Sherief Mohamed (2015) the Cally film school

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

SHERIEF MOHAMED SELF INITIATED PROJECT UNIT 9: PROJECT 2 STAGE 3 2014/2015

THE CALLY FILM SCHOOL

A CENTRE FOR ENCOUNTERED PERFORMANCES “WE KNOW THEM” INHABITANTS OF A COMMUNITY KNOW THE PEOPLE WHO EXIST AMONG THEM BECAUSE THERE IS A PERCEPTION OF WHAT THEY DO AND WHERE THEY ARE. THEY BECOME THE AUDIENCE TO THE NARRATIVES AND EVENTS THAT OCCUR AS A RESULT OF THE INPUT INTO THE COMMUNITY THESE PEOPLE HAVE. THEY CROSS SOCIAL PATHS AND ARE PARTIALLY OR ENTIRELY EXPOSED TO ONE ANOTHER ON A DAY-TO-DAY BASIS PROVIDING THEM WITH A LEARNED AWARENESS.

- THE SPECTATOR

“THEY KNOW US” THE COMMUNITY PERCEIVES AND RECOGNISES THE MEMBERS THAT PLAY OUT ACTS OF ‘THEIR EVERYDAY’ ON THE PUBLIC STAGE. THESE ACTORS ARE EXPOSED AND UNDERSTOOD THROUGH THE URBAN PERFORMANCES AND SOCIAL PATTERNS THAT CREATES THE SCENE IS WHICH THEY ARE BEING VIEWED. - THE PERFORMER

BY RESPONDING TO THE GOALS SET BY THE COMMUNITY MEMBERS WHO ARE DRIVING FOR THE SOCIAL REGENERATION OF CALEDONIAN ROAD, “THE ROAD THAT TIME FORGOT”, THE CALLY FILM SCHOOL INVITES COMMUNITIES WHO HAVE RESORTED TO SOCIALISING WITHIN THEIR OWN CONCEALED SOCIAL SETTINGS TO ENGAGE IN THE PRODUCTION OF FILM - DOCUMENTING THE EVERYDAY SCENES ON CALEDONIAN ROAD. THE FILM EMBRACES THE ABSENCE OF A LINEAR NARRATIVE AND STYLISES ITSELF AS AN EXPERIENCE FILM THAT PRESENTS THE COMMUNITIES AS THE SUBJECT AND PLACES THE VIEWER IN A MORE ACTIVE AND THOUGHTFUL RELATIONSHIP TO THE FILM. _THE PROJECT INVESTIGATES WAYS IN WHICH RECLUSIVE COMMUNITIES MAY BE EXPOSED TO OTHER COMMUNITIES WITHOUT SACRIFICING THE QUALITIES OF ENCLOSURE THAT FORMS THE BASIS OF THEIR EXISTENCE. THIS DRIVES THE CONCEPT THROUGH THE PROJECT – ELUSIVE EXPOSURE. _THE BUILDINGS DESIGN INHERITS NOTABLE FILMMAKING TECHNIQUES AND TRANSLATES THEM INTO ARCHITECTURAL ELEMENTS THAT INCREASE THE PERMEABILITY AND EXPOSURE OF THE DIFFERENT COMMUNITIES. THROUGH VISUAL INTERACTIONS AND PHYSICAL MEETINGS IN SPACES OF MULTIPLICITY, BOUNDARIES ARE EXPANDED AND MADE MORE POROUS. _BY PLAYING WITH THE NOTION OF SPECTATING ON THE EVERYDAY, THE BUILDING TAKES ITS FORM AS A PLUG-IN THAT WRAPS AND INSERTS ITSELF INTO TWO EXISTING SOCIAL SETTINGS, KENNEDY’S PUB AND THE TURKISH SOCIAL CLUB AND A NEW, REALLOCATED SOMALI SOCIAL CLUB. THE RESULTANT SPACES CIRCULATE AROUND A CENTRAL ATRIUM THAT CONNECTS THE FILM SCHOOL PROGRAMMES WITH THE COMMUNITY SPACES, DELIVERING EXPOSURE ON ALL FACING EDGES. _EACH SPACE WITHIN THE BUILDING WAS APPROACHED TO DELIVER A SENSE OF ENCLOSURE AND BELONGING WHERE THE BOUNDARIES BETWEEN THE PERFORMERS AND THE SPECTATORS ARE ENDLESSLY SWITCHING, CAPTURING THE PERFORMANCES AND ACTIVITIES TO CREATE A CULMINATING “WE KNOW THEM” / “THEY KNOW US” RELATIONSHIP.

RESEARCH QUESTION HOW CAN THE PRODUCTION OF FILM PLAY A ROLE IN PROMOTING THE IDENTITIES OF ‘BEHIND-CLOSED DOOR’ COMMUNITIES - NAMELY; THE YOUNG, TURKISH AND SOMALI AND HOW MAY THEIR HIDDEN PERFORMATIVE BOUNDARIES BE ‘EXPOSED’ AND ‘EXPANDED’ ONTO THE PUBLIC SPACE?

CONTEXTUAL ANALYSIS AND PROGRAMME DEVELOPMENT

JIM O’BRIEN - BAKER AT SUNFLOUR BAKERY ROLE ON CALLY ROLE - CALLY DRIVER

“The most LONDON

CAMDEN

CALEDONIAN ROAD

important thing is

As the capital of the country, London concentrates a broad diversity of communities and is the most cultural diverse landscape in the country.

Inner London has the highest non-white population in the country, with 37 per cent of residents from an ethnic minority.Many borough leaders say “the challenge now is to ensure that the different communities are able to integrate successfully”

Camden is home to a diverse variety of ethnicities and cultures. 57% of Camden’s overall population are estimated to be from a minority ethnic groups or backgrounds.

The two fastest growing ethnic communities are the Bangladeshi and Turkish groups.

Only 50% of the residents on Caledonian Road were born in England, so a large population of the residents of this area were not born in England.

the community

that we bring back spirit which Cally Road once had by engaging with the

Bemerton Estate Ethnic Minority Population: 46%

Local’s around us.”

CULTURAL SOCIAL SETTINGS ON CALEDONIAN ROAD ISSUE

Turkish Social Club Ethiopian Social Club

The vast majority of Camden has a higher concentration of Ethnic Communities than the rest of London.

SEGREGATION AND LACK OF ENGAGEMENT

POTENTIAL

Former Somali Social Club

Thornhill Square Ethnic Minority Population: 17%

This map shows areas in the capital which are above or below the average diversity for London.

PROVIDING AGENCY TO BRING THE COMMUNITY TOGETHER.

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

Statistics sources from www.streetcheck.com

N

CONTEXTUAL ANALYSIS DIVERSIFICATION OF LONDON AND CALLY ROAD

CENTRAL SAINT MARTINS COLLEGE

LADBROKES

CATEGORY Social + Economical

CATEGORY Social + Cultural RELATION TO CONTEXT New residents in the area, many of whom live in and around Bingfield/Cally road.

RELATION TO CONTEXT West Side of Cally Road, between social clubs and Tilloch Street RELATION TO OTHER ACTORS

RELATION TO OTHER ACTORS

Often cross paths with local business owners and residents of the Cally Market.

Social crossover where narratives of different communities intersect.

CALLY YOUTH

CATEGORY Social + Political + Economic RELATION TO CONTEXT Interconnected with gang culture.

Claim territory around Bemerton Estate. Produce music intended to promote the estate.

RELATION TO OTHER ACTORS

EUROCAFE

CATEGORY Social + Cultural

Negative reputation with Euro Cafe but are welcomed at Dallas Burger Bar. Hostile towards new and unfamiliar faces.

RELATION TO CONTEXT Located on the corner of Tilloch Street, the Cafe has many loyal customers who spent mornings their. It’s familiar menu attracts customers from both sides of Cally Road.

RELATION TO OTHER ACTORS Close relations to the Turkish Social Club and Andrew Panayi who invites Tennents to do paper work over breakfast at the tables.

CALLY POOL

CATEGORY Social

RELATION TO CONTEXT Host location for The West Library ‘book swap’

RELATION TO OTHER ACTORS Seeks to encourage youth of Bemerton to use the library by hosting event at the pool.

ACTORS AND NETWORKS ANALYSIS MODEL

TURKISH SOCIAL CLUB CATEGORY Social + Cultural

RELATION TO CONTEXT Located on tilloch street, it opens at 5.30PM. Members often commute here from ladbrokes

STAR CUT BARBER CATEGORY Social + Economic

RELATION TO OTHER ACTORS The club is exclusive to the Turkish community. Many residents are unaware of their presence due to the fact they remain enclosed.

RELATION TO CONTEXT The only Gents barber between The Bridge and KX RELATION TO OTHER ACTORS Social crossover where narratives of different communities intersect.

ANDREW PANAYI CATEGORY Economical + Cultural

RELATION TO CONTEXT Owner of over 250 properties along Caledonian road and the landlord to many businesses RELATION TO OTHER ACTORS Close relationship to tennants often based on respect.

Negative reputation among local authorities.

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SUNFLOUR BAKERY CATEGORY Social + Cultural

RELATION TO CONTEXT Run by Jim O’Brien, a key figure pushing for the regeneration of Caledonian road by empowering the locals RELATION TO OTHER ACTORS Connected to Sam, a member of the T.M.O who runs cally market as well as local residents. Respected among the youths

FORMER SOMALI SOCIAL CLUB

CATEGORY Social + Cultural

RELATION TO CONTEXT Since the illegalisation of Qaat, the Social Club has forfeited its premises, leaving many somali’s without a cultural base or space of leisure RELATION TO OTHER ACTORS

Teddy Cafe, the cultural base of the Ethopian Community has hosted many Somali’s since the closures.

Presence on the street have increased since last year.

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

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CONTEXTUAL ANALYSIS INFLUENCIAL ACTORS AND PLACES

Eurocafe

EUROCAFE

KINGS CROSS LAUNDRETTE Privacy 5 4 3 2 1 0

Visibility

Privacy 5 4 3 2 Visibility Eurocafe 1 0

Exclusivity

Cross Community Exchange

Ac=ve Involvement in the Area

Ac=ve Involvement in the Area

Turkish Social Club

TURKISH SOCIAL CLUB Privacy 5 4 3 2 1 0

Visibility

Ac=ve Involvement in the Area

Exclusivity

Cross Community Exchange

KENNEDY’S PUB

Privacy 5 4 3 2 1 0

Visibility

Cross Community Exchange

Ac=ve Involvement in the Area

JOE’S CAFE

Joe's Café Privacy 5 4 3 2 1 0

Visibility

Ac=ve Involvement in the Area

LADBROKES

Ac=ve Involvement in the Area

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

Exclusivity

Cross Community Exchange

Ladbrokes Privacy 5 4 3 2 1 0

Visibility

Exclusivity

Exclusivity

Cross Community Exchange

SOMALI SOCIAL CLUB

FORMER SOMALI SOCIAL CLUB

Exclusivity

Cross Community Exchange

Sunflour Bakery

Privacy 5 4 3 2 Visibility 1 Turkish Social Club 0

Ac=ve Involvement in the Area

FORMER SOMALI SOCIAL CLUB EUROCAFE TURKISH SOCIAL CLUB

Exclusivity

Sunflour JOE’S Bakery CAFE Cross Community Exchange

LADBROKES

Privacy 5 4 3 2 Visibility 1 Kennedy's 0

KINGS CROSS LAUNDRETTE Exclusivity

Visibility

Ac=ve Involvement in the Area

KIGI CAFE AND RESTAURANT

WILLIAM HILL SUNFLOUR BAKERY

DALLAS BURGER BAR

CROSSNET IT SOLUTIONS

STAR CUT BARBER

Café Terrace

CAFE TERRACE

Ac=ve Involvement in the Area

Privacy 5 4 3 2 1 0

Visibility

Privacy 5 4 3 2 1 0

Exclusivity

Privacy 5 4 3 2 Visibility 1 Meltdown 0

Visibility

Ac=ve Involvement in the Area

Exclusivity

Cro Cross Community Exchange

Ac=ve Involvement in the Area

Star Cut Barber

Visibility

Privacy 5 4 3 2 1 0

Exclusivity

Star

Ac=ve Involvement in the Area

Exclusivity

Cross Community Exchange

The Tarmon

THE TARMON PUB

Privacy 5 4 3 2 Visibility 1 Kigi Café and 0 Restaurant Ac=ve Involvement in the Area

Exclusivity

Cross Community Exchange

Post Office Privacy 5 4 3 2 1 0

THE TARMON PUB

Café Terrace Cross Community Exchange

Crossnet IT Solu.ons

Teddy Internet Café

Cross Community Exchange

Ac=ve Involvement in the Area

William Cross Community Exchange

Kigi Café and Restaurant

POST OFFICE CAFE TERRACE

Exclusivity

Cross Community Exchange

Ac=ve Involvement in the Area

Visibility Dallas Burger Bar

Ac=ve Involvement in the Area

Exclusivity

STAR CUT BARBER

KIGI CAFE AND RESTAURANT

Exclusivity

Privacy 5 4 3 2 Visibility 1 Somali Social C0 lubs

Teddy Internet Café

ICELAND

Cross Community Exchange

Privacy 5 4 3 2 Visibility 1 Ladbrokes 0

Cross Community Exchange

POST OFFICE

DALLAS BURGER BAR

Exclusivity

TEDDY INTERNET CAFE Ac=ve Involvement in the Area

William Hill

CROSSNET IT SOLUTIONS

Privacy 5 4 3 2 1 0

Iceland

Dallas Burger Bar

Privacy 5 4 3 2 Visibility 1 Joe's Café 0

Meltdown

TEDDY INTERNET CAFE

Cross Community Exchange

Ac=ve Involvement in the Area

Exclusivity

Cross Community Exchange

Ac=ve Involvement in the Area

MELTDOWN GAMING

Iceland

ICELAND

Visibility

MELTDOWN

KENNEDY’S PUB

WILLIAM HILL

Privacy 5 4 3 2 1 0

Kings Cross LundreDe

SUNFLOUR BAKERY

Kennedy's

T H E

Somali Social Clubs

Kings Cross Lundre.e

Exclusivity Post Office Cross Community Exchange

PLACES OF SOCIAL ACTIVITY TESTING INTERACTIVE CONDITIONS OF SOCIAL SPACES

The T

By relocating activity that occurs behind closed doors and implementing them into the public realm the activity becomes a ‘trade-off’ medium for social engagement.

URBAN STAGING OVERLOOKING

SPECTATE

SOCIALISE

EXPOSURE

AGENCY

BLURRING SOCIAL BOUNDARIES

TURKISH SOCIAL CLUB

PERMEATE

ASSEMBLY

SOCIALISE

SPECTATE

Despite many people walking past the Turkish Social Club on Tilloch Street daily, their presence on the street goes unrealised. Many residents are actually unaware of the Turkish community due to their lack of active involvement in the area. The Social Clubs opens its doors at 5pm and remains highly exclusive to the Turkish Community. It is a facility used to hold meetings with the local business owners.

OPEN PERFORMANCES

Creating a platform for public perfomance that will satisfy the needs of the youth to promote and provide a social status to bemerton estate.

CALLY YOUTH

SOMALI SOCIAL CLUB

N ONGREGATIO

MOSQUE C

Part of the culture among the members of the ‘Cally Youth’ is to remain subdued and to keep a low profile.

This is due to the tensions in the area and conflicts among elder members and residents.

The youth tend to occupy intersticial spaces within the estates, in the stairways and undered sheltered walkways.

LOSS OF CLOSURE PUBLIC OCCUPATION

SOCIALISE

SPECTATE

Unlike the Turkish community, the Somali Community have a strong presence on Cally Road and are easy to spot. This is due to the fact that both of their Social Clubs have closed down in the last 6 months as a result of the illegalisation of their social motive (Qaat) A local resident echoed a complaint that the Somali Community do not involve themselve in Community building insentives.

ENCLOSED COMMUNITIES FUTURE POTENTIAL

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

TRACING RECLUSIVE COMMUNITIES CONTEXTUAL CROSS-OVERS IN THE PUBLIC REALM

DALLAS BURGER BAR MOST ACTIVE: 9AM - 11.30AM ACTORS: Local tradesmen Cally youths School-run parents POTENTIAL CROSSOVER Turkish Social Club

KENNEDY’S PUB BETTING SHOP MOST ACTIVE: 3PM-6PM ACTORS: Cally youths Bemerton Elderly Fruit seller

MOST ACTIVE: 5PM - 8PM

TURKISH SOCIAL CLUB

ACTORS: Bemerton elderly Thornhill elderly Local tradesmen

MELTDOWN

MOST ACTIVE: 5PM - 12AM

MOST ACTIVE: 5PM - 9PM

ACTORS: Mehmet Turkish Community

POTENTIAL CROSSOVER Turkish Social Club

ACTORS: Local youths

POTENTIAL CROSSOVER Kennedy’s Pub

POTENTIAL CROSSOVER Meltdown (Teenage Gaming)

POTENTIAL CROSSOVER Betting Shop / Turkish Social Club

MEHMET, TURKISH COMMUNITY

C S M at cally market.

Central

LOCAL MUSICIANS LOCAL STUDENT School run parents using the Turkish Social Club?

A CENTRE FOR ENCOUNTERED PERFORMANCES

Elderly at Kennedy’s Pub joining in on the Backgammon?

C A L L Y

Youths mixing with the elderly at Kennedy’s Pub?

T H E

FILM SCHOOL

Tradesmen playing backgammon in Dallas Burger Bar?

By implementing an activity that was associated to being played indoors, out in the public space we provided reason for the Turkish community to permeate into Tilloch Street. By doing this, and breaking the barriers of their own reclusivity, they ventured on through the market, mixing with other communities.

Saint

Martins

BA Architecture Saturday 29th N o v e m b e r On Tilloch Street From 12am to 4pm To collect a surprise gift bring along this leaflet!

Site Intervention on Tilloch Street to invite members from different communities to come and help socialise the public space

EXPOSURE OF ENCLOSED ACTIVITY SOCIALISING PUBLIC SPACE

BETTING SHOP

GREASY SPOON

GROCER

KENNEDY’S PUB

TILLOCH STREET

7AM-2PM

9AM-5PM

3PM-9PM

8AM-11AM 5PM-11PM

EUROCAFE

ESTATE AGENT

SUPERMARKET

VIEW ONTO TILLOCH STREET FROM BRIDGEMAN ROAD

SITE: TILLOCH STREET MOST ACTIVE BETWEEN: 2PM-9PM

8AM-3PM

9AM-6PM

7AM-6PM

SPATIAL FLOW LINKING THORNHILL TO BEMERTON ESTATE

SITE USAGE

Kennedy’s Pub

Bemerton Estate

Eurocafe

Tilloch Street

Carnoustie Drive

Caledonian Road Bridgeman Road

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

PUBLIC CONNECTION BETWEEN BEMERTON AND CALLY ROAD

CALLY MARKET

SMOKING AREA FOR T.S.C

TERRITORY FOR YOUTH OWNERSHIP

Tilloch Street has a transient status to transport the public between Bemerton Estate and Caledonian Road. Unique from the other ‘pocket streets’ off Caledonian Road, Tilloch Street crossroads over Cally Road allowing for a line of sight between Bemerton Estate and Thornhill Square.

Relocated from Caledonian Road, the market has moved onto Tilloch Street in an effort to engage more residents from Bemerton. The market promotes and sells the produce of the locals and serves to reinstate a sense of Civic Pride.

When the T.S.C (Turkish Social Club) opens at 5pm, members of the Club permeate onto the street to have a cigerette once an hour (average). This is the only time during the evening that you can see them.

The ‘Cally Youth’ have claimed ownership over Tilloch Street after sun down and this is often a site for tensions between the youth and surrounding businesses. The Youth exploit the privacy the street provides with its ‘sidestreet’ nature.

TILLOCH STREET

SITE CONDITIONS AND USAGE

THE PERFORMER - THE ROUTE TO ENGAGEMENT As a researcher, you automatically assume the role of the spectator to your audience. To achieve cross-community interaction, it was important to understand what actions were necessary for this to happen

COMMUNITIES CALLY YOUTH TURKISH SOMALI BARBER SHOP

S - SPECTATOR P - PERFORMER

1

2 URBAN STAGING

PUBLIC OCCUPATION

SPECTATOR

S

P

TO TAKE PICTURES, WITHOUT AN EXCHANGE, KEEPS THE SPECTATOR AND THE PERFOMER SEPERATED. THIS CAUSES ANTAGONISM AND AXIETY.

S P

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PERFORMER

S

P

TO INTRUDE WITH PERMISSION, PROVIDING INFORMATION ON WHO I AM (EXCHANGING), I, THE SPECTATOR, BECAME PART OF THEIR PERFORMANCE. The experience lead to the conclusion that in order for communities to engage and cohabit the same spatial setting, a degree of exposure is necessary to achieve a mutual understanding and learned awareness.

FILM SCHOOL

WITNESS

PLATFORM TO PERFORM An intersection where the spectators are allowed to explore the performance space, by immersing themselves into their own performance.

THE CALLY BEHAVIOURAL DUALITY MEDIATING BETWEEN THE URBAN SPECTATOR WITH THE PERFORMER

INVITE THE LOCAL

MA Students will engage with the Cally Youth and teach them about Film, the medium for cultural and identity representation.

EXCHANGE

SKILLS GAINED ON COURSE MA Directing students from Central Saint Martins College in Kings Cross will collaborate as Film makers in residence and work with the Cally Youths to produce music videos and features that promote the estate and Cally road, as intended in the amateur youth footage.

SHARED OCCUPANCY AND EXPOSURE OF SOCIAL ACTIVITIES PRODUCTION

SKILLS HANDED OVER

Students work with the Youth, Turkish and Somali communities, and exhange their skills for stories and experiences. The stories may manifest into music videos for the youths to “promote the estate” and may help to materialise and celebrate the ‘behind doors’ cultures of the Turks and Somali’s.

SOCIALISE THE PUBLIC SPACE

SOCIAL PERFORMANCES

The objective is to lure the ‘behind doors’ social activity out into a cross-community exposure.

With exposed performance of these activities, a greater sense of awareness and collectivity is generated. It is a counter-move against the ‘behind closed doors’ nature of the different social groups.

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

For all three communities, spectating live sports is part of the everyday. It is a platform they have in common and a potential lure for cross-interaction.

PROGRAMMATIC AGENDA’S AND EXPECTED AGENCIES FILMMAKING AS A CATALYST FOR SOCIAL AWARENESS

EXPOSURE OF THE EVERYDAY Designing specifically placed pertrusions and extrusions in the building so that activity of the everyday can overlap, cross-community, stimulating a learned relationship.

CREATING PERFORMATIVE SETTINGS Facilities are suited for the performances of the communities to transpire without sacrificing existing qualities. For instance - A backdrop of Bemerton Estate for the Cally youth street performers.

PUBLIC AUDIENCE FOR SURROUNDING PERFORMANCES The appearance of the ‘Spectator’ is essential to the performative nature of the building. Staged seating with sight lines towards the Social Clubs and the Film School create the platform for the Spectator.

LEARN: FILM MAKING TO ENGAGE COMMUNITIES Film is the medium that materialises the relationship between the different communities. By engaging the Film Students with the Turkish, Somali and Youth communities by teaching film making skills, bridges are built.

MAN WITH A MOVIE CAMERA, DZIGA VERTOV, 1929 An experiental silent movie with no specific story or selected actors, presenting the urban life of cities in the soviet union. The Citezens, or the movies ‘performers’ are shown at work and at play, and interacting with the machinery of modern life.Vertov selects his shots from a ‘hidden’ point of view, as if the camera was lurking on the subject.

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PROGRAMMATIC CONCEPT COLLAGE A FILM SCHOOL CONFINED BY THE EVERYDAY

2015 INTERLOCKING NARRATIVES

CREATIVE FREEDOM

1920’s

1950’s

SOCIAL EXPRESSION

1920 European Avant-Garde Movement Concept that Art and Film should relate to mainstream society The birth of Dadadists and Surrealists 1927 The Love of Zero, Robert Florey

1960’s

1952 The Rise of Lettrist Film. A style that follows numerous narratives within simultaneous images where the soundtrack and the image-track would be separated, each one telling a different story or pursuing its own more abstract path.

1929 Film Director Luis Buñuel and surrealists artist Salvador Dali Collaborate in the Film ‘Un Chien Andalou’ “The film has no plot...[its a film] presenting a series of tenuously related scenes”

1920-1930 The eruption of French Impressionist Cinema. A cinematic movement defined by the “exploration of the process of representation and signification in narrative film discourse.”

1920’s

1965 Film Director Curtis Harrington who often participated on the other side of the camera is largly looked at for bringing experimental film into mainstream cinema.

His film “Voyage to the Prehistoric Planet” won international success as a short film.

1969 P. Adams Sitney coined the concept of Structural Film and was the author of many theoretical titles regarding experimental filmmaking.

The subject thus became an academic study.

1960’s

Cally Youth are taught by MA: Directing students at Central Saint Martins about Film making and left to their own devices to perform and produce experimental films and music videos with Bemerton Estate providing the backdrop.

CHARACTER SUBJECTIVITY

2010 Marina Abramovic Performs and films her Art by encouraging the audience to take part and become involved in the actual performance.

2015

CALLY FILM SCHOOL, LONDON

Her 3 month piece “The 1970’s The rise of Conceptual Artist Is Present” was documented by an Italian Art Photographer who captured each participant before publishing their portraits in a best-selling book.

1920’s

2000’s

THE GOAL IS OFTEN TO PLACE THE VIEWER IN A MORE ACTIVE AND MORE THOUGHTFUL RELATIONSHIP TO THE FILM.

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EXPERIMENTAL FILM - A TIMELINE OF EVENTS A STYLE IN FILM CHARACTERISED BY THE ABSENSE OF LINEAR NARRATIVE

CONCEPT

OBJECTS

Aperture’s in the structural make-up to produce pin point glimses of inhabitation

_ Frankfurt Airport / BRT Architects

A distortion of the human and the activity within yet providing an exposure of occupance

_ The Poetry Foundation / John Ronan Architects

_Speech Clinic / Miguel Marques

A linear sight line linking Bemerton Estate to the public performance platform

Shy profiled space to conceal behaviour and activity.

Horizontal and vertical voids to create montages and relational situations _The American Ballet School / Diller and Scofidio

EVENTS

MOVEMENTS

_ Faculdade de Arquitectura / Alvaro Siza

Strips to create positional view points to encroach on activity happening straight ahead

Dual Corridor’s linking users through visual interactions

Turkish communities smoking intervals. Permeating the shared space while feeling as though its their own.

Merging implemented activities with those of the Everyday.

Visual meetings in setting’s of social crossovers.

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

ELUSIVE EXPOSURE CREATING PARTIAL PERCEPTIONS OF USER INHABITANCE

FRAMING

RULE OF THIRDS

In Film, framing is the presentation and positioning of visual elements in an shot, especially the placement of the subject in relation to other objects. It is often used to emphasise a relationship

between the body and surrounding material elements. Frames break up a shot or a scene, so that certain parts become forefront and stand alone.

DEPTH OF FIELD

A technique used to emphasise the subject by juxtaposing it next to something else. This view typically shows the entire object or subject and is usually intended to place it in some relation to its surroudings whilst exposing the course of the scene or the activity over a wider spatial perspective.

LINE OF SIGHT

In Film, this technique is used to create different exposures of diifferent subjects from the same view point perspective or camera position. Similarly, in Architecture, the technique is used so that multiple elements, scenes

We often see this technique used in film to emphasise a direction or a path.

Its a way the viewer can foresee what will happen or where the next scene will take you. Similarly In Architecture, Line of Sight may mean certain tectonic elements are used to compress the impression of the building to eye level emphasising

or actors can be viewed from the same position within the building creating a sense of depth and heirarchy.

openings and thresholds as destinations. This eliminates distractive elements that may obsure the ability to clearly see between thresholds.

DEPTH OF FIELD FRAMING

LINE OF SIGHT

RULE OF THIRDS

Frames may be used to divide and sequence the space into numorous scenes and social performances.

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

INHERITED FILMMAKING TECHNIQUES TRANSLATING MEDIUMS : FILM - ARCHITECTURE

RULE OF THIRDS Views upwards towards 3 filmmaking classrooms where performances contained with the glass constructed walls are overlayed to create a montage of activy happening simultaneously.

FRAMING

FRAMING

LINE OF SIGHT By use of compression, emphasis will be on retaining the visual connection between Cally road and Bemerton Estate. Distractive elements will be removed out of sight to not obsure the ability to see clearly across the promenade.

American Ballet School / Diller and Scofidio

Suspended glass classrooms with vertical voids into Kennedy’s pub inducing an interacting between the scene in the pub with the performances in the classrooms.

Creating a sequencial scene where social activity and performances are divided by blade structures that pertrude outwards creating a narrower view from an off-perpendicular angle, while also tectonically merging with the promenade symbolising the everyday.

Archaeology Museum of Vitoria / Francisco Mangado

Blurring Boundaries / UTAA

Implementing structures that cross spatial and programmatic boundaries, intersecting social groups to create and frame specific activity from certain points as you move around the space.

1

Retaining the view and flow linking the threshold of Bemerton Estate, across Cally Road, to Bridgeman Road.

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2

Creating a facade system that narrows and limits the views into the building from particular view points.

3

Reducing exposure into the building by panning around the facade on Carnoustie Drive.

TESTING CONCEPTS THROUGH MODELS CONTROLLING DEGREES OF EXPOSURE

1

2

RETAINING EXISTING SITE AXES

By Identifying the roles of Tilloch Street to transport the flow of pedestrians to and from Bemerton Estate, whilst providing a line of vision connecting the threshold to the estate with Thornhill, and Carnoustie Drive as a ‘Buffer’ before Cally Road, it is important the intervention creates new site axes and doesnt obstruct the existing.

PLUG-IN INTERVENTION An important conceptual feature of the proposal is that the Film School meshes with the Everyday Activity occuring in Kennedy’s Pub and both the Turkish and Somali Social Clubs as a whole. The ‘Film’, produced by the Film Students, or the ‘Spectator’, manifests itself as an exchange with the different communities, or the ‘Performers’.

3

CONSTRUCTING TWO FORMAL FACADES The role of the facade on the East and West Sides of the proposal are key and both differ. Implementing a fomal facade on Carnoustie drive will highlight the building in a context where there are no front facing facades. The job of this particular facade is to limit exposure to the threshold at bemerton estate and to create familiar volumes for Youth inhabitation.

4

INDUCE PUBLIC FLOW The Proposal features a public promenade that shapes itself as a continuation to the surrounding streetscape allowing for a merge between the life of the building and the life of Caledonian Road. By raising it 1 level, eye sight is compressed to reveal the threshold at bemerton estate as a destination. By Chamfering the lower ground entrance, the south facade of Eurocafe becomes a horizonal axis to divert flow into the central space.

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VOIDS TO ACTUATE INTERACTION By creating an atrial relationship between The Film School and the places of social activity, visual interactions occur creating an awareness and a learned inter-relationship between communities. It also allows for programmes such as Film Classes to cross over with public spectating seats.

Turkish Social Club Kennedy’s Pub

Tilloch Street Public Space Eurocafe

LOCATE SOCIAL SETTING

EXPAND SOCIAL AND PUBLIC BOUNDARIES

CREATE GROUNDS OF MULTIPLICITY

INTERWEAVE SPACES

CONTINUOUS CIRCULATION

Defining the proposal on Tilloch Street, a public interface that disects two social settings.

Overlapping programmes and flows to socialise the public space and expose internal activity.

A social lure to invite community members to perform in the public space and engage with other communities.

Architectural strategies to create visual interactions by punching volumes into openings.

Linking grounds of the building by retaining a flow that allows for an unobstructed flow around the building.

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DEVELOPMENT OF SITE INTERVENTION

CONCEPT

PROPOSAL

1:100 Site Model

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URBAN STRATEGY THE BUILDING AS AN URBAN CAMERA

2 x SOUND SUITE PRESENTATION MEETING ROOM

2 x EDITING SUITE

FILM MAKING CLASSROOMS

SOMALI SOCIAL CLUB

VIEWING PLATFORM - CAFE SEATING

CRAM Foundation / Hidalgo Hartmann Arquitectura TURKISH SOCIAL CLUB PUBLIC SEATING - FILM SCREENING

Creating partial exposure while providing an enclosed space for the turkish community.

EUROCAFE

KENNEDY’S PUB

Compressive Elements to reduce the line of sight to eye level and emphasise the threshold at Bemerton Estate as a destination.

Nordic Venice Pavillion / SVERRE FEHN

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1:50 MODELLED PROPOSAL SPATIAL STRATEGIES

CARNOUSTIE DRIVE

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12 7 16

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8 17

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1 Main Public Entrance 2 Side Entrance to Kennedy’s Pub 3 Secondary Social Club entrance 4 Kennedy’s Smoking Patio - Intermediate Ground 5 Snooker table 6 Access to Film School - Classrooms 7 Back Entrance/Exit Kennedy’s 8 Public Seating - Spectator Platform 9 Visual Link to Eurocafe Kitchen

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4

10 Turkish Social Club Entrance 11 Turkish Social Club 12 Intermediate Ground - Social Club/Promenade 13 Main Bemerton Entrance 14 Second west Bemerton Entrance - Social Club Entrance 15 Turkish Social Club outdoor Garden

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2

16 Raised ground with axes permeating from social settings 17 Installed public seating to socialise the public space Scale 1:100

1

CALEDONIAN ROAD

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GROUND AND PUBLIC FLOOR PLAN PERMEATED AND EXPANDED BOUNDARIES

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2 10

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8 1 2 3 4 5 6

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Landing between Film Classes + Somali Social Club Classroom #1 Classroom #2 Viewing Box over Promenade Outreaching Viewing platform over Cally Road Scene - South Viewing platform over Cally Road Scene - North

7 Somali Social Club outdoor Patio 8 Snooker Table 9 Social Club Kitchenette 10 Somali Social Club Scale 1:100

5 6

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FIRST FLOOR PLAN PECIEVABLE DIALOGUE BETWEEN PERFORMER AND SPECTATOR

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1 Landing to Film Editing Level 2 Viewing Box performing as a Buffer onto Carnoustie Drive Scene - North 3 Glass Floor Sequenced by lower level blades 4 Editing Suite #1 5 Editing Suite #2

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6 Musical Setting with Bemerton Backdrop 7 Sound Suite #1 8 Sound Suite #2 9 Presentation Room - Meeting Room 10 Viewing platform on Caledonian Road Scene - South Scale 1:100

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SECOND FLOOR PLAN FRAMING EXTERNAL SCENES

EXISTING SITE ELEVATION

MATERIAL SAMPLES

CONCRETE CALM RESIDENCE / APOLLO ARCHITECTS CONCRETE - GLASS PROPORTIONALITY

LONDON STOCK BRICK

CONCRETE

GLASS

GLASS

GLASS

CONCRETE

CONCRETE

STEEL WORK

STEEL WORK

RENDERED CONCRETE SKIM

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1:100 ELEVATION CALEDONIAN ROAD

CONTEXTUAL AXIS BRICKWORK

GLASS

CONCRETE

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To complement the surrounding facades around Tilloch Street. Within the interior spaces, brick is used as a way of disguishing whats existing from whats new. The surfaces where it is implemented are chosen so that the building has a natural merge with the surrounding.

The material than mediates interaction between different communities due to its translucent properties. In this case, structural glass in used on the western facade to create a screen where Bemerton Estate is a backdrop for the internal space.

Concrete provides emphasis on the different volumes and flows that make up the building as it does not distract from the form and its proportions.

A spatial and visual dialogue between two thresholds - Bemerton Entrance and the West Entrance.

1:100 ELEVATION CARNOUSTIE DRIVE

North - South Section T H E

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1:50 STRUCTURAL SECTION PERMEATED AND EXPANDED BOUNDARIES

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1 Kennedy’s Pub 2 Vertical Void 3 Viewing Platform into Somali Social Club 4 Sound Studio #2 5 Presentation Room 6 Sound Studio #1 7 Air Flow Escape (Thermal Buoyancy) 8 Elevated Walkway 9 Editing Suite #1 10 Somali Social Club 11 Entrance to Turkish Social Club

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3 2 10

North - South Section

11 1

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1

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1 Kennedy’s Pub 2 Classroom #1 3 Classroom #2 4 Presentation Room 5 Sound Studio #1 6 Youth Performance Space

3

East - West Section

1:100 SECTIONS VERTICAL VOID SPACES AND SHIFTING LEVELS

FRAMING SOCIAL ACTIVITY Volumes that extrude from the Film School align with blades that punch out over the public promenade, creating a visual relationship between specific moments across both social programmes. In this case, actors standing in the central viewing screen have a view across 2 levels, with a wide angle view of the elevated walkway and a fragmented view of the somali social club.

MOMENT ONE: Filmmaking Classroom - Entrance to Somali Social Club MOMENT TWO: Central Viewing Screen - Snooker table (Social Activity) Disected plan showing internal and external views created by dividing blades, extrusions and directed fenestrations.

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INTERWEAVING SOCIAL ACTIVITY BY FRAMING VIEWS EXPANDING SOCIAL BOUNDARIES

The Elevated Walkway connects the Sound Studios to the Editing Suites. The extruded blades that sequence activity in the Somali Social Club below also provide depth to the walkway by being visible through the structural glass floor. Views up from the street level can be seen of people walking past into the suites.

EDITING SUITES

+9 meters

+4.5 meters

FILMMAKING CLASSES

SOMALI SOCIAL CLUB +3 meters

By channelling the visual interactions between different social programmes, boundaries are being blurred and spaces that are enclosed and ‘reclusive’ become spaces that are learned and exposed.

The actors who occupy the spaces become actors that ‘We Know’.

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

ORCHESTRATING VISUAL DIALOGUES EXPANDING SOCIAL BOUNDARIES

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FILM SCHOOL A CENTRE FOR ENCOUNTERED PERFORMANCES

SOCIALISING THE PUBLIC SPACE

EXPANDING SOCIAL BOUNDARIES