

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Editing and Control Staff Bathrooms Container Lift Material Selection Meeting Space Communication Channel Set Manufacture

1:100 Third Floor Plan

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Forced Perspective Theatre Translucent Sreen Writing & Meeting Area Contianer Lift Set Pully Large Set Area

1:100 Rooftop Plan

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Timber Canopy Theatre Stairs Connecting Decks Writing Area Steel Support for Plants Container Lift Steel Runner Atrium

1:100 Section in Perspective

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1. Leylands SDM 2. Exhibition Space 3. Prop Manufacture 4. Material Selection 5. Set Assembly 6. Filming Rig 7. Container Lift 8. Forced Perspective 9. Large Set Assembly 10. Light Diffusion Component 11. Break Area 12. Post-Production Space 13. Theatre 14. Storage

1:100 Section, Locating Key Spaces

Forced Perspective Filming Studio 1

Adaptable Filming Rig For Sets 2

Post-production Control Room Overlooking Filming Space 3

Exhibition Space for Props & Sets 4

1:100 Section, Locating Key Spaces

Material Testing & Prop Design Workshop 1

Prop Assembly Workshop 2

Large Set Manufacture Space 3

GR E A T E A S T E R N

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