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Vincent MacDonald 140044274 MArch Semester Two - Portfolio ARC 8052

Notes

To be read in conjunction with ARC8052 - Technology Report

Scales are approximated to computer screen size

The Blackboard submitted version of this document does not have any embedded films.

This document is available on Adobe Publish Online with in-page films. Please click the hyperlink below to view this document:

https://indd.adobe.com/view/e781b9b6-55e5-40f7-967d-cb611e2d71a1

Both documents are identical apart from this.

Films are marked with this symbol:

Contents

Introduction + Project Exposition

Elephant, 1989

A Cinematographers Toolkit for Hacking the BBC

Elephant in the BBC - Story Board

Scene by Scene

Scene One - ‘Exterior Establishing Shot’

Scene Two - ‘Disruption in the Reception’

Scene Three - ‘An Entrance, a Corridor and a Lift’

Scene Four - ‘Nosey Openings’

Scene Five - ‘The Pneumatic Wall’

Scene Six - ‘Paint Scraper’

Production Notes

Reflective Conclusion

ARB Criteria

Bibliography

New & Amended Work New Work

Amended Work

Semester One Work

Semester Two - Belfast Excavations Introduction + Project Notes

Our studio, Belfast Excavations, is linked to the possibilities and potentials of architectural representation revealed when dealing with memory traces in Belfast. Belfast has been labelled a ‘post-conflict’ city and, in the current context, is still shaped by traces of violence and segregation. The studio examines the often-repressed works of artists from the times of The Troubles, collected in the Troubles Archive. This online resource allowed for further research and interrogation of the artists, their work, and its surrounding context, which we were interested in.

Since the BBC produced and broadcast Elephant, it can be considered a self-critique as their news arm had a key role to play in the depiction of the ongoing Northern Irish conflict. A focus on the BBC led to my choice of site being their Belfast Broadcasting House, this acts as a locus for further exploration. I tried to gain access to view the interior of the building but was unable to do so; undermining its appearance to me as a public broadcaster. The conclusion of my Semester One work was a series of urban scale interventions that de-centralise public broadcasting from the BBC to a series of public spaces in its surrounding area in During Semester One, I focused on Elephant, central Belfast. a 1989 film by Alan Clarke and Danny Boyle. I analysed and mapped the film spatially, but Semester Two continued investigations also focused on its core theme: a critique of into these themes but with a detailed mainstream media’s (primarily television’s) focus on the BBC Broadcasting House portrayal of The Troubles. To expand, the building specifically. Furthermore, this violence during that period, and conflict in focus on the BBC has been heightened by general, has a cold, harsh reality that due the huge amount of scrutiny from all sides to desensitisation from the media, no longer of the political spectrum. Discussions of excites much interest. For this reason, my impartiality or having news curated by project considers the film Elephant, and government officials have been common additionally its wider implications inside conversations throughout the UK media the BBC. sphere. The film is characteristically made up of a compilation of 18 individual ‘scenes’ which each depict a gruesome killing, devoid of any context or apparent motive. It is displayed in a cold, documentary style which draws parallels to mainstream media’s portrayal of The Troubles as a nightly catalogue of seemingly random and unconnected violent events.

The aim for my project, therefore, has been to realise Elephant as a series of architectural devices, installations, and interventions within the context of the BBC’s Broadcasting House, Belfast. This creates an architectural narrative for Elephant in the BBC. The devices range from the building fabric coming alive and scraping paint off the walls; trapping its inhabitants in corridors; projecting visual As a further extension of this, my project images; creating new entrances for public investigates the role of film and the blind access. These all derive in some form from spots that exist beyond the camera’s lens. Elephant. The possibilities of the architectures and production sets that create the experience The project is presented here as a collection on screen. of devices working together on the site of the BBC building. Some elements of the

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existing are retained, others changed and appropriated. The interventions and devices themselves are a form of hacking architecture, using bits of the existing to create new entries into the building, disruptions to ongoing work or ways for the public to use the previously hidden spaces. The project is a work of drama in the abstract; disruptive architecture that creates uncanniness in the building fabric. The drawings situate themselves within the ongoing renovation of the Broadcasting House buildings. The planning application was submitted in 2019 and several of the drawings available on the planning portal are infiltrated, drawn upon and examined from the perspective of Elephant in the BBC.

scenographers such as Ken Adam. There has been an ongoing analysis of Lebbeus Woods for all architectures parasitic, Bernard Tschumi for events and the dramatisation of architecture, and Forensic Architecture for inspiration surrounding their investigations of the details, amongst others. This project has been complex and demanding, yet an enjoyable escape considering the circumstances. I will summarise my experiences and learnings at the end within the Reflective Conclusion alongside the assessment and ARB criteria.

This creates a script of sorts, which is, scribbled over the planning documentation. From this, a sequel to Elephant can be read and viewed as a series of cameras placed within this new disruptive architecture. I first outline a toolkit for attacking the rigid nature of the BBC which is inspired by Elephant, this manifesto builds from the cinematography and themes of the film, but also my mappings of that. This provides much of the thesis for the project. Then, an illustration of the storyboard of the proposed film cameras and what they might capture. Finally, an in-depth scene-by-scene analysis of each proposal within the script/planning application. The technical drive has been taking design inspiration from specific themes and techniques of the film, be that lighting, acoustics, camera angles, emotive intensity. Each applied scene within the BBC buildings are intended to be isolated from each other unless otherwise specified. For this semester I have been looking deeply at the work of Diller and Scofidio, and

Elephant, 1989

Elephant Introduction

Elephant was a short film produced by the BBC for broadcast on terrestrial television in 1989, created by Alan Clarke and Danny Boyle. It follows eighteen individual scenes of violent murder without any seeming context or motive. Each scene is filmed in a different location and the viewer is unaware as to who is the murderer, or the victim, in each situation, until the moment of conflict unfolds. It is shot in an almost documentary style. The viewer is forced to watch the conflict, and then the body of the victim, for excruciating amounts of time until the next scene. The film is a commentary on mainstream media’s portrayal of The Troubles, a self-critique with regards to the BBC, as an almost nightly showing of random and unconnected violence. It drew a very large number of complaints following the release of the film.

‘The film expresses then a general dissatisfaction with the way in which film and television has responded to the nightly catalogue of horror.’ (McCloone, 2009)

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Elephant Analysis

There were several key themes to draw from the film that developed into the project thesis. Primarily, that within the media, violence no longer excites interest. This is clearly displayed through Elephant as each killing is a cold, harsh reality which is at odds with the dramatising nature of television news coverage. This led into the choice of the BBC Belfast buildings as the site for further investigation due to its role in media and news broadcasting, and production of the original film. Furthermore, the architectural possibilities of the camera and the spaces of the film led into my technical studies and are illustrated in the Technical Report in more detail.

Excerpt scene from Elephant, 1989

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Elephant Analysis

From an architectural perspective, I was intrigued to map the film. This was a primary component of my work in Semester One. There were three routes to this: firstly, the physical spaces themselves drawn in axonometric, then the camera paths and how these relate to the spaces, and finally, specific details of the film to be drawn and forensically analysed.

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Ormeau Swimming Baths

Shell Garage

Warehouse

Long Factory Park

Cafe Empty Shop House I

Recreation Ground Petrol Station

Scene Mappings

The style and emotive qualities of the film along with the architectural spaces they suggest were key drivers to the design project. The role of the camera and how it occupies the space is a theme I come back to over the course of this project.

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Above a Shop Grand House

Corridor and Lift Car Park

House II

Empty Factory

Industrial Estate Road Back Alleys

Scene Mappings

This work in Semester One culminated in a large format mapping of Elephant. Each killing within the film is represented by an ink spatter that has been etched into the plywood sheet. The axonometric spaces and camera paths are drawn and modelled over these. The piece created a formal language that I return to throughout the project. Different parts of my later designs link back to elements found here: the ink spatters, the camera paths, the axonometric representation of spaces.

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Large Format Mapping of Elephant

Painted Brick Facade. (ɑ = 0.015)

This analysis of Elephant has continued into Semester Two with a technical focus on the environmental conditions of the film. The drawings over the next few pages are expanded upon within the Technical Appendix.

Flourescent Light attached to steel pavilion (ɑ = 0.03)

Tarmac / Concrete Floor (ɑ = 0.02)

LIGHT LIGHT LIGHT LIGHT

TUBE TUBE TUBE TUBE

01 02 03 04

5.8

FLOURESCENT FLOURESCENT FLOURESCENT FLOURESCENT

0.0 0.0 0.0 0.0 0.0 0.0 0.0

9.5

ACOUSTIC SOURCE Ambient car background noise Engine peak (f)=100 - 400 Hz Noticeable hum (f) = 1600 - 4000 Hz

#000000 77.3% #3c3c3c 13.0% #3c7878 2.6% #005000 1.2% Shot 06667 : 'Shell Garage' #505000 0.7%

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‘Shell Garage’ Camera Frame Analysis

PRIMARY LIGHT SOURCE 01 High level spotlight

These drawings select a frame or two from three scenes in the original film. They illustrate the intense analysis undertaken to understand the architectural properties employed: the framing of the subject in relation to the camera, multitude of light sources and their directionality, the acoustic properties of the materials and space, and the visual properties of the materials.

#181818 30.3%

#3c3c3c 25.9% #1e1e1e 22.1% #1e1e00 13.4%

Shot 53595 : 'Corridor'

#3c3c1e 4.0%

SECONDARY LIGHT SOURCE

0. 0

0.0

SECONDARY LIGHT SOURCE

0. 0

0.0

Gives an average ɑ of 0.045 for a room volume of ≈ 210m2 Rt60 ≈ 3s High reverberation within the space Not diminished by soft furnishings Echo highly noticeable

PRIMARY LIGHT SOURCE 01 PRIMARY LIGHT SOURCE 02 Painted Brick Walls (ɑ = 0.05)

Concrete Floor (ɑ = 0.02)

Bi-Fold Door (ɑ = 0.01)

Exposed Ceiling Soﬃt (ɑ = 0.02)

Barricade Gate (ɑ = 0.01) Shot 54058 : 'Lift' Lift soﬃt (ɑ = 0.01)

#00 ACOUSTIC SOURCE Barricade Lift Door Frequencies: Peak (f)=200 - 2000 Hz Noticeable 100 - 5000 Hz

#1 e #1e #3c #00

1 e0

1 e1

1e 0

3 c1

000

08 5 .4 %

e6 .0 %

05 . 2%

e1 .2 %

00 .1

PRIMARY LIGHT SOURCE 02 Mid level spotlight

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‘Corridor and Lift’ Camera Frame Analysis

PRIMARY LIGHT SOURCE Solar

The three scenes investigated are ‘Shell Garage’, ‘Corridor and Lift’, and ‘Park’. Each of these were chosen since they inform, to differing degrees, later design choices.

Tarmac Ground (ɑ = 0.02)

Frost on Grass

0.0 0.0

25.6

0.0

ACOUSTIC SOURCE Single Footstep Frequencies Peak (f)=1000 Hz Noticeable 100 - 2000 Hz

0.0 0.0 0.0 0.0

PRIMARY LIGHT SOURCE Solar 14

#1e3c3c 18.5%

#3c5a5a 12.1%

#3c3c3c 11.5%

#d2f0f0 6.4%

#b4d2f0 5.4%

Shot 22217 : 'Park'

1.5

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‘Park’ Camera Frame Analysis

Illustrated here are a series of studies conducted to further analyse the experiential qualities of the lighting and camera frame in a physical model recreation of the â&#x20AC;&#x2DC;Corridor and Liftâ&#x20AC;&#x2122; scene. These are also expanded upon in the Technical Report. From a holistic perspective, the themes derived from these drawings and experiments (the camera, environmental, and material properties) influence the cinematic environments proposed throughout this project.

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Camera Frame Physical Model Analysis

A Cinematographers Toolkit for Hacking the BBC, 2020

Be parasitic / Open the BBC up to the public / Infiltrate the existing / Create new routes in / Disrupt ongoing processes Source contextual information only through the planning application documents / Each scene targets a specific part / Operate over a range of scales Use Elephantâ&#x20AC;&#x2122;s Atmospheres / Incorporate the stills from the film / Know where the camera is placed within the environment The mapping of Elephant is the starting point for all design development / There is no set style of resolution but use the same language Produce a cinematographic production proposal for each scene GC1 GC2 GC3 GC5 GC7 GC8 GC9

Elephant in the BBC, 2020 - Storyboard

SCENE ONE CAM A

SCENE TWO CAM B

SCENE TWO CAM A

SCENE THREE CAM A

[Fluorescents flash, hidden camera captures the back of their silhouette and is re-projected in front of them]

The character watches intently.

SCENE THREE CAM B

SCENE THREE CAM C

SCENE THREE CAM D

SCENE FOUR CAM A

Presses ‘Up’. GSEducationalVersion

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[Sound of a latch clicking]

[Hand-held camera follows character]

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[Hydraulics start to hum, and wall slowly unfolds to expose an entrance] GSEducationalVersion

SCENE FIVE CAM A

SCENE FIVE CAM B Scene 3 - Camera B - Exterior FIXED TO TRIPOD

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SCENE SIX CAM A

One lets the other past.

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Scene 3 - Camera B - Exterior FIXED TO TRIPOD GSEducationalVersion GSEducationalVersion

Scene 3 - Camera B - Exterior FIXED TO TRIPOD GSEducationalVersion

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FADE TO BLACK.

BBC Employee is late. GSEducationalVersion

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Storyboard

COUNTDOWN CLOCK (30 Secs) Programme Title: Elephant in the BBC Prog. No. EL022020

CUT TO BLACK SUPER CAPTION: PREVIOUSLY [Excerpts from Elephant 1989 are played]

FADE FROM BLACK

Elephant in the BBC, 2020 - Scene by Scene

Post Production Script - UK Version June 2020.

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Scene One Exterior Establishing Shot Scene Description: The first shot of Elephant was filmed adjacent to the BBC building. Here, 1989 is overlaid onto 2020 as a projection-based installation. Programmatic Experience: A chair, a camera, and a projector move backwards and rotate together, corresponding to the first camera path in Elephant. The space acts as the anchor point for the other scenes, which situate themselves in the neighbouring BBC building. Type: Installation / Device Character: Member of public Location: Junction between Linenhall Street and Ormeau Avenue. Entrance from Linenhall Street. Exit on Ormeau Avenue. Adjacent to BBC Building.

Excerpt scene from Elephant, 1989

Time: In the present, with 1989 projected. Camera A Position: 1989 original camera position unchanged. Within the installation. Set up behind main character. Once seated, torso framed centrally. Set Design Technical Notes: See following pages. Full plywood installation conceals both character and camera. Character is seated on swivel chair, with camera attached behind. Seated character and camera are both attached to a track. Once the scene begins, they move backwards at an equal pace. Projectors replay the 1989 footage. Large scale graphics to floor and BBC building introduce the scene.

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Scene One - Concept Diagrams to Front Cover of Design and Access Statement |

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Plywood staircase D. 001. 04

Plywood viewing portal D. 001. 03

18mm Plywood boards with C16 Timber Structure to S.E. Spec.

Projection to existing advertising board

Tracks for moving chair

Scene 01 Chair D. 001. 02

Plywood Staircase D. 001 . 01

Painted graphics to ďŹ&#x201A;oor and walls of existing building

CAM A

Scene One - Multimedia Plan 1:200 approx. to M&E external setting out drawing | 21

Treated plywood fascia Aluminium Flashing

Treated plywood

Graﬃti graphics to BBC Building behind

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Plywood lining to internals Projector A Timber plywood sliding door. Manual opening. Additional plywood lining to internal face

Additional timber joist supports

Access system: ramp and stairs

Plywood swivel chair connected to rail system. Manually powered, each junction takes one second. See P.23 for detail.

Rail system

Raised oﬀ ﬂoor to allow for exact perspective when sat down.

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Scene One - Section A-A 1:40 approx. |

Projector

Track

Plywood supports

Camera Plywood camera boom

Plywood chair

Pivot Footrest

Rolling system Track

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Scene One - Chair Detail 1:10 approx. |

Projector A

Non-descript character is walking with purpose towards the installation. On the floor in front, a painted line catches their eye. They follow the line; their gaze runs across the street and up the adjacent building. At the top of the line, three letters, B â&#x20AC;&#x201C; B - C.

Camera A

They continue to stride confidently, until they reach the installation steps. They sceptically climb these steps. (Pause.)

The character slowly slides the door open. GSEducationalVersion

Character enters. Moves to sit on the chair. (Beat.) [Camera rolling.] [Projector on.]

The image displayed on the wall beyond are the first few frames from Elephant, 1989 [FRAME 00580 â&#x20AC;&#x201C; FRAME 01300 (24 seconds)]. The character watches intently. The chair begins to move, with it the projector and the camera. The contraption rotates and moves along the track in the exact same pattern as the 1989 camera path. The camera records the new scene, with the new character in place of the old one, at a mysterious junction where the past of 1989 collides with the present.

FADE TO BLACK Scene 1 - Camera A - Interior

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Scene One - Camera A - Interior |

Scene Two Disruption in the Reception Scene Description: Disruptive elements to the reception foyer suggest that the rest of the BBC Building is a set. Programmatic Experience: Director has previously experienced this space. The reception foyer was accessible, however, director was not allowed to pass further into the building. Scene Two disrupts this environment. Rather than creating a welcoming area like in the proposed planning application, it heightens discomfort. Projections give the impression that the rest of the BBC building is a set and each person is being meticulously watched. Characters: Employee & Receptionist Type: Intervention Location: Reception Foyer of BBC Building.

Excerpt scene from Elephant, 1989

Time: 900-1700 Camera A Position: Reception Desk â&#x20AC;&#x201C; Hand-held camera that moves around the space. [Torso centred, close-up shots] Camera B Position: Fixed on tripod. Main Character and their silhouette projected. [Full body centred + split with silhouette] Set Design Technical Notes: See following pages. Fluorescent tubes connected to the security barricade flicker on and off. The reception desk is hacked and disjointed, enhancing the shadows cast from the fluorescents. A camera films those that enter the building, projecting this onto a plywood wall.

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Scene Two - Concept sketches to Design and Access Statement |

A A- A ion sect

CAM A

CAM B

T8 LED Tube - Type B Fitting Plywood free standing object Projector - Mounted to frame system Type C Existing security barricade T8 LED Tube - Type B Fitting

Joinery Reception Desk Camera detector system Type A Plywood free standing object T8 LED Tube - Type B Fitting 18 mm plywood to walls with C16 support structure T8 LED Tube - Type A Fitting

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Scene Two - Plan and Section 1:20 approx. sketched over planning app |

Ground ﬂoor circulation route

Ground ﬂoor circulation route Plywood free standing object Projector - Mounted to frame system Type C T8 LED Tube - Type B Fitting Existing security barricade T8 LED Tube - Type B Fitting Existing main entrance revolving door

Plywood free standing object T8 LED Tube - Type B Fitting 18 mm plywood to walls with C16 support structure Camera detector system Type A T8 LED Tube - Type A Fitting Joinery Reception Desk

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Scene Two - Axonometric |

CAM A

CUT [SCENE 2 – CAMERA A] [Enter from off-stage] BBC Employee walks through the revolving door, ready for a long shift of staring at their screen and absentmindedly typing interview notes from the previous day. [Camera focusing on the entrance] Nods to the receptionist. Receptionist doesn’t reciprocate, eyes closed. [Camera moves round the space to the reception desk and then back to the BBC Employee]

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Employee notices the plywood set. Shrugs. ‘They must be filming something today’

Scene 2 - Camera A - Hand-held interior

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Scene Two - Camera A - Reception Desk |

CAM B

Scans card on security gate. [Fluorescents flash, hidden camera captures the back of their silhouette and is re-projected in front of them] [CUT TO CAMERA B] BBC Employee sees a shadow on the wall in front. This is new. There is something uncanny about this. They realise it is their own silhouette, they are being watched. Pause. The Employee moves on.

CUT TO BLACK

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Scene 2 - Camera B - Fixed, interior

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Scene Two - Camera B |

Scene Three An Entrance, a Corridor and a Lift Scene Description: Public Access Entrance Programmatic Experience: The parasitic interventions of Elephant in the BBC require a subversion to the restricted entrance of the reception foyer. Secondary, partially hidden, routes into the building provide access for the public to infiltrate. Borrowing from the â&#x20AC;&#x2DC;Corridor and Liftâ&#x20AC;&#x2122; scene in Elephant an entrance, a corridor and a lift are proposed to gain access into the core of the building. Character: Member of the Public Type: Intervention / Installation Location: External wall of BBC building, found between Linenhall Street West and Studio A. Time: A few hours before sunset (shadows create the outline of an ink spatter) Camera A Position: Linenhall Street West, facing BBC Building. Camera is handheld, walking parallel to BBC Building, character centred. Camera B Position: Fixed to tripod. Perpendicular to BBC Building, shooting away from the sun Camera C Position: Fixed to tripod. Internal corridor, facing new entrance created on Linenhall Street West

Excerpt scene from Elephant, 1989

Camera D Position: Fixed. Inside lift (Right back corner) Set Design Technical Notes: (See following pages). Timber frames along Linenhall Street West mark out the entrance area. Hydraulic powered unfolding wall sections create the shadow of an ink spatter. Highly experiential corridor. Lift to the upper floors with specific conditions.

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Scene Three - Planning App Disturbances |

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Scene Three - Ink Spatter to Model to Elevation

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Scene Three - Elevation to Diagram to Planning App |

Brick faces to match existing Pulley retracting system Pivot points

Hydraulic system

Public access entrance within the existing wall

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Scene Three - Detailed Section 1:20 approx. |

Automated external wall segment system within structural opening Frame canopy to external wall External Wall

Public access entrance Suspended stage rigging

Hydraulic powered pulley system connecting to external wall segment Elevator shaft to allow public access to upper ďŹ&#x201A;oors

Barricade grill to elevator

Counter-weight

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Scene Three - Plan 1:200 approx. and Axo to Planning App |

Down facing spotlight 02 Down facing spotlight 01 Existing masonary external wall

Counter-weight

Mild steel truss system Plywood Panel (ɑ = 0.01) painted to #181818

Electric traction lift Structural opening

Hydraulic piston powered entrance portal Timber frame GSEducationalVersion

Flywheel Steel tension cable to hydraulic piston

Mild steel sliding barricade fencing Mild steel bi-fold sliding door

Scene 3 - Camera D Scene 3 - Camera C Screed to concrete ﬂoor (ɑ = 0.01) Plywood panel to interior of lift painted #181818

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Scene Three - Section A-A 1:50 Approx. |

CUT TO [Camera A rolling] Member of the public is walking along Linenhall Street West.

Camera A

Through the series of frames. Sun is setting.

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Solar criteria not met for hydraulic piston activation

Scene 3 - Camera A - Exterior

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Scene Three - Camera A - Exterior (before) |

DIRECT SOLAR LIGHT SOURCE Two hours before sunset. Camera B

[CUT TO CAMERA B] Shadows appear to form the pattern of an ink spatter on the floor. [Sound of a latch clicking] [Hydraulics start to hum, and wall slowly unfolds to expose an entrance] Member of the public secretly enters.

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Solar criteria met for hydraulic piston activation

Scene 3 - Camera B - Exterior FIXED TO TRIPOD

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Scene Three - Camera B - Exterior (after)

Camera C

[CUT TO CAMERA C] [Hydraulics hum as wall closes back up.] Darkness. [Two lights snap on.]

PRIMARY LIGHT SOURCE 01 Spotlight

Member of the public quickly walks down the corridor. Footsteps reverberate around the space. Echoes are prevalent. The space feels cold, the colour is de-saturated. Reaches the lift.

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Scene 3 - Camera C - Corridor Interior GSEducationalVersion

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Scene Three - Camera C - Corridor (interior) |

Camera D

[CUT TO CAMERA D] Closes the first bi-fold door. GSEducationalVersion

Closes the barricade grill. Presses ‘Up’. Lift starts to whirr and jolt.

PRIMARY LIGHT SOURCE 02 Spotlight

Moves towards the upper floors. The lift cuts through the main tower of the BBC building, allowing access to a range of rooms: from video studios to editing suites to managerial offices. The member of public has successfully breached the building. They are now the antagonist of the story.

FADE TO BLACK.

Scene 3 - Camera D - Lift Internal

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Scene Three - Camera D - Lift (interior) |

CAM A

CAM B

CAM C

CAM D

Scene Three - Storyboard |

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0.30

0.00

CAM A SOLAR PRIMARY LIGHT SOURCE

Solar Light Source Local Acoustic Ambience Existing colours Camera: Central, Hand-held

CAM B

0.30

1.00

CAM A

Internal walls painted #181818 (ɑ = 0.01) DOWN SPOTLIGHT 01

CAM B

Smooth concrete ﬂoor (ɑ = 0.01)

DOWN SPOTLIGHT 02

Solar Light Source Local Acoustic Ambience Existing colours Camera: Central, Fixed

CAM C SIDE SPOTLIGHT 01

Mild steel lift components (ɑ = 0.01)

CAM D

1.00

c sti

CAM C

c da

dy bo r l ot nh n pe sp al e atio , up e r e Sid ternsatu : Sid In w era Lo am C

Solar Light Source Enhanced internal acoustics/ Local ambience Low saturation Camera: Central, Fixed

M CA 1.5

Dight ance

d xe ﬁ ly, on

0 Light sources Enhanced internal acoustics

2 Down spotlights

2.1

1.50

Scene Three - Technical Camera Drawing

Scene Four Nosey Openings Scene Description: Public observance of ongoing activities within the BBC. Programmatic Experience: Antagonists can walk the ground floor of the BBC building through a series of frames which mimic the time signature of the camera movements in Elephant. The long camera movements of the chosen original scene are a characteristic overlay. They can, like one of the characters within the original film, peer into rooms through forced openings. Snooping around and finding information to relay back to the outside. Character: Member of the Public / Anatagonist Type: Intervention / Installation Location: Ground floor circulation and adjacent spaces Time: 900-1700 Camera A Position: In front of Antagonist. Hand-held, moves with the antagonist. Set Design Technical Notes: See following pages. Inanimate frame object (A 3D extrusion of Sem 1 Mapping). Frame interventions through the internal walls into adjacent office spaces to create openings.

Excerpt scene from Elephant, 1989 GC1 GC2 GC3 GC5 GC7 GC8 GC9

Scene Four - Diagram to Planning App |

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Scene Four - Sketches to Planning App |

Full width free standing frame - Type A

Wall distruption and viewing system - Type A

CAM A

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Scene Four - Ground Floor Plan 1:200 approx. |

Full width free standing frame - Type A Wall distruption and viewing system - Type A

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Scene Four - Axonometric |

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Scene Four - Close-Up Axonometric |

CAM A

CUT TO: [CAMERA A â&#x20AC;&#x201C; Hand-held and moving around the spaces with the character] Member of public has been walking around the BBC building for some time. They are now exploring the ground floor.

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They walk around without any specific intent. They peer into door frames, into portals, into windows. [Camera is sometimes following, sometimes in front] [Artificial light, carpet coming away, old posters, note to remind employees to clean the fridge out/name food in fridge.] Spots the BBC Employee through a gap in the wall.

BBC Employee

Peers in. They are working on a news piece. Member of the public snaps a photo, sends a message. Continues down the corridor.

FADE TO BLACK.

Antagonist

Scene 4 - Camera A

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Scene Four - Camera A

Scene Five Pneumatic Walls

Scene Description: Disruption to the daily process of circulation. Programmatic Experience: Scenes Five counters the public access nature of the previous scene. It blocks those that work within the building from progressing further. Space noted within the planning application as key for refurbishment, of course we will not do this. Once there are two people entering the space, one from either side, detectors signal for the walls to close in. This forces an interaction between the two people in the centre of the corridor. Type: Intervention Character: BBC Employee & Colleague Location: Ground Floor Circulation Time: 900-1700 Camera A Position: Fixed to tripod. End of corridor facing in. Employee torso off centre, person at far end of corridor centred. Camera B Position: Hand-held. Behind the negotiation. Centred. Set Design Technical Notes: See following pages. Two detectors placed at either end of a specific corridor activate pneumatics which push the walls out. There is an uncanny feeling to this, they move too slowly to notice.

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Scene Five - Introduction |

High level detector - System B

Pneumatic powered moving wall - System B

One sided wall attached frame - Type B

Pneumatic powered moving wall - System A

High level detector - System A

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Scene Five - Axonometric and Section 1:40 approx. |

Timber lintel to make structural opening Existing suspended ceiling

Plywood wall painted to match existing

Guide scissor arms

A Pneumatic Pistons

CAM A CAM B

A Existing wall

Retractable arm, attached to pneumatic pistons Wheel and guide track

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Scene Five - Plan 1:200 approx. and Section A-A 1:40 approx. |

CAM A

CUT TO BBC Employee is late. They are pacing down the corridors to their meeting. Opens the door. Spots their Colleague entering from the opposite side. [Detectors click.] [Pneumatics hum.] GSEducationalVersion

They walk towards each other. The space starts to enclose but neither notices. The effect is too slow to immediately acknowledge.

Scene 5 - Camera A - Interior

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Scene Five - Camera A

CAM B

[CUT TO CAMERA B] They greet each other but realise there is now not enough space to pass. They spend the next few seconds awkwardly negotiating who shall pass first. One lets the other past. They continue on their ways. [Pneumatics hum. Space reopens] GSEducationalVersion

Opens the door on the far side. Exits the space.

CUT TO BLACK

Scene 5 - Camera B - Interior

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Scene Five - Camera B |

Scene Three

Scene Five

Scene Four Scene Two

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Scene(s) Two, Three, Four and Five -Axonometric |

Scene Six Paint Scraper Scene Description: Paint scraping device. Programmatic Experience: It is more like a set of instructions to create an uncanny level of disturbance within the building. Emerges. Strips Paint. Sleeps. Endlessly continues scraping the walls; a forensic investigation of the paint scraper dropped in the original film. Leaves scars all around. It emerges from the ceiling tiles, takes the form of the ink spatter it was derived from, and then returns back. Character: n/a Type: Device Location: Upper Floors of the building Time: Night-time (Out of hours) Camera A Position: Scratches

Excerpt scene from Elephant, 1989

Shadow and

Set Design Technical Notes: See following pages. Requires spaces with a suspended ceiling. Scratches and wallpaper scraping on the walls.

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Scene Six - Introduction |

CUT TO BLACK Flashback scene. SUPER CAPTION: 31 YEARS BEFORE ELEPHANT, 1989 - EXTERIOR. HOUSE

Scene House II - Still : 31964

Antagonist marches to the front door with cold intent.

Door opens. [FIRST GUNSHOT] (Beat.)

Knocks.

[SECOND GUNSHOT]

Waits.

(Beat.) Paint scraper drops to the ground. Left lying next to the victim.

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Scene Six - Previously |

Return to the present SUPER CAPTION: SCENE SIX - THE PAINT SCRAPER

CUT TO: MAGNIFICATION OF INK SPATTER

INTERIOR. OFFICE ROOM - VERTICAL SURFACE FOCUS Strange markings are appearing on the walls. An almost random pattern of grooves, scratches, and paint shards.

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Scene Six - Ink Spatter Analysis |

CUT TO: INTERIOR. CEILING VOID (Looks up.) The ceiling starts to shift, like ice sheets on the ocean. Cracks form and two dimensions transform to three. Shadow, texture and the once hidden electrical devices collect in the new system.

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10 : 04 : 58

CUT TO:

Scene Six - Ceiling Emergence

Animation of Scene Six INTERIOR. OFFICE If there is a suspended ceiling, ‘Scene Six’ roams.

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Scene Six - Physical Modelling + Animation |

Along the path the antagonist walked, the device follows. Office to office, the cracks continue. Paint shards settle where they fall. Those that work in spaces that have suspended ceilings will be confused as to why they continue to see scratches, cut wallpaper, and paint shards on the walls. But it is not enough to comment about ‘have you noticed’ followed by immediate forgetting.

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Scene Six - Worm’s Eye Axonometric |

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Scene Six - Elevations |

Spot Light A

Oï¬&#x20AC;-screen object

At night, the device emerges. Starting the process again.

Scene 6 - Camera A - Aftermath

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FADE TO BLACK. Scene Six - Camera A - Aftermath

Production Notes Nudge Unit Following ongoing reflection into the mainstream news arm of the BBC during the crises of 2020, it is proposed that a series of devices are attached to the cameras and tripods. There has been much speculation that Downing Street has been drip-feeding ‘news’ to the BBC. Thus, ‘Nudge Unit’ is designed to slowly alter the camera frame. Nudging each camera slightly over the course of a filming session, thereby nudging public opinion in the process.

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Nudge Unit |

â&#x20AC;&#x2DC;Nudge Unitsâ&#x20AC;&#x2122; continue to infiltrate media departments across the mainstream news arm of the BBC. Heavy redactions are expected to hit reports such as these. Apelendae aciuscipsam comnim faci dolor res eatur susciisima volese ped quam ipextensiveihicabo. Bisti nonsereicim sam fuga. Ut labore vel id extensive sinti solecto eos aliquiduntur repel ipis doluptis placese cusapedi ad quideli tasiminus eaquiate preic tem re, ium volorat emquund ipsantem lam quam, as ab in prest fugia cone sum recaborerum entur? As denet dolupta tumenis sim et harchil ex et que re nonecae sunduntur, qui renihil ibusdam non eat. Mus quam iur sus eaquia pelecaepel estis sinum eaqui vellite mpelenes aliaect iandant vollandunt, ut am as rest, odit redactions squi se maximustrum dolore nulloribere estrum audipici berios as re perum volesedit expliscitint molore, tota asdasdaredactionss derum unt aut volupti osamus. Harchic tenda veratat abore eatur, natendunt ligenis eosam cone prae. Obis imosti dolum ilicate officiam aliqui antiberes solupta sperunt ute apientiosa et unt. Lor modi nectium ipist et, consequam redactions rerupta volupta tisquia ellationse et ipici blaciis aut que nonsed et, consequiae. At re volores sincidessit ea sit voleseq uassitium, volupti atemped exped magnates corepud aectend untibea vero venihiti conse vero mil il ius eumquist exere voleces et laexpected ntiumquis dem eture nim estruptium fugitaquam qui corenia sinctio. Et et rae ernatio mod est, volorem doloresto id ea dolut imusaeperum antusa cus eiciantum aut miliquiame non recest omnimus vendae. Imin cusaper roriorerist, aligenihit il il estiis ex exceatur mossit eturiam disqui vel magnatur, utem doluptatius aliquam eum haruntis quasperunt que nist

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Nudge Unit |

Problems continue to persist with camera equipment filming key news events. There seems to be a link between highprofile government coverage and increased camera malfunctions [citation: removed in case of further events]. Et alitatem fugiatus ero est, imagnat entusanisit versperum

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Nudge Unit |

Production Notes Discontinued Devices Several scene explorations were started and later discontinued. However, they can be viewed to still operate as part of the overall world but without specific context or technical resolution.

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Discontinued Devices |

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Discontinued Devices |

Reflective Conclusion

As I am sure many of my peers would agree, this has been a difficult semester. I feel I have managed to complete a project that I am happy with but feel I could have improved on this if circumstances had been different. My approach to this project was to continue applying the same themes I had explored and examined in Semester One. In the first semester I had the opportunity to primarily concentrate on research and urban scale design, this semester I looked at the project at a more detailed scale, across a smaller site. By having the established research from the first semester, I began this one with a clear understanding about the complex context of Ireland and a strong concept of how I would progress with my initial studies of the film Elephant. My final project thesis aims to realise the properties of Elephant as a new series of scenes based in the BBC Broadcasting House, Belfast. This has been an exciting end to what I feel is essentially a year-long project. I am particularly pleased about my collaged drawings, because I believe these show the essence of my project on a multitude of levels. I have become more confident in handdrawing and have enjoyed approaching the design through a new perspective; viewing both the details and moments within the building as if I am looking through the camera lens. I feel I could have improved on the sections, by adding more materiality, and by layering up more of these drawings to add further movement. It might have been productive if I had rastered these drawings onto other materials, in the same way I did with my final Semester One drawings. My investigations this semester have been more subdued than I had hoped. I would have liked to have done more physical models, potentially creating full scale devices and installations that could be experienced in

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the studio. I felt the physical space that we created for our final presentations at the end of Semester One worked alongside the studio ethos, allowing the projects to be experienced as a collective. Since this semester we have been aware that our work would be marked from an online portfolio, the outputs have inevitably been different. I feel this project would have been more compelling if there had been an exhibition to experience it. It would have been interesting to not only play the role of the director in this project, but also to have experienced the spaces as one of the characters. Unfortunately, there were multiple distractions and ongoing disturbances to my university experience this semester. The industrial action over pensions and working conditions had, at the time, substantial impact. This was later eclipsed by the upheaval caused by evacuating the studios because of the Covid19 pandemic mitigation measures. The unanticipated crises have inevitably had their consequences on the project. Paradoxically, it has been good to have a project to focus on during this period. Being preoccupied with the objects and devices in this project has been a welcome distraction which I have enjoyed. Furthermore, I have found a need to include the context that we find ourselves in within this project. The constant bombardment of consumable news throughout the ongoing crises has been hard to ignore. Similarly, the scrutiny on the BBC is ever present throughout the mainstream media sphere with attacks from all areas of the political spectrum. These themes merge throughout the project, encouraging new ways of experiencing the BBC through its architecture: public access routes into the buildings, disrupting ongoing processes, or observing them. These ideas manifest

themselves most clearly in the ‘Nudge Unit’ drawings, which were drawn in response to speculation that Downing Street was drip-feeding ‘news’ to the BBC and, hence, nudging public opinion. I hope this project can be read both in the context of 1989 when Elephant was produced, but also in that of 2020. A focus this semester on the detailed elements of the design process successfully rounds off this year in terms of aligning to the ARB criteria. Investigations into the environmental qualities of Elephant, how my structures would implement themselves in the existing BBC building, and how they would be used at a human scale, satisfy towards GC5, 8 and 9. My continuing development of design process and thesis, informed by a wide-range of sources, like semester one, illustrate my understanding of GC1,2 3 and 7. Next year we undertake a lecture course which will count towards the final criteria, as well as my work undertaken in my year out. To conclude, I am happy overall with how my project turned out. I have found it really interesting looking at the project from a different viewpoint (that of the camera), with the context of Ireland, Elephant, and the original mainstream media’s presentation of The Troubles, especially alongside our current affairs. Based on my mark of 74 for my Semester 1 project, and my continued explorations and further development, I would hope to achieve a similar, if not better, mark for this semester.

ARB / RIBA Part II Criteria

GC1 Ability to create architectural designs that satisfy both aesthetic and technical requirements. 1. prepare and present building design projects of diverse scale, complexity, and type in a variety of contexts, using a range of media, and in response to a brief; 2. understand the constructional and structural systems, the environmental strategies and the regulatory requirements that apply to the design and construction of a comprehensive design project;

GC5 Understanding of the relationship between people and buildings, and between buildings and their environment, and the need to relate buildings and the spaces between them to human needs and scale.

GC9 Adequate knowledge of physical problems and technologies and the function of buildings so as to provide them with internal conditions of comfort and protection against the climate.

1. principles associated with designing optimum visual, thermal and acoustic environments;

the needs and aspirations of building users;

2. the impact of buildings on the environment, and the precepts of sustainable design; 3.

the way in which buildings fit in to their local context.

3. develop a conceptual and critical approach to architectural design that integrates and satisfies the aesthetic aspects of a building and the technical requirements of its construction and the needs of the user.

GC6 Understanding of the profession of architecture and the role of the architect in society, in particular in preparing briefs that take account of social factors.

GC2 Adequate knowledge of the histories and theories of architecture and the related arts, technologies and human sciences.

1. the nature of professionalism and the duties and responsibilities of architects to clients, building users, constructors, co-professionals and the wider society;

1. the cultural, social and intellectual histories, theories and technologies that influence the design of buildings;

2. the role of the architect within the design team and construction industry, recognising the importance of current methods and trends in the construction of the built environment;

2. the influence of history and theory on the spatial, social, and technological aspects of architecture;

GC7 Understanding of the methods of investigation and preparation of the brief for a design project.

GC3 Knowledge of the fine arts as an influence on the quality of architectural design.

1. the need to critically review precedents relevant to the function, organisation and technological strategy of design proposals;

2. the creative application of the fine arts and their relevance and impact on architecture; 3. the creative application of such work to studio design projects, in terms of their conceptualisation and representation. GC4 Adequate knowledge of urban design, planning and the skills involved in the planning process. 1.

2. the need to appraise and prepare building briefs of diverse scales and types, to define client and user requirements and their appropriateness to site and context; 3. the contributions of architects and co-professionals to the formulation of the brief, and the methods of investigation used in its preparation. GC8 Understanding of the structural design, constructional and engineering problems associated with building design. 1. the investigation, critical appraisal and selection of alternative structural, constructional and material systems relevant to architectural design;

theories of urban design and the planning of communities;

2. the influence of the design and development of cities, past and present on the contemporary built environment; 3. current planning policy and development control legislation, including social, environmental and economic aspects, and the relevance of these to design development.

strategies for building services, and ability to integrate these in a design project.

GC10 The necessary design skills to meet building usersâ&#x20AC;&#x2122; requirements within the constraints imposed by cost factors and building regulations. 1. critically examine the financial factors implied in varying building types, constructional systems, and specification choices, and the impact of these on architectural design; 2. understand the cost control mechanisms which operate during the development of a project;

the potential impact of building projects on existing and proposed communities.

3. the application of appropriate theoretical concepts to studio design projects, demonstrating a reflective and critical approach.

1. how the theories, practices and technologies of the arts influence architectural design;

2. systems for environmental comfort realised within relevant precepts of sustainable design;

2. strategies for building construction, and ability to integrate knowledge of structural principles and construction techniques;

3. prepare designs that will meet building usersâ&#x20AC;&#x2122; requirements and comply with UK legislation, appropriate performance standards and health and safety requirements. GC11 Adequate knowledge of the industries, organisations, regulations and procedures involved in translating design concepts into buildings and integrating plans into overall planning. 1. the fundamental legal, professional and statutory responsibilities of the architect, and the organisations, regulations and procedures involved in the negotiation and approval of architectural designs, including land law, development control, building regulations and health and safety legislation; 2. the professional inter-relationships of individuals and organisations involved in procuring and delivering architectural projects, and how these are defined through contractual and organisational structures; 3. the basic management theories and business principles related to running both an architectâ&#x20AC;&#x2122;s practice and architectural projects, recognising current and emerging trends in the construction industry.

3. the physical properties and characteristics of building materials, components and systems, and the environmental impact of specification choices.

Bibliography

Adam, K. and Sylvester, D. (1999). Moonraker, Strangelove and other celluloid dreams. The visionary art of Ken Adam.

McGrath, B. and Jean, G. (2007) Cinemetrics: Architectural Drawing Today. Chichester, England: Wiley-Academy

BBC Broadcasting House, Planning Application REF: LA04/2019/1498/F (2019). Available online at: http://epicpublic.planningni.gov.uk/publicaccess/applicationDetails. do?activeTab=summary&keyVal=PTYFW7SV30000

Savage, R. (2015) The BBC’s ‘Irish Troubles’ Television, Conflict and Northern Ireland. Manchester: Manchester University Press

Bond, H. (2016). Lacan at the Scene. Cambridge: MIT Press Cairns, G. (2013). The architecture of the screen. Essays in cinematographic space. Intellect Books Ltd, 2013. ProQuest Ebook Central, http://ebookcentral.proquest.com/ lib/ncl/detail.action?docID=3014883.

Troubles Archive (2020) http://www.troublesarchive.com/ (accessed: June 2020) Arts Council of Northern Ireland Woods, L. (1993) Pamphlet Architecture 15: War and Architecture. New York: Princeton Architectural Press

Campbell, G. (2015). The BBC and the Troubles: 1968 — 1998. Ph.D. The University of Edinburgh. Diller, E. and Scofidio, R. (1998). Flesh. Princeton: Architectural Press Diller Scofidio + Renfro (2020) https://dsrny.com/ (accessed: June 2020). PARA-SITE https://dsrny.com/project/para-site , Withdrawing Room https://dsrny.com/project/ withdrawing-room , The Memory Theatre of Giulio Camillo https://dsrny.com/project/ memory-theater?index=false&sort=alphabetic&section=projects&search=memory%20 Elephant. (1989). [TV Short Film] by A. Clarke and D. Boyle. For BBC Northern Ireland: BBC. Forensic Architecture (2020) https://forensic-architecture.org/ (accessed: June 2020) Forum for Alternative Belfast (2009) https://www.forumbelfast.org/ (accessed: June 2020); Forum for Alternative Belfast: The Missing City https://www.forumbelfast.org/ cmsfiles/events/fourth/miss-city.pdf (accessed: June 2020); Forum for Alternative Belfast: The Grey Doughnut https://www.forumbelfast.org/cmsfiles/events/second/ doughnut-large.jpg (accessed: June 2020) McCloone, M. (2009). Film, Television and The Troubles: A Troubles Archive Essay. http:// www.troublesarchive.com/resources/Film_Television_and_the_Troubles.pdf (accessed: June 2020) Arts Council of Northern Ireland

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