cinémethods reflective diary DR. hamid Khalili PROF. richard koeck
T E A M B RION O’REILLY A SHNI PATEL R ACHEL CUMMINGS S IAN OPIE
liverpool university school of architecture ARCH520 DESIGN METHODS
CINéMETHODS CINéMETHODS
02/10/21
assigned to studio
weekly objectives Conduct some preliminary research into Video Essays, and observe particular precedent studies: • List the features of the video essay genre • Think about the notion of ‘architectural video essay’ - the features it should have, sources/ resources it should/can use, its visual language, visual-cinematic techniques it can borrow from video essays in other fields • Watch: ‘Wisecrack’, ‘Nerdwriter1’, ‘Now You See It’, ‘Every Frame a Painting’, ‘School of Life’
03/10/21
group RESEARCH
04/10/21
DISCUSSION with tutors
WEEK ONE THE VIDEO ESSAY
REFLECTIVE DIARY
‘Ozu and the Tatami Culture’, Hao Lin
ELEMENTS OF A VIDEO ESSAY Video Essays are a relatively modern way to convey information. They adopt a similar structure to traditional essays in that they aim to advance a particular argument, though they take advantage of the moving image to portray points. The medium has been popularised by YouTube and other video-sharing platforms. Features of a video essay include the following: • • • • • •
A clear topic An argument/stance Visual elements (film footage/images/diagrams) Audio elements (spoken commentary/sound effects/music) Distinct and prompt transitions to manage time and maintain interest A concluding statement
CINéMETHODS
‘Noam Chomsky - The 5 Filters of the Mass Media Machine’, al jazeera
‘Timo Werner - What Makes The RB Leipzig Speedster So Good?’, Bundesliga
‘Béla Tarr | Transcending The Void’, Alpha-Alpaca-Pack
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PRECEDENTS Although video essays are a growing form of information consumption, viewing precedents aided our team’s ability to recognise their distinct features. Indeed, it became apparent that video essays are utilised in numerous ways, and are not limited to finite genres. In actuality, video essays are used to analyse and explain a plethora of subjects, from social politics, to sports, to cinematography. It is notable that the majority of these precedents were viewed on YouTube - a platform that has only existed for the last 1.5 decades. This presentation form will therefore be a neoteric design research method, that breaks away from more traditional forms of architectural representation.
CINéMETHODS
2d animation
motion diagrams
sequential analysis of large drawings
archival footage
animated collage
textual information
information overlays
3d models/animation
REFLECTIVE DIARY
VIDEO ESSAY TECHNIQUES 2D animations give the viewer information in the form of a story rather than raw data. This therefore makes the essay more engaging, whilst also breaking down complex ideas into an easilydigestible form. This video essay technique can be achieved both digitally and in real life through the use of stop motion animation.
Motion diagrams are significantly more complex than animated collages and information overlays. They can be used to explain detailed points and bring otherwise-dull elements to life. This technique requires planning to ensure every idea is clearly conveyed. Each moving element in the diagram must be separated into its own layer on Adobe Photoshop. This allows them to be manipulated individually in After Effects.
Video essays can centre around a single, diagrammatic poster, which features the entirety of the video essay within its contents. The length of the video largely comprises of a breakdown of the poster - moving between close up sections and explaining each in detail. By its very nature, the video essay is comprised solely of one drawing, therefore reducing the time spent animating multiple elements.
Use of stock and archival foot is a common technique in video essays. This method of conveying information is one of the most simple, however it is also highly effective. The moving image allows us to absorb information with less focus than other mediums, therefore making it a strong form of presenting data.
Animated collages are simplified off-shoots of 2D animation. This technique is quicker and easier to produce, and can be used to add a sense of dynamism and life to the essay. Individual components can be created in multiple different mediums, providing that they can be converted into a digital image with transparent background.
Supporting quotes and information are sometimes highlighted in text format to highlight an essential point. The background image should be minimal in terms of visual impact to encourage a viewer’s attention on the text. It is essential that the words presented on-screen do not clash with those spoken during the commentary, as this may confuse the viewer.
Taking a stationary or moving image and overlaying layers of information ensures visual consistency within video essays. Multiple points can be clearly and efficiently be presented through this method. This technique is relatively simple to produce, and can be achieved in Adobe After Effects or Photoshop.
Perhaps the most intrinsically architectural form of presenting information is via a 3D model. These can also be used in video essays, and are often manipulated to convey a multitude of points about one specific object. This technique can be particularly time-consuming, however once the model is created it can be used repeatedly throughout the video essay.
CINéMETHODS CINéMETHODS
04/10/21
given studio BRIEF
weekly objectives • Read through the CinéMethods brief and highlight areas that may require clarification • Research architectural competition past entries and winners • Identify a potential design research topic
06/10/21
discussion with tutors
07/10/21
competition research
08/10/21
group DISCUSSION
10/10/21
research topic identified
WEEK two design research topic
REFLECTIVE DIARY
‘When The World Became A De Chirico Painting’, nerdwriter1
initial concepts The initial research topic our team considered pursuing was inspired by ‘When the world became a De Chirico painting’ - a video essay by Nerdwriter1. In this essay, it is explained that De Chirico, an Italian artist, produced paintings that took elements from reality, but were altered to suit his impression of the space. Therefore, it was suggested that our research topic could extend this notion into the architectural realm, and investigate how perspective can formulate diverse comprehensions of space and architectural language. Upon reflection, the direction of this potential research topic was shown to be too complex, and may even be unsuited to the video essay format given its unconscious and intangible nature. Though the relationship between the human senses and architecture has been previously documented by philosophers such as Juhani Pallasmaa, the psychology behind perception and its influence within the architectural realm is intricate, and perhaps too convolute to follow for this design research topic.
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‘a year without winter’,
fairy tales competition 2020, first prize
‘Outlines of nuclear geography’,
architizer one drawing competition 2021, first prize
‘recycle build brazil’,
world architecture festival, 2019 first prize
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architectural competition entries In order to gain an understanding of successful design topics, our team began researching architectural competitions and their winning entries. Quickly, it became apparent that each of the most successful pieces has an element in common - a strong architectural relevance and urgency. For instance, the 2020 winner of the ‘Fairy Tales’ competition questioned climate change with a conceptual piece entitled ‘A Year Without Winter’. Similarly, the 2021 winner of the Architizer ‘One Drawing’ competition chose to question the use of nuclear energy with their piece entitled ‘Outlines of Nuclear Geography’. The design research topic must therefore strive to highlight or investigate a topical, relevant issue.
CINéMETHODS CINéMETHODS
11/10/21
group research
weekly objectives Presenting your potential design research topic. This presentation had to include the following deliverables: • Topic and context: what is your thesis manifesto is about (and its context)?
13/10/21
presentation to tutors
14/10/21
group reflection
17/10/21
architectural links identified
• Medium: how are you going to present your manifesto through an architectural video essay? For example, what type of video essay? What is your visual language? What techniques are going to be used? Key elements, visual language; techniques? • Significance: why is this manifesto (and your thesis topic) a critical issue to be addressed (for both theory and practice of architecture)?
WEEK three architectural relevance
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hypothesis: panic buying and its architectural ramifications The topic we have chosen to explore as our potential design proposition is Panic Buying. Panic buying is defined as:
“the action of buying large quantities of a particular product or commodity, due to sudden fear of a forthcoming shortage or price rise”. This is a topical phenomenon that has been recently highlighted by the ongoing global pandemic, though its occurrence has been recorded throughout history. The act of panic buying occurs most notably in times of crisis, and has ramifications that extend into the architectural realm. For our design research, we hope to represent the issue through a story that highlights this grotesque reality we are living in, and the consequences of our actions. The act of panic buying may not be an inherently architectural problem, however there are spatial, urban and social effects to these actions. The very act of panic buying highlights a systemic problem, prior to and after the act. Our objective is not to necessarily solve this issue but to identify and potentially ask the right questions about the problem.
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Fuel shortages and media
EXPECTED FUEL CYCLE
Expected fuel cycle
Relentless news reporting
car owners act on impulse
!
!
!
+weekly
Normal refuel schedule cannot meet demand
AUGMENTED FUEL CYCLE
Augmented fuel cycle
widespread lack of fuel
+
ANTI-SOCIAL BEHAVIOUR
second-hand trading
stock-piling + hoarding
retail workers adopting crowd management roles
REFLECTIVE DIARY
precedent analysis: fuel shortage, uk Our investigation into the topic of panic buying began with research into precedents. Arguably, the most recent example is the current fuel supply issue, which made headlines in Dorset and throughout the UK. The public engaged in panic buying fuel, which catalysed a shortage on a national scale. As a direct consequence of this, school dinners in Lancashire were affected by lorry driver shortages, as they could not obtain the fuel needed to utilise the vehicles. Comparable occurrences are present across the entire country, and as a result, our team feels that the importance of this topic has never been more relevant. In the adjacent example of a typical fuel purchase, it is demonstrated that the transaction begins when the customer is low on fuel, and ends with the customer having received fuel from the petrol station. However, when media coverage of a potential fuel shortage is introduced, customers then act on impulse and purchase more fuel, despite not necessarily requiring it. This leads to a widespread lack of the product, when normal refuels cannot meet the demand of the panicking public. As a result, the advertised fuel shortage becomes a reality, and panic buying becomes a reality. The changes In people’s behaviour during these scenarios is highly evident, and the way in which space is used is abnormal. It could be said that, during panic buying, societal restraints become overwhelmed, and we observe a regression into a simpler, more primal state. Notable consequences include: • Cases have been witnessed where fuel became a currency in itself, being traded and played for amongst drivers. • Shop assistants took on new roles to manage the rapid influx of people, all with the aim of boosting efficiency of the refuelling and get drivers to move on at a higher rate. • High stress and fraying tensions lead to multiple incidents of antisocial behaviour, such as fights and verbal altercations. • Many people took the opportunity to fill extra containers of fuel, in doing so preventing other drivers from filling up later on. This hoarding behaviour compounds the issue meaning it takes longer for the system to normalise.
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architectural relevance The topic of panic buying resides within a larger architectural discourse. Fundamentally, the act of panic buying is a breakdown within the consumer industry, which extends from the immediate scale of the supermarket shelves, to the global produce supply chains. When panic buying occurs, the consumer industry is no longer catering to a public it was not designed for. As a result, problems within the spatial and urban design are introduced, and architectural ramifications begin to emerge. Areas in which the consumer industry most notably fails to accommodate panic buyers occur at distinct nodes. The supermarket typology resides at the centre of these pressure points, though the surrounding urban, national and global scales are also affected by the phenomenon. Deliveries, products and customers all converge in a large number on these spaces causing chaos when a surge occurs. We will refer to these nodes as ‘Centres of Chaos’.
‘centres of chaos’ These ‘Centres of Chaos’ will be utilised as a visual and representational example of the architectural ramifications of panic buying. Essentially, these nodes define the areas in which panic buying most notably occurs, and demonstrates that the problem is not limited to the immediate scale that we observe, but is in fact influence by urban design, national transportation links, and global supply chains.
CINéMETHODS CINéMETHODS
18/10/21
after effects research
weekly objectives Present Phase 1 findings as a critical review:
19/10/21
compiling presentation
• Visual Presentation(Slideshow/animation,organised catalogue,/inventory of findings:diagrams, collages case studies, references) • Present possible research by design hypothesis • Research questions and their relation todesign issues (diagrams, collages, clips) • Summary of relevant studies (bibliography,case studies, precedents that highlight either thematic or methodological approach)
Guest lecture by Nick Stath regarding the relationship between architecture and film
20/10/21
phase 1 - critical review
21/10/21
guest lecture by nick stath
WEEK four methodology
REFLECTIVE DIARY
phase 1 critical review: reflection Upon reflection, the phase 1 critical review was received positively - it was highlighted that the potential design research topic of panic buying was interesting, and highly relevant to the current social climate. Indeed, further investigation into the architectural relevancy of this subject matter is required. It was suggested that an area of focus could be the living element - how the consumer is effected by panic buying once they return home. Additionally, it was noted that our research would benefit from a theoretical underpinning; we should strive to support our arguments about spatiality and urbanism, with philosophical references. Subsequent to our presentation discussion, we were shown the video ‘Hyper Reality’ by Keiichi Matsuda - a provocative and kaleidoscopic new vision of the future, where physical and virtual realities have merged, and the city is saturated in media. This short film inspired our team to imagine the dystopian ways in which panic buying could dominate our future, and sparked potential thesis ideas. Similarly, ‘Urban Below’ by Han Wu speculates how the space below bridges might be utilised in the future. This atmospheric short also intrigued our team, and encouraged us to look into Unreal Engine as potential software for our thesis project.
CINéMETHODS
‘adobe after effects’, screenshot of program layout
REFLECTIVE DIARY
‘‘Only film can make the new architecture intelligible’’ - Sigfried Giedion, 1941
video essay as a tool for design research As part of Cinémethods, our group has been challenged to employ a cinematic approach to our design methodology, and ultimately use the moving image as a representational design tool. As a result, our methodology is defined by the task of making our architectural ideas comprehendable through the medium of film. Arguably, this somewhat unconventional approach to research representation will allow us to communicate architectural atmospheres and analyses in a way that extends beyond the boundaries of traditional plans and sections. Following the technological advancements of the 21st century, architectural films, video essays and animations have become popular methods of a approaching design representation. It is therefore our aim to utilise filmic tools to comprehend, dissect and communicate design ideas. This will be achieved via the use of Adobe After Effects - a film and animation-based software that allows the manipulation of footage and elements within a frame. From this tool, a video essay shall be formed.
CINéMETHODS
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the relationship between architecture and film guest lecturer: nick stath Conceptual art designer, Nick Stath, explained the important and ever-growing relationship between film and architecture. Indeed, the use of film and a representational design tool has existed for decades, though the advancement of digital technology has opened new doors for the process.
“The image can capture the attention of the viewer in 3 seconds, the moving image even less.”
Nick walked our team through the techniques he utilises within his architectural concept designs. Notably, the importance of proportion cannot be underestimated, as the scale of elements in comparison to each other can significantly alter the mood of the image. Similarly, the composition of the image and camera placement can also inspire varying ambiances. These same rules can be applied to our video essay. We must consider proportion, tonality, and how the camera pans through each image. These techniques will alter how the viewer perceives the information presented, therefore these elements are crucial to implement.
CINéMETHODS CINéMETHODS
22/10/21
26/10/21
workshop introduction ‘HISTORY WHISPERER’ EXPERIENCE
MONTAGE
weekly objectives
• To be familiarised with the basic skills necessary to work with digital moving images in the context of architecture. The course will help identifying and demonstrating ways to expressively narrating 3D space and enable participants to deploy appropriate screen language to effectively communicating architectural concepts/research through the medium digital film. • To test the hypothesis/ ideas identified in Phase1
27/10/21
DOCUMENTARY ACTION IN SPACE
29/10/21
FILMIC ESSAY
03/11/21
phase 2 - critical review
WEEK five [part one] workshops ‘CineTecture’ by Monika Koeck
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CINETECTURE WORKSHOP ‘CineTecture’ is the combination of cinema and architecture, and it explores cinematic approaches as a way of expressing and narrating a three dimensional space. In this workshop, the objective is to utilise various cinematic tools as a way to effectively communicate the spatio-temporal dimensions of a place, whilst also relating the narrative to our team’s design research topic.
CINéMETHODS
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‘THE HISTORY WHISPERER’ EXPERIENCE As an introduction to the workshop, our team was immersed in the narrative space of ‘The History Whisperer’ - an interactive exhibit at St. George’s Hall, Liverpool. The moving images created for this exhibit were produced by the workshop lead, Monika Koeck. As a consequence, this exhibit allowed detailed insight into the world of architectural film-making, and formulated a solid foundation for our CineTecture studies. The experiential journey into the cells of St. George’s Hall followed the story of a young girl and her experiences with the harsh judicial system that existed in Liverpool until recent decades. Elements of this exhibition included interactive walls, cinematography, and the blending of space and projection.
CINéMETHODS CINéMETHODS
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EXERCISE ONE - ‘MONTAGE’ The first exercise in the CineTecture workshop taught our team the fundamentals of Montage - a cinematic technique utilised to capture the essence and atmosphere of a space. Wanting to ensure a link between our design research and our workshop tasks, our team decided to portray the notion of a dystopian near-future, in which panic buying has been taken to new extremes and the urban landscape is a hell-hole of theft and desperation. For this concept to work, we chose a location that had an existing atmosphere of dread and abrasiveness. This alley-way is situated on the periphery of a Tesco Express, which would allow us to film potential panic-buying scenes at later stages. The exercise itself involved filming the space with particular types of camera shots (camera static, pan/tilt, wide, extreme close-up), and then collecting and editing the footage into a sequence. The images chosen and the order in which they were placed would alter the perception of the viewer. In order to portray our chosen narrative of a near-future dystopia, the grotesque elements of the alleyway were highlighted and the sequence in which they were edited built an uncomfortable tension through the use of building music. From this exercise, it became apparent that the tone of a film can be entirely altered based on the way certain shots are framed and what order the montage is placed in.
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EXERCISE TWO - ‘DOCUMENTARY + ACTION SHOTS’ The second exercise in the CineTecture workshop involved two elements DOCUMENTARY: for this part of the exercise, the objective was to observe action within a space. This was achieved via the continuous filming of one shot - then simply editing out parts to create a documentary. The action our team chose to shoot was buying the last pack of toilet paper from the local Tesco Express. We each adopted differing roles - a director, an actor and a cinematographer - in order to formulate the shot. Consideration was to be made to where the camera was placed, which angles the camera was shooting, and cutaways for edit points. Crucially, the camera had to be as unobtrusive as possible.
ACTION IN SPACE: The second part of the exercise was based on the ideology of capturing the journey of a protagonist. This differs to the documentary technique, as the action is rehearsed, and filmed using multiple shots. Because of this, a camera strategy had to be pre-determined, so our team created several storyboards and a list of camera shots. Once again, the protagonist of the piece is seen buying the last pack of toilet paper from the supermarket, however in this exercise, the character is followed and eventually attacked. As a result, the dystopian narrative our team aimed to present begins to take shape.
CINéMETHODS
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EXERCISE THREE - ‘FILMIC ESSAY’ The objective of the final exercise was to produce a short filmic essay, which combined all the techniques and skills our team had learned throughout the workshop. The emphasis for this exercise was therefore placed on the editing element of film-making, as the majority of the moving imagery had already been captured on camera. The workshop introduced us to ‘Adobe Premier Pro’ - an exhaustive video editing software. and it was utilised to create each of the videos our team presented. With guidance from Monika, editing techniques such as filters, sound effects and transitions were implemented over the existing footage, and the final filmic essay was produced. In this essay, our previous exercise are interwoven, to create a narrative that depicts the essence of a space, whilst also following the actions of a protagonist. Combined, these techniques formulated a coherent story.
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PACE:
Sets the tempo of the story and focusing on the protagonist’s footsteps as she moves into the alleyway
RHYTHM:
Unconsciously following the patterns within the space creates a never-ending feeling to symbolize the endless road the protagonist is walking down
LIGHTING: The darkness of the space contrasts against the bright sky, creating a sense of being trapped SOUND:
Captures the ambience and involves the hearing sense. This allows the viewer to connect better with the atmosphere and happenings of the space
Shadows: Subtly hint at an occurrence, without being explicit scale:
Highlight the oppressing structures and intimidating nature of the site
UNKNOWN CHARACTER PERSPECTIVE
close-up shots
REFLECTIVE DIARY
COLOUR FILTERS
START ENDING
CINEMATIC TECHNIQUES Throughout the short filmic essay, several cinematic techniques were utilised in order to convey the conceptual narrative of a dystopian near-future, in which panic buying dominates urban landscape. The introduction of an antagonist allowed our team to film voyeuristic-style shots from the perspective of an unknown character. This gives the impression that the main protagonist is being watched, therefore evoking feelings of threat and mystery whilst also hinting at the concept of uninhibited surveillance. Secondly, the use of ‘close-up shots’ allowed us to remove the face of the protagonist and focus on other parts of her movements. This builds suspense, whilst also allowing the viewer to project themselves onto the character, and leaves certain images to their imagination. One of the final effects that was implemented was colour theory. At the start of the finalised film, warmer, more vibrant tones portray a sense of comfort and security. However, once our protagonist enters the alleyway, the palette shifts to cooler tones to reflect the darker nature of what occurs at the end of the film.
CINéMETHODS CINéMETHODS
25/10/21
26/10/21
workshop introduction cartography
geocoding joins and buffers
27/10/21
vector spatial analysis
28/10/21
raster spatial analysis slope, contours, floodplains
29/10/21
03/11/21
weekly objectives By the end be able to or professional using spatial be able to:
of this workshop, students should apply GIS tools in a research setting to answer basic questions data. In particular, they should
• find or generate relevant spatial data • identify the specific strengths and limitations of these data • link non-spatial data with spatial features • visualize spatial data in maps, cartograms, and other formats • transform spatial data using vector and raster geoprocessing • perform statistical and network analysis using pre-existing software tools • present results of their analysis in visual format.
network analysis
phase 2 - critical review
WEEK five [part two] workshops ‘gis, data visualisation’ by dr. david lee
REFLECTIVE DIARY
‘Principles of Geographical Information Systems’, Burrough, P. A.
GIS WORKSHOP The main objective of the QGIS workshop was to test and explore correlations between different areas at a national scale. This began by collecting data sets related to the UK. Ideally, our group would have had access to consumer buying data directly from supermarkets so that we could analysis buying habit during a panic buying episode. However, these data sets are valuable and cost money to access. Instead, our area of research was broadened to accommodate the datasets that were available. This meant analysing the economy of the UK - specifically, changes in infrastructure between the 2016 EU referendum and today. ONS and Gov census data were the primary datasets used. These provided location and point of interest data for millions of different locations around England. Picking up on the changes in areas like energy and resource production, our team can draw conclusions on economic shifts that may be influencing the various supply shortages and the country. Maps that convey a growth in a certain areas like petrol stations compared to their population give an indication into the populace’s reliance on that resource. Drawing correlations between this proved difficult but it the workshop provided a platform from which we were able to add a spatial element to our investigation.
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04/11/21
phase 2 - critical review feedback
weekly objectives Defining the methodology through design tests, using the acquired information and techniques-Production of analytical projects using various mediums they acquired during the workshops-Concluding the experiments in the form of a research by design plan, reintroducing their hypothesis
05/11/21
group discussion: reflection
06/11/21
theoretical underpinnings research
07/11/21
theoretical underpinnings research
WEEK six theoretical underpinnings
REFLECTIVE DIARY
phase 2 critical review: reflection Overall, the phase 2 critical review was received very positively - our workshop lead, Monika Koeck, was enthusiastic about our finalised short film, and praised the stylistic choices that were made to build tension and evoke a sense of dread. Similarly, the cinematic explanation was well-received, and the small investigation into colour theory was appreciated. Upon reflection, the positive response to our film workshop demonstrates the importance of planning the cinematic language of our video essay, and implementing the features we have learnt into our final presentation. Furthermore, the videos produced from this workshop allowed our team to consider the direction of our thesis - perhaps we would like to further explore the concept of a dystopian future, in which panic buying has had an enormous social and architectural impact?
CINéMETHODS
An artist’s conception of the unbuilt Lower Manhattan Expressway, a mostly-elevated highway linking the Williamsburg Bridge, Manhattan Bridge, and Holland Tunnel that New York came perilously close to building.
REFLECTIVE DIARY
URBAN THEORISTS When examining the arrangement of cities, it is helpful to first look at the work of urban theorists. Jane Jacobs was a highly influential journalist and writer on urban development during the 19th century. She famously rose up to fight against the development agenda of Robert Moses, a well established public official in New York. Moses believed that traffic and road connectivity was the key component that would breathe life into a city. Moses’ Plan to build motorways through Manhattan was defeated when public opinion, largely driven by Jacobs’s writings, shifted away from the modernist ideals of Moses. One of the areas that Jacobs believed strongly in was that the street should be made up of small and diverse communal shops that service neighbourhoods around the city. She also advocated strongly for mixed use blocks in the city, rather than separate zoning, which allows for a range of experiences to be found locally. Since the time of Jacobs’ seminal work, people have determined that cities, not suburbs, are the most attractive locations to live. Populations around the world are seeing the fastest growth in cities over surrounding areas.
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08/11/21
group discussion
weekly objectives Begin to formulate a finalised response for phase 3 critical review:
10/11/21
discussion with tutors
11/10/21
storyboarding
12/10/21
discussion with tutors
13/10/21
storyboarding
14/11/21
diagrams
• Drawings/maps • Photographs (catalogues/archives organised, classified and assessed) • Animation/ Videos • Physical models/installation (demonstrating various techniques and findings) • Diagrams showing data measurements • relevant parameters that will inform the design • Possible sites • programs/functions/activities
WEEK seven storyboarding
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storyboarding
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15/11/21
after effects
weekly objectives Collect and present all research for phase 3 critical reviews:
16/11/21
17/11/21
after effects
phase 3 - critical review
• Written Hypothesis: EXACTLY 300 Words • Key Map or catalogue/archive, diagrams, genealogies of precedents explaining how this hypothesis sits within the larger architectural/ cultural discourse, and what histories/timelines inform the hypothesis. • Space based research experiments, through which the methodology is tested/developed and through which relevant data/ parameters/ information was produced
18/11/21
feedback discussion with tutors
• Design tests: Experimental Drawings/maps, Photographs (catalogues/archives organised, classified and assessed), Animation/ Videos, Physical models/installation (demonstrating various techniques and findings)
19/11/21
diagrams
• Diagrams interpreting data, measurements, relevant parameters that will inform the design; Map of possible sites/ programs/functions/ activities criteria of design brief.
20/11/21
diagrams
• Research by design plan: Application of the findings and methodology • Design Vision/Outcome(s): Drawings, Collages, Movie/Animation, Model/Installation (where and how will the research be applied);
21/11/21
after effects
WEEK eight refinement
• Possible sites and impact on the environment, communities; • Design brief: Catalogue or diagram (relationship between site(s)program, activity, sustainability); • Process map/Research by design plan: Composite diagram/collage showcasing the timeline and the types of experiments, materials that will be needed to produce the thesis
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phase 3 critical review: reflection The reception for the phase 3 critical review was heavily mixed. Unfortunately, our guest tutors were unconvinced by the stylistic choices of the video essay, and found the animated text too distracting. Additionally, the pacing of the video was criticised for being too slow, and as a consequence, it became apparent that the video did not engage the viewers in the way that our team had hoped. Upon reflection, this response was justified - the video combined a multitude of techniques (stock footage, diagrams, animations) in quick, arbitrary succession, which produced a messy and ambiguous narrative. For this to be resolved, our team has decided to produce a stylistic motif (black background, white and red text) and separate stock footage from architectural diagrams. A further critique this review faced was the lack of depth in explaining the supermarket typology, and the urban scale. These areas should be emphasised and built upon for final submission.
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supermarkets: centres of chaos Throughout the investigation, we have concluded the main point of intersection for panic buyers are supermarkets, but the problem doesn’t just start there. The supermarket is connected globally with a large network to keep it running smoothly and efficiently, however when a problem occurs in the pipeline it has a knock on effect on the consumer. In the example of the recent HGV driver shortage, the media reported the issue which led to an increase in shoppers who bulk bought goods to ensure they didn’t run out of items. A small surge on a supermarket can be noticed from passersby who add to the problem by joining the original panic buyers. This again is highlighted by the media with footage of queues increasing the problem. Chaos occurs in the carpark and panic sets in when shoppers who have gone through the queue can now not find a parking space. The whole system fuels panic and when shoppers eventually get inside the supermarket, they are already in a panicked mindset resulting in bulk buying and hoarding.
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the global + national scale We live in the era of globalisation; our current society reaches out far and wide for the supplies that make up the majority of what is stocked in our supermarket shelves. In 2019, the UK imported almost half of its food requirements from overseas. To accommodate this economic model, large ports service the cargo ships that bring in supplies. In England, we particularly see how these ports influence the transport networks that run between cities. High speed road and rail networks transport goods to warehouses all over the country. These large storage facilities act as distribution hubs for supermarkets, storing goods until they are needed to stock shelves. Because these goods are perishable, fast transport times between storage units are essential for their preservation. Over 50% of supermarket chains in England are therefore located within 1 km of an arterial road. Clustering large supermarkets around high-speed roads ensures the products get to the store quickly, thus guaranteeing a long product shelf-life.
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the urban scale The superstore typologies surrounding the city center are usually found nestled amongst large residential areas. Being adjacent to arterial roads means customers can come from further distances as journey times are quicker. This results in superstores having a wide area of influence, serving thousands of people over the course of a work day. At a satellite supermarket found within the city center, people will often travel by foot to the store. This sets them apart from a superstore where the primary mode of transportation is the car. At the satellite typology people are limited by what they can carry, whereas visitors to the superstore may fill their car with supplies to last them for a longer period of time. This makes the superstore typology more vulnerable to panic buying as people have a much larger capacity to stock up on goods that they perceive are in short supply.
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the immediate scale: inside the supermarket The layout of shelves within a supermarket is also another factor that aids in creating panic buying behaviour. When walking through a supermarket, if you notice a shelf is full of a product, you feel reassured that there is plenty to go around. However, when the shop is lacking in a product, gaps in the shelves highlight the shortage which can exacerbate the panic buying and hoarding problem. A clever way shops conceal panic buying is by rearranging the layouts of shelves, spreading the products out, and hiding the gaps. This works to ameliorate the fear of supply shortage and reduce panic buying. Fake signs are also used to reduce customers’ concern that they may be unable to buy the products at a later date even if there is a shortage at the time.
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the living element Even as the virus appears to be loosening its grip on the UK, the supermarket sector is left with questions: are Covid’s influences here to stay or will things go back to normal? In some cases, Covid has simply solidified consumer behaviours that were already taking shape. Companies such as Deliveroo and Just Eat doubled their sales over lockdown. Online food shopping was increasing in popularity for years, but since the pandemic hit it has soared to record highs with the term ‘food delivery’ being searched for more than ever before. Perhaps this is the world we are now living in and the way we shop will change to meet the new demand. From our research, our team has found that the consumer system has been designed around human routine, however when that routine is broken by a crisis for such as a pandemic, the system is not prepared for handling panic behaviour. So how do people adapt to panic? Online shopping allows people to shop online, reducing traffic and shows the availability of stock on the phone. Food Delivery reduces the need to travel to and from the shop and also queuing for items. Hoarding allows people to bulk up on stock so they don’t need to make as many shop visits. As the consumer behaviour continues to change, this brings to question how this will impact the consumer landscape and infrastructure. Perhaps this is the world we are now living in and the way we shop will change to meet the new demand.
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22/11/21
finalising video essay
weekly objectives Create Website
23/11/21
exhibition set-up
24/11/21
exhibition
25/11/21
digital submission
WEEK nine exhibition
a and
final exhibition(live) Portfolio that visually
and/or outlines:
• Hypothesis (What is the assumption? What crisis/ problems does this question respond to? Why is tackling this crucial? What are the research questions? References, Precedents) • Space based research experiments, through which the methodology is tested/developed and through which relevant data/ parameters/ information (including possibly the site) was produced (Evidence: How does the design process drive the research and vice versa? How does it impact our built environment?) • Research by design plan: Application of the findings and methodology (How will this investigation be carried out in the thesis design?)
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film as installation By its very nature, film is a medium that can convey vast quantities of information in a form that visually and audibly stimulates the viewer. Transforming this to function within a three-dimensional space has become ubiquitous, and is a form of representation that can be found in a wide range of environments - from galleries and museums, to an expanded field that includes site-specific work in urban or industrial landscapes. As a result of this, our team believes that the video essay we have produced will become its own installation when presented within a space. It is therefore regressive to consider other exhibition techniques to represent our findings, such as models or props, which may distract from the film. Instead, our focus in curating this exhibition will be to represent the film in a way that highlights it. This will be done firstly by considering the visual representation - a projector will be used to generate the moving images. In the exhibition setting, projection has been long-favoured over screens, as the medium allows full control over the placement and immersiveness of the image. This will allow our film to become a cinematic sculpture. Consideration must therefore be made to the illumination of the space, so our team plans to create an enclosed environment in which the lighting is reduced. Another element our team must consider appropriately is the audible quality of the film, as the hearing sense plays a large role in the way our video will be perceived. It is therefore imperative to include multiple speakers to ensure a clear and intended sound.
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final thoughts
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‘panic buying and its architectural ramifications’
by team bars cinémethods liverpool university • school of architecture arch520 • design methods
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‘urban below’, han wu
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thesis Although panic buying may seem like a relatively minor affliction in today’s world, it could also be viewed as a symptom of larger failings in the UK’s consumer infrastructure. As architects, our team is interested in observing the whole picture surrounding panic buying - whilst it may be easy to say that supermarket layouts are to blame for accommodating malicious consumer behaviour, redesigning floor plans and shelves would only help to mitigate a small element of a much larger issue. For our thesis, our group therefore seeks to investigate alterations to the supply systems we currently have in place. This could be in the form of alternative realities - conceptualising a series of scenarios set in the future. The ramifications of these alterations will change the built environment at a wide variety of scales, and would particularly affect how we live and interact in public spaces. Following our design research, our team can now ask questions for our upcoming thesis, which include: • What happens if shortages become common, and panic buying is the new normal? • Using current trends that we have analysed surrounding food delivery, how would the architecture adapt if trends continued? • As seen previously, the media affects surges of panic buying on items - in the future, will the media begin to dictate what the current ‘trends’ of panic buying are?
It is likely that these questions will be investigated utilising a cinematic methodology. A precedent thesis for this form of representation is ‘Urban Below’, a short film that explores and speculates how the space below the bridge might become in the future. Indeed, our team will attempt to assimilate futher digital software, such as Unreal Engine, in order to illustrate our thesis analyses and outcomes.
brion o’reilly ashni patel rachel cummings sian opie
with special thanks to:
Richard Koeck Hamid Amouzad Khalili Monika Koeck David Lee Nick Stath