nicolau faria portfolio web

7/31/2019 Nicolau Faria Portfolio Web

1/64

Wings of De

References for Ch

B. McGrath and J. Gardner - Cinemetrics: Architectural Drawing To

This book explores some very objective techniques of representation

through chronograms which approximate the reader to the standard a

The image above is an example of the representation of a film seque

of the elements that compose the film - space, camera, time and act

Sergei Eisenstein - Notation for Alexander Nevsky, 1938

Eisenteins notation of sound, movement and image for the film Alexander Nevsky is an early example of a holistic film score. This nota-

tions developed by Eisenstein, were also used by Bernard Tschumi to explore the relationships between space and image in architec-

tural projects.


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130 135 140 145 150 155 200 205 210 215 220 225 230 235 240 245 250 255

SHOT3 SHOT4 SHOT5 SHOT 6

00 05 10 15 20 25 30 35 40 45 50 55 100 105 110 115 120 125

SHOT 1 SHOT2

PICTUREFRAMES

SOUND

CAMERA

PEOPLE

Wings of Desire,WimWe

Notation of Library S

generic voices of people in background voices of people studying/sit ting at t ables volume decrease

continuous pipe organ continuous pipe organ continuous pipe organ continuous pipe orgafade out increase decrease

specificwomans voicestudying

specificmans voicestudyingspecificchildrens voicestudying

singing voices volume decrease singing voices

a rc h f ro m c ei l in g t o v i ew l ev el d ol ly ge nt ly tu rn in g a ng l et o l ef t d ol lyfocused

on

subject

dolly follows pairstop stop arch upwards & left of subject stop

a r ch f ro m c ei l i ng t o ey e l ev e l d o ll y a lo n g st u dy t a bl e s s t o ps a t po s i ti o n an d r ot a te s v ie w

towards angel 1

rises aboveheadlevel

of angel 1

still

still

still

s t il l v i ew p o in t

moves

slightly

to right

st i l l f ixe dpo si t io n

viewpointmoves left

fixedviewpoint

camera moves left

camera moves

left slightlyviewpoint pans left

camera moves left andpa

p eo pl es tu dy in g i n b ac kg ro un d- si tt ing &s ta nd in g - st at ic p eo pl es tu dy in g i n b ac kg ro un d- si tt ing &s ta nd in g - st at ic peoplestudying in background

- sitting &standing - static

peoplestudying in background

- sitting &standing at both closeandfar distance

maleangel 2 walking

parallel to dolly

still - head faces upwards slowly

people studying at the tables - close distance chi ld

maleangel 1walking

parallel to dollymaleangel 1hand closeplan looks at child, smiles

then looks at angel 4

angel 1

walks towardscamera/left

stands next to person studyingleaves

maleangel 3

stands

next toperson

studying

maleangel 3stands

next to person studyinglooks

at

camera

maleangel 4

sitting

maleangel 4

sitting

stands&moves

right

standsnext to

person

angels 5and6sit on ledgeof void

looks atcamera

man walking

behind

femaleangel

standing

nextto a

person

femaleangel standing next to a personlooks atcamera


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Wings of De

Chronogr

00

15

20

25

115

120

125

130

135

103

48

52

32

34

37

115

fade out

genericvoices of peoplein background

continuous pipeorgan

singing voices

peoplestudying in background- sitting &

people studying at the tables - clos

maleangel 3standsnext toperson

studying

maleangel 3standsnext to person studying

looksat

camera maleangel 4sitting

loca

peoplestudying in background- sitting &standing - static

maleangel 2 walkingparallel to dolly

still - headfaces upwards slowly

maleangel 1walkingparallel to dolly

leaves

man walkingbehind

femaleangel

standingnextto a

person

femaleangel standing next to a personlooks atcamera

arch from ceiling to view level dolly gently tur ning angle to left dollyfocused

onsubject

dolly follows pairstop stop arch upwards & left of subject stop a rc h f ro m c ei li ng to ey e l ev e l d ol ly al on g s tu dy ta bl es


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City Tail F

Site Cont

St or es a ro und Sp ita lf ie ld s Ma rke t Out si de the ma rk et, cro ssi ng Co mm erc ia l St re et

Commerc ial S t reet, walk i ng t owards A ldgateE as t St ati on Commerc ial S t reet co rner w it h Pet t icoat L ane, w it h t hev i ewof t h ec it y

Her Story

Using a love story of expectation and disappointment as a methaphor for the contrast between the developemnt fo the city of London

and the hip side of Spitalfileds and Banglatown, the film will use the two sides (him and her) as antagonists.

She represents the city side, the lonely worker and the one that seeks the autehentic. She is desperate to find him (the authenticity)

and is constantly looking for him while on the way to and from work, s ince she passes through the site.

One day, perhaps as many others, she sees him in the corner of her eye and decides to follow him. Finding where he lives, during the

next few days she stalks him, until the moment that he disappears and she is not sure if he is the one anymore.


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Camera1

camera movhidden shot to

Section II(Scene5) - cross section through street

Camera1

camera movhidden shot to

thenextin theho

hecomes out of thehouse

shefollows

thefirst timeshesaw him, they wereten

metres apart. shelater rememberedthe

moment when shefirst sawhim as shepassedby thesameplace.

Section II(Scene3) - cross section through station

Camera1

Camera2

viewof station entrance

ticket machines andgatelinepeoplemeeting andleaving

sequencein acceleratedmotion

viewof escalators andstairs

peoplemoving andbackground

soundof trains

shemeets her friends at thepub after work.

they standoutsidechatting andsheremembers

howboring her day at work was.

On her way to meet her friends she wonders

if shemight meet someoneinteresting tonight.

Through a sea of peopleshefinally

leaves work. Tomorrowshewill have to

comeback to thesameplace butfor nowsheis going out with friends.

sheenters theshehas lost a


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City Tail F

Storyboa

Night time. Outsidean officeblock. Street isbusy. A fewpeopleareleaving theoffice together.Wesee them in thestreet, outsidework.

They walk through thestreets. Weseepeoplepassing by, cars, bikes. A busy street with lots ofnight lights.

Wesee thesamepeople at a bar outside. Theplaceis busy andmany peopleand cars pass by.

Camera walks alonethrough thestreets as ifwalking home. Wehear steps. Somepeopleandcars pass by.

Something catches theeye in a dark alleyilluminatedwith thelight of a street lamp. Camerazooms as if focusing on someonein the dark. Wehear someones steps far away.

Camera follows from alley to a door a fewstreetsaway.

WW

Scene 1 Scene2

Heleaves the house. Camera follows throughroad. Noiseof keys and door slamming.

Shefollows him through thestreets. Camerafollows on pavement. Handheldshake.

Hewalks through backalleys. Shefollows him.Camera stills.

Train passes by in cityscape. Wehear his steps.soundfollows to next scene.

shot of tunnel outside. Windandcracking noises.Train still in backgroundas sound.

Shewaits, then follows through tunnel. Noiseofsteps andechos.

Su

Scene 4

Street sound - cars, people walking, traffic lights sound of traffic (lower)

soundof steps at distance

sound is even lower

sounds of voices near theoffice entrance

sounds of peoplein/outsidebar mans steps lowder

door opens andcloses

soundof train

sound of echoes in tunnel

soundof steps

sounds of peoplein street far away

lowsoundof s


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City Tail F

Screen shots of film

scene 1

1 . Th rou gh a s ea o f peoples hef i n al l y l eaves work . Tomor rows h ew il l havet o comeback t o th es ameplacebu t fo r n owsh ei s go ing out w it h her f ri ends . 2 . On h er way t o meet her fr i en ds s h ewonders i f sh emigh t meet s omeonein teres ti n g t onight . 3

scene 2

5. The first time she saw him, they were just ten metres apart. She later remembered the moment when she first saw him as she passed by the same place. 6. She peeks from behind the corner hoping to see the same man again.

scene4

14. Shewaits for him to be at a distance, walks up thestairs hearing thesoundof

passing trains belowobscuring thesoundof her steps.

15. Hewalks towards theold railway, enters a tunnel. Shewaits behindhiding in

thepoorly illuminatedareas andit feels dodgy.

16. When she arrives at the end of the overbridge, she realizes that he is gone.

scene4

1 0. The ne xt she wa it s b ehi nd the sa me co rne r in the hop eof s ee ing hi m ag ain .


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Selective Nos

Film Structure and

History [] is just a fir st draft screenplay.

J. G. Ballard, The Greatest Television Show on Earth, 1972

We cherish the authentic and ch

but we are abl

the disappearance of historic

even if this image is overly fabricatedReality was able to surpass fiction, the surest sign that

paradoxically, it is the real which has become our true uto

J


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Selective Nos

Seeing and Un


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Selective Nos

Scene I - 2.5D

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Selective Nos

Scene II - 2.5D

This animation was produced fom a single photograph, in this case the photograph above

from no. 4 Princelet Street. The photograph was cut and flattened into the different parts

that constitute the space, not only the floor, ceiling and walls but also the furniture and

different elements that are present in the original image. In this particular case the photo-

graph was separated uinto 15 different objects, which were then used to create the anima-

tion in 3D space. This creates the illusion of being in the real space and also allows for a

much greater control of the camera and possibilities of film effects whoich would not be

possible in traditional techniques.

Main flattened surfaces obtained from original photograph.


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Selective Nos

Scene III - 2.5D

Similarly to the previous sequence, this animation was created using a single photograph,

this time from a different room of the same house, no. 4 Princelet Street.

As in the previous one, the original image was cut into several objects and surfaces which

were then flattened to create the illusion of a three-dimensional space in video editing

software.

In this animation the camera was taken beyond the point of parallax to show the artifice

used to create the illusion of real space.

Main flattened surfaces obtained from original photograph.


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Selected Nos

Concept Dra


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Selective Nos

Scene IV - 2.5D

Se

Th

co

br

Th

th

In

tra

camera position 1

camera position 2

camera position 3


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w

T

t

Selective Nos

Scene V - 2.5D

Arrangement of 2Dlayers for animation


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Site Analy

Historical Developmen

Reproduction of the1560 Ralph Agas Map of London, c.1560 De Witts Map of London, c.1693

Cruchley Pocket Map of London - Geographicus London, 1849 Reynolds Map of London, 1882 Bacon Traveler's Pocket Map of London, Geographicus London, 1890

John_Norden's Map of London, 1593

1560

1849

1693

1882 1890

1593


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Location M

1:5000


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Low income populations [...] find themselves for the most part trapped in space. Since ownership of even basic means

of production (such as housing) is restricted, the main way to dominate space is through continuous appropriation. [...]

This means frequent material and interpersonal transactions and the formation of very small scale communities. Within the

community space, use values get shared through some mix of mutual aid and mutual predation, creating tight but often

highly conflictual interpersonal social bonding in both private and public s paces. The result is an often intense attachment

to place and turf and an exact sense of boundaries because it is only through active appropriation that control over

space is assured.

[...] Successful control presumes a power to exclude unwanted elements. Fine-tuned ethnic, religious, racial, and status

discriminations are frequently called into play within such a process of community construction.

David Harvey, The Urban Experience, 1989

Banglatown

It is evident on site that the community of Banglatown has a very clear territorial boundary and that, whether consciously

or not, the character of the south of Brick Lane and Osborn Street is distinctively different to the area north of Hanbury

Street.

As David Harvey puts it, low-income communities take ownership of the site through physical appropriation and the

communitys street life plays an essential role in the definition of this territory. This is clear in the intensity of commerce and

community based services in the main streets, as well as the concentration of Curry houses in the boundary area south of

the Truman Brewery.

It is clear that the question of class distinction still plays a strong part in the territorial division of cosmopolitan London.

Partial Sitemap of the Banglatown AreaSouth of Brick Lane, Osborn Street andadjacent areas

Th

Thtra

A

Th

Site Analy

Banglatown - Segregat

Bric

kLane

Hanbury Street

Princelet Street

Whitec

hapelH

ighStree

t

OsbornS

treet


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In place of remembrance, parts of our collective past have been either so historicized or so completely repressed that

they can never be recalled, while memory [] has fallen prey to mythical narrations and nostalgic recollections.

M. Christine Boyer, The City of Collective Memory, 1994

[] one of Londons finest Victorian market halls set in an historic location in the heart of the City and one of the crown

jewels of East London. Firmly established as the must visit London attraction for Londoners and tourists alike, this

market offers a fusion of Victorian splendour and contemporary architecture [].

You can dine in style, browse through the antique market, buy unique designer clothes and relax with a glass of fine wine

[].

www.oldspitalfieldsmarket.com(accessed20 Nov 2011)

Spitalfields

Spitalfields is an example of how the quest for authenticity has been turn ed into an exploitation of the cultural capital of

East London. The character of the actual market has s ignificantly changed since it was renovated a few years ago to

one of an extremely fabricated image of the past.

The old shoppes of Brushfield Street have similarly been kept in its idealized historical condition old signs and faades

have been made cleaner, yet older.

The exploration of new business opportunities has been fueled by the attractiveness of the Brick Lane fashion and the

proximity to the city of London.

Roman ruins, which have been discovered on site during the recent redevelopment, can be found in the new piazza

west of the market. There is no visible mention to these ruins in the area.

Partial Sitemap of Spitalfields

Th

Th

Th

If it

Th

Site Analy

Spitalfields - Authenticity

BrushfieldStreet

CommercialStreet

Bish

opsgate

HanburyStreet


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Jean Baudrillard, Simulacra and Science Fiction, 1991

Reality was able to surpass fiction, the surest sign that the imaginary has possibly been outpaced. [] And, paradoxi-

cally, it is the real which has become our true utopia. [] Perhaps the SF of this era of cybernetics and hyperreality will

only be able to attempt to "artificially" resurrect the "historical" worlds of the past, trying to reconstruct in vitro and down

to its tiniest details the various episodes of bygone days: events, persons, defunct ideologiesall now empty of mean-

ing and of their original essence, but hypnotic with retrospective truth.

Princelet, Fournier and Wilkes Streets

Princelet, Fournier and Wilkes Streets have been preserved to a level of extreme historicism.

No.4 Princelet Street has been preserved to the state of what it was one hundred years ago and is nowdays rented as a

film and photography set.

The house at no.19 has also been preserved although to a more authentic level; throughout history this Huguenot house

has been a synagogue and is now the Museum of Immigration and Diversity.

Partial Sitemap of the areas to thesouth of Hanbury StreetPrincelet, Fournier andWilkes Streets

Th

Vie

Int

Dif

Site Analy

Princelet, Fournier and Wilkes

Princelet Street

Fournier Street

Fashion Street

W i l k

e s

S t r

e e t

Hanbury Street

Comm

ercialStre

et

B r ic k L a n e

En


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To articulate the past historically does not mean to recognize it the way it really was (Ranke). It means to seize hold of

a memory as it flashes up at a moment of danger. Historical materialism wishes to retain that image of the past which

unexpectedly appears to man singled out by history at a moment of danger.

Old Bishopsgate Railway Station and other Victorian Structures

The area that was once the Bishopsgate railway Station and Goods Yard, has now been cleared for the new

Shoreditch Station. Similarly, most of the areas around the railway line to the east of the station, have been progres-

sively demolished over the last few years to allow for the development of new building complexes, such as the Barratt

Homes housing scheme in Cheshire Street and similar developments, currently under construction in Sclater Street.

It is evident in the final result, that most of these infrastructure projects are not required to undergo the normal process

of planning and building control.

These way in which the remains of these Victorian buildings are treated are an example of how we unsee the destruc-

tion of historical elements in our cities in general.

Walter Benjamin, Theses on the Philosophy of History, 1940

Site Analy

Old Bishopsgate Railway Station and adja

Thde

Th

Olas

A f

Fe

Partial Sitemap of the areas adjacent to theOldBishopsgateGoods YardandtheNew Shoreditch High Street Station

CheshireStreet

Weavers Fields

BrickLane

Sclater Street

QuakerStreet

BuxtonStreet

ShoreditchHigh Street

Station

Sh

oredit

ch

High

Str

eet Bethnal Green Road


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Mark Greif, The Mirror and the Hipster

in TheNew York Times Sunday BookReview, 14th November 2010 (retrieved11Nov 2011)

Taste is not stable and peaceful, but a means of strategy and competition. Those superior in wealth use it to pretend they

are superior in spirit. Groups closer in social class who yet draw their status from different sources use taste and its attain-

ments to disdain one another and get a leg up. These conflicts for social dominance through culture are exactly what drive

the dynamics within communities whose members are regarded as hipsters.

Once you take the Bourdieuian view, you can see how hipster neighborhoods are crossroads where young people from

different origins, all crammed together, jockey for social gain. One hipster subgroups strategy is to disparage others as

liberal arts college grads with too much time on their hands; the attack is leveled at the children of the upper middle class

who move to cities after college with hopes of working in the creative professions. These hipsters are instantly

declassed, reservoired in abject internships and ignored in the urban hierarchy but able to use college-taught skills of

classification, collection and appreciation to generate a superior body of cultural cool.

Partial Sitemap of the thenorth part of Brick LaneTruman Brewery andadjacent areas

Th

Br

Gr

Th

Ne

Site Analy

Brick Lan

W i l k

e s

S t r

e e t

Hanbury Street

Com

mercialS

treet

Bri

c k

La

ne

Bethna

lGre

enRoa

d

Brick Lane

The area of the old Truman Brewery and the north part of Brick Lane is an example of how an urban culture generated

mainly by a community of students and artists has been taken to an exponential growth and exploited by its cultural

capital. The use of bicycles and plimsole shoes for example, once adopted primarily for simple economic reasons, are now

the mainstream fashion.

The old Truman brewery building in the corner of Hanbury Street and Brick Lane, which functions as a car park during the

week, becomes an alternative Shopping Mall on weekends. Inside, thousands of authenticity-hungry tourists come from

all over the city and enjoy the authentic and multi-cultural vibe of the food court, which without air-conditioning spreads

its fumes throughout three storeys filled with arrays of stalls selling vintage and hand-made items.

Ironically, many businesses, which until now had only high-street shops, are using the concept of stalls as a business

model, and one can often find the same unique stall in several of these stall markets.

More recently, an increasing amount of stall markets has proliferated through the area, as well as the appearance of com-

mercial establishments that try to appear older than what was in the same place before.


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Proposed Hanbury Street and Tr


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Site Photog


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Project 2Film Referen

Charlie Chaplin (Modern Times, 1936) Buster Keaton (The General, 1926; Sherlock Jr., 1924)

I am interested in the contrast between the comical and critical character of Chaplins films. Modern Times is definitely a reference

especially since it can draw a parallel between the critique to modernity in Chaplins film and the critique to contemporary times that

this project explores.

The Films of Buster Keaton are a reference mainly because of the special effects which he pioneered. I find these extremely interest-

ing when contrasted to the simplicity of the script and the formal language of the silent films.

T

t


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Project 2.2 -

Collages / 2.5D

camera

pans

across-

startin

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andz

oomso

ut,unc

overing

thevie

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craper

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er


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Project 2.2 -

Film seque

Thefilm begins by drawing attention to theareas of thesitethat havebeen exploredin the previous film, highlighting theunseen elements of thecity as blurred, onceagain. This first part of thesequencefocus on both theselectiveviewof the remains of thepast, andon thevisiblesegregation o

Moving phisically onto theproposedsitearoundHanbury Street and Brick Lane, thefilm begins to show thearea of Princelet Street, which has been preserved to an extremehistoricism; this area is also evidence of thesegregation of a wealthy community within thesite.

From thearea of Princelet Street, thesequencemoves towards BrushfieldStreet andSpitalfields Market, denoting thecontrast between thefabrication of a past - evident in thestreets commerce- and thevisibleskyscrapers of thecity behind. Thefollowing collageexaggerates this idea by bor

Similarly, thefollowing scene- this timein Hanbury Street - speculates on a futurevision of thesitewith an exaggeration of theaspects of shabinness anddecay, andrepresentedthrough the idea of a street market, which is usedas a procession through thequest for theauthentic.


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Fabricated R

Trends and Re

Pass the Baton - Secondhand store showcases previous owners & the stories of their things

A new store in Tokyo encourages sellers and buyers of secondhand objects to share personal culture along with the goods that are

changing hands. Pass the Baton, which opened in the Marunouchi district last month, lists previous owners as exhibitors, complete

with their photo and a sh ort bio. Their personal page on Pass the Batons website shows the items theyre selling, have sold and will

sell in the future. Kazuko Okuma, for example, is selling a number of items from her travels abroad, including a golf trophy that she won

in South America, and sold a bag bought for a dance in Monaco.

The stores web manager, Kelly Kikuchi, explains the reasoning behind Pass the Baton: My generation facilitated both the evolution of

simple resale into vintage, and the rise and plateau of internet auctions. Back then, it was about economy, discovery, curiosity. Now,

it is about expanding, exploring the meaning and relevance of second-hand.

Pass the Baton is an attractive concept on various levels: the strong story element not only adds value for potential buyers, but might

also make it easier for sellers to part with their possessions, knowing that an objects story is carried along with it. And while the items

theyre selling probably arent those they value most, displaying a persons collection of things underscores the role of consumers as

curators and gives buyers a peek into their life, as well as the opportunity to see whether their tastes align. Its a retail concept that

should appeal to authenticity-seeking consumers everywheretime to bring it to other parts of the world?

Website: www.pass-the-baton.com / Source: Springwise/Trendwatching (www.springwise.com)

TOTeM: Tales of Things and Electronic Memory

TOTeM is a three-year collaborative research project which will investigate the potential for the technologies behind the internet of

things to be used to store memories in a digital form. By associating peoples stories to objects through the use of QR codes and RFID

tags, memories can become attached to possessions, allowing others to read them and better understand their importance. The

project aims to provide a social platform in which the value of an object can be increased through the attachment of memory, encourag-

ing people to not to throw away items, but instead reuse and retain them.

Objects that are capable of telling a story themselves afford an insight into other peoples past experiences, and may transform a mun-

dane object into an heirloom. Thus interrupting the cradle to grave cycle in which objects tend to have one life for one person as memo-

ries live on in a digital form.

The project team envisage the social benefits to include: encouraging inter-generational understanding, richer interpretation of diverse

cultural communities and the fostering of a networked museum of social history. In addition, the project offers enormous scope for how

auction houses and online stores can identify, track and add-value to objects that otherwise may be looked over because of a forgotten

history.

The projects outputs will include a website database of peoples memories, focussed workshops, talks and events.

Website: www.talesofthings.com/ / Source: Chris Speed / FIELDS (http://fields.eca.ac.uk/)

G

G

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re

dobo

th

G

th

W


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Fabricating R

Concept Dra


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Title title

subtitle subtitle

01 Waking-up 02 Morning shower 03 Breakfast in a hurry 04 Walking to the station

11He takes a cardfrom his pocket. It readsReality Holidays.

20. Entrance to the hotel 21. Inside

22. He is taken for a make-over session

12. In a Holiday Agency 13. Back home on the tube 14. Airplane 1Black Screen for 2secs.

0 5 Cr am me d in tu be o n th e wa y to wo rk .


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Fabricating RDisneylon


34/64

Fabricating R

Reality vs. Sim

Reality vs. Representation - Ken Adams Dr. Strangelove and 007 Goldfinger

Ken Adam, a production designer known for many of the early James Bond film series, once opened a lecture with

the following story: when the US President Ronald Reagan took office and visited the Pentagon for the first time, he

asked to see the War Room, but to his surprise he was told that there was no such room. The War Room that he

was referring to was the one seen in Stanley Kubricks film Dr. Strangelove. Similarly, Adam told about the vast

amount of complaints that the United States government received, for allowing the Fort Knox gold reserves to be

shown in the Goldfinger James Bond film . Both the war room and the gold reserves chamber shown in the films are

completely fictional, yet, in the minds of many of us these places exist, just as much as other real places do.

Life through avatars

Various authors have argued that today we are unable to clea

stems from the growing reliance of contemporary societies on

munication in everyday life, all of which are substitutes of mu

individual witnessing of the world . In addition, it has been argu

future disintegration of many of the social aspects of society

society interacting through screens or physical avatars.

Jonathan Mostows film Surrogates (2009), explores a world w

control vehicles as avatars for everyday interaction; although t

an American company called Anybots began marketing a si

promoted to telecommuters.


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Spit&Ba

Evidence of Hyp

Fabrication

Spit&Bang seems to be the epicentre of L ondons apparent quest for authenticity. From the All-Saints all-fake super-

store and to the faades on Princelet Street intentionally left in a state of decay, it tries to resuscitate a world that only

exists in the minds of the present, precluding any chance to truly discover an authenticity, which has not yet been

commodified .

Exaggeration

Fake authenticity has long since won the day. Through a process of "authentication," everything [] which was

actually old has been made Olde instead; historical faades and interiors have been restored not to how they used

to look, but to how (city planners imagine) tourists want them to look; every incident of (family-friendly) historical

importance which has ever transpired within city limits is now re-enacted in an entirely Disneyfied manner.

Joshua Glenns passage describes the prevailing contemporary attitude in urban environments of overstressing the

existing urban legacy in historical centres. In Spit&Bang this extreme historicism is manifested in Spitalfields Market

and the adjacent Brushfield Street, which have been overstated and restyled as tourist attractions. Similarly, the quar-

ter of Princelet Street and Wilkes Street has been exaggerated, emphasizing the historical qualities of the faades to

the utmost detail.


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Spit&Ba

Selecting Mem

Selection

Historical authenticity is plentiful in Spit&Bang, clear in the residual Victorian and Georgian urban grains, and in

remaining constructions such as the Whitechapel Art Gallery, the faades on Fashion Street, the Roman ruins in

Spitalfields or Christ Church on Commercial Street. All these are remains of a rich historical past which, in one way

or another, has left its physical mark.

Yet, the collective attitude towards the past is generally contradictory: while s ome genuine memories are

exaggerated beyond recognition, others are repressed or even fabricated. The outcome is often a nostalgic

recollection of what the past once was47, and the feeling that at any opportunity either an attitude of tabula rasa will

erase what still remains and give way to the generic, or that these remains will be enshrined beyond remembrance.


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Site Histo

Truman Bre

Old Truman Brewery, Brick Lane

The Old Truman Brewery is the former Black Eagle brewery comple

Brick Lane in the Spitalfields area, in the London Borough of Tower

established by the brewers Truman's which subsequently became Trum

Buxton. The Director's House and former Brew House are listed buildinThe site's first associations with brewing can be traced back to 1666

Truman is recorded as joining William Bucknall's Brewhouse in Brick L

The Black Eagle Brewery was constructed in the early 18th century (c.

ally employed over 1000 people, becoming the largest brewery in

second biggest in Britain.

In the mid-18th century Huguenot immigrants introduced a new beve

fermented hops, which proved very popular.

In 1888, Truman, Hanbury, Buxton & Co became a public company w

but the balance of production was now shifting to Burton. The Br

remained active through a take-over by the Grand Metropolitan Gro

merger with Watney Mann in 1972, but it was in terminal decline. It eve

1988.

Aerial photograph of East London by the Royal Air Force, 1941

Aerial view of the Truman Brewery complex


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Referenc

Three examples of histor

British Museum Great Court, Foster and Partners, London, 2000

The South Portico of the Great Court of the British Museum, in the picture, was built in 2000, and proposed in order to balance the

composition of the court by replicating the design of the other three porticos. There was a large controversy regarding the origin of the

stone, which was intented to be British Portland stone although the contractor supplied a similar French version of stone.

Caixa Forum, Herzog & De Meuron, Madrid, 2008

The new museum for the Foundation La Caixa in Madrid is built on the s

faade was maintained and incorporated in the new building, it has b

structural elements, the existing faade is simply used to clad the lowe


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Referenc

Loos, Melnikov, Iofan

Adolf Loos

Chicago Tribune Building, competition entry, 1922

More than 260 entries were received for the Chicago

Tribune building competition in 1922, including the entry

above from Adolf Loos, a 122m high Doric Column

skyscraper clad in black marble.

Konstantin Melnikov

Parking Bridge, unbuilt project, Paris, 1925

In 1925, Melnikov was comissioned a project to identify potential parking spaces in the

centre of Paris. His proposal was a garage-bridge located on the Seine to serve 1000

cars from both sides of the river and supported by two atlantes.

Boris Iofan

Palace of the Soviets competition, winning entry, Moscow

The winning entry for the palace of the Soviets in Moscow dep

the top, would have been the worlds tallest structure at the t

started in 1937 but stopped at the time of the German invasio

resumed.


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Current 3D Printing

Referenc

Multi

The m

print i

instan

begin

Common 3D printing technology

We all have seen or used these machines and the objects that they can produce. These printers simply allow the physical

reproduction of three-dimensional models that have been either scanned or created in 3D software, or both. This technology is

becoming increasingly common, being evident in schools, universities, offices and the industry. A multitude of designers and

manufacturers are using these machines not only to create models and prototypes but also final marketable products since these

machines are more and more able to print with a high level of precision.

Rep Rap - the Self-replicating 3D printer

The Rep Rap project, started in the UK, was the beginner of the 3D printing revolution, envisaging an open-source DI Y

machine that can print all or most of its parts and spread the technology. The project caught wide attention and nowadays

there are tens of thousands of these machines being built around the world. The ease to build these machines and the low

price, together with the easy access and sharing of information and models online, have substantially contributed to the

proliferation of the technology.

Online communities

Thingiverse started a few years ago as an online community to share open-s

Today, especially with the advent of the RepRap project, the community is fille

for objects, tools and other things that can be 3D printed, milled or laser cut at


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Printing the W

Referenc

D-Shape - Enrico Dini

The Italian & British joint venture has been developing large scale printing of three dimensional building components. They

have recently developed a larger machine, capable of printing 3 meter cube objects and are aiming at the production of

full size building parts of complex geometry.

Loughborough University

The loughborough University now has a 3D printing engineering department that is developing high specification

composite concrete parts to be used primarily as structural components that would be difficult or impossible to fabricate

using conventional technologies.

Marcus Kayser

Marcus presented last year at the Design Products student show at the RCA his development of a technique to harness

solar power to both generate electricity for a 3D printer and also, using a condensing lens, to convert sand into glass. The

result is a solar powered 3D printing machine that uses sand as main material.


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3D Scann

Current Techn

Common 3D scanning technology

Similarly to 3D printing technologies, 3D scanning is becoming a widely available technology. Inexpensive scanners can

be bought or built (from open-source designs) and are easy to use, converting any object to a highly accurate mesh,

which can be manipulated.

Portable 3D scanners

Scanners are becoming smaller and since they use little energy they can be battery powered. This has led to the

production of various pieces of h andheld portable equipment.

Trimensional - iPhone as a 3D scanner

Using the iPhone camera and processing capabilities

in almost real-time the video/image into a 3D file that

since this is a type of technology which most of us ca

Microsoft Kinect hacked and turned into real-time

In 2010 Microsoft released what is probably its best

Together with the release of the product, Microsoft rel

community has been developing a multitude of hack

month however, this 3D scanning technology has incr


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3D Scann

Cities, Buildings and B

Tommy H

One of the

to simple

Tommy H

system in

manipulat

Point Cloud Surveying/Scanning and BIM integration

Increasingly common is also the point cloud surveying by contractors, geographers, explorers and surveyors. This technology is similar to the one Frank

Gehry used for scanning the Bilbao Guggenheim physical architectural model and converting it into a CAD file. The downside is the amount of labour and

time that takes to scan a large building, similarly to OS surveying, it is generally necessary to transport heavy and slow equipment.

UC Berkeley - geospatial scanning

A team of researchers at UC Berkeley in the US has developed a 3D scanner technology which can scan spaces using point cloud technology, while at the

same time give geographical positioning and orientation. Although the equipment is quite bulky, it shows that handheld/transportable equipment can be used

to scan the spaces around us.

Google Street View - technology for integrating 3D data in development

Current Google Street View technology uses image data in conjunction with geographical positioning, however Google is developing scanning technologies

to be integrated into streetview, so it becomes a fully navigable 3D environment which replicates the real world.


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Molecular Assembler

This is the ideal 3D printer of the future, which many scientists envisage, a machine that can build any object or code

with atomic precision. The images above illustrate the idea that several scale-stages of assembly will be necessary,

from molecular size to the final object.

Structural Nanotechnology

Nano structures allow the multiplication of the surface area in materials, increasing their properties while at the same

time drastically reducing the mass and the weight, creating super-strength light materials for the first time.

Nanotechn

Current and theoretic


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Spit&Bang Tec

A Return to the Past in the age of T

Site Sampling

This would allow samples to be taken on site using handheld devices. It requires minimum training and can be achieved with

small video capturing or laser technology. These samples can then be taken to the site/design office, uploaded into the data-

base and incorporated into the pre-designed parts which form the building,

On-Site-Molecular-Assembler / large scale 3D printing

The molecular assembler, or the Matter Compiler combines the principles of a 3D printer in the sense that it translates, compiles

and assembles 3D data in the form of an RNA sequence or similar formats into a physical object. However, it is not limited to

one single or a few materials, as in the current 3D printers, but it is fed by multiple and composite matter cartridges.


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Site Analysis

The site analysis defined five distinct areas within

Spitalfields and Banglatown, which represent

different social groups as well as different attitudes

C

Th

pa

re


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Spit&Ba

Site fragmentation as de

different social groups as well as different attitudes

towards dealing with the representation of the

past. The project brings to the s ite the elements of

these different areas, as a replication of a mini-

Spit&Bang.

Different social groups have very distinct forms of

space appropriation and community construction,

and within the area of Spitalfields and Banglatown,

one can depict clearly defined boundaries

between the different factions, as well as different

attitudes towards historicism and fabrication of the

past.

The selective process is evident in the repression

of memories clearly marked in elements such as

the new Shoreditch Station, which does not make

use of the many Victorian elements of the old

Bishopsgate Station it replaced, as well as in the

re

br

Ba

ve

Br

Th

th

st

fro

M

de

ne

Vi

Sp

ca

in

ve

Th

a

na

w

ho

ve

In

el

as

recently demolished Georgian warehouses of

Cheshire Street, now replaced by a common

housing development. The extreme historicism is

manifested in Spitalfields Market and the adjacent

Brushfield Street, which have been polished and

restyled as tourist attractions.

However, while the evidence of the past has been

neglected or exaggerated in some areas, it has

been fabricated in others. The name of Bangla-

town itself, its informal title of London Curry Capi-

tal, or the sprawling Brick Lane stall markets, can

all be seen as proof of the invention of tradition

defined by Eric Hobsbawm.

Finally, it is there is an evident contradiction in the

distinction between the contemporary appear-

ance of social openness, and the clear distinctions

and boundaries within our societies, which inten-

sify the ever increasing difficulty of social mobility,

as well as the interaction between the different

social and cultural factions.

BREWERY BREWERY

150m2

250m2

1

2

Malt StorageandMilling

BrewHouse16

15

Factory


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RESTAURANTS

Basement Level

GroundLevel

GroundLevel

GroundLevel

First Level

Roof Level

250m

150m2

100m2

50m2

75m2

40m2

100m2

30m2

25m2

2

3

4

5

6

7

8

9

10

BrewHouse

Fermenting

Aging andStorage

Storage

Packing/Bottling

Parking/Loading Area

Offices andStaff Facilities

Staff Wet Areas

Entrance/Lobby

RUIN

ARCADE

2

3

4

56

9

1011

12

14

14

14

14

16

15

15

18

19

20

21

15

13

7

1

8

800m2

50m2

50m2

11

12

13

Brewery Pub

Pub Back of House

Pub Storage

Pub

25m2

20m2

20m2

14

15

16

Vertical Circ. &ServiceCore

Emergency Stairs

Plant Area

VerticalCirculation & Services

RESTAURANTS

300m2

150m2

18

19

PublicAreas

Kitchen /BOH

ARCADE

1200m220 CoveredExternal Areas

RUIN

100m221 Total Area

Spit&Ba

Programm

Site overall programme

The project proposes a series of programmes to inhabit the site of the Truman Brewery as

well as their integration within the existing programmes at street level, particularly in the

inner areas of the site in Elys Yard, Wilkes Street and Dray Walk. The Brew House of the

new brewery integrates a public house that is directly connected to the covered external

areas on Elys Yard. The basement and ground levels adjacent to the brew house contain

the fermenting and storage facilities, as well as the processing and bottling areas of the

factory. Offices and staff facilities are located on the first level of the brewery building. The

existing buildings located immediate eastwards of the Hanbury Street entrance house a

series of restaurants, which have a common kitchen and services located at the rear. The

proposed ruins are located on the opposite end of the Hanbury Street entrance, beyond

the covered area of the arcade; these are visible from the north-south axis of Wilkes Street.


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Brewer

Site and External E

Whitech

apelRo

ad

Com

mercialS

treet

GreatEasternS

treet

Commercial Road

Bishopsg

ate

HackneyR

oad

Liverpool

Street

Station

Shoreditch

High Street

Station

Old

Truman

Brewery

Site Location Map at 1:5000 showing boundary of Spitalfields and Banglatown Ward and location of site


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3Dprintedfaade panels

Steel sections

DrainageChannel

Overlapping edgeprintedonto cladding panel

Steel section

Clamping edgeplatewith neoprenelayer

PTFE/Aerogel Skin

Sealedgaps

Perimeter CompositeSteel Truss

Faadepanels fixedto vertical L steel section frame

Brewer

Roof Deta

Roof Edge Detail

Taking advantage of the possibility to incorporate small details within the 3D printed materials, the roof edge detail is designed with a small overlapping edge that covers

the metal sheet drainage channel. In addition the top faade panel also wraps around the top of the perimeter truss, allowing the roof skin to cover the edge and making

it a tight system in terms of waterproofing and insulation. All the elements are fixed onto the printed panel by means of threads which have been incorporated into the

faade panels.


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Neopreneprotectivelayer

DoublePTFEskin interlayeredwith aerogel insulation





Stainless steel clamping strip



Frameclamping bolts

Carbon TanotubeReinforcedAluminium I beam

Roof Truss (Carbon TanotubeReinforcedAluminium I beam)

3Dprintedcladding section fixedto undersideof beam

3Dprintedcladding section fixedlaterally to truss

3Dprintedhorizontal elements fixedto undersideof cladding

Cross-fixing plates

Brewer

Roof Deta


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Brewer

Structure and Co

Brewery - Structure and Construction

It is envisaged that the construction of the brewery will take approximately 15 months

including the fit-out of the interior structures and finishes.

The construction will begin with site preparation, demolition of any existing ground

structures and possible re-routing of existing services and utilities. This is followed by

the excavation of the ground, with the necessary propping and securing of unstable

ground. Once excavation is complete and secure, the Ground Source Heat Pump pipes

as well as the heat and cold store are installed underground, followed by the casting of

the foundations and lift pits. After this the base raft slab can be cast. The completion of

the base slab facilitates the consequence construction of the perimeter concrete wall

and buttresses, as well as the underground concrete structures. The concrete struc-

tures above ground are constructed, coordinated with the installation of the precast

concrete stairs in both stair cores.

Level-1

StreetLevel

Level+1

RoofLevel

Level-2

Raft

Foundations

FireStair Core

FireStair Core

Basement Raft Slab

Perimeter Basement WallReinforcedConcrete

Buttresses

Capping Beam

Foundations

Perimeter Steel Composite Truss

Lift Core

Carbon NanotubeReinforcedAluminium Truss

Carbon NanotubeReinforcedAluminium Truss

Columns Steel Isection

Once the concrete structures are cast, the steel construction begins. The columns and

bracing are installed and welded on site. The perimeter truss is installed and welded as

well, although this element is separated into four sections to facilitate construction,

transport, erection and assembly. The prefabricated cantilevered aluminium trusses are

now installed and fixed to the concrete and steel structures onto cast fixings and bolted

fixings respectively, followed by the installation of the lateral bracing elements of the

roof.

The faade supporting frame is installed followed by the faade panels, which have

been printed, pre-assembled and treated on site since the start of construction. The

roof skin can now be installed, allowing for the installation of the mould, plants and feed

system within the roof frame. On ce the envelope is contained the fit-out of the interior

begins. The door openings are large enough to allow the necessary structures to enter

the brew hall and the brewery facilities. The fit-out of the brew hall begins with the main

steel and aluminium structures and the installation of the 3D printed panels and finishes,

as well as the electrical, mechanical, public health and fire systems. The external pave-

ment and rear faade can now be finalized.


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Brewer

Main Components a

Facadepanel (6no. 3Dprintedpieces)

External Pavement

Capping Beam

Perimeter basement wall

DoublePTFE skin with aerogel layer

RoofTruss (Carbon NanotubeReinforcedAluminium)

CompositeSteelTruss

Faadepanels fixedto vertical L steel section frame

Roof Drainage

Perimeter Campling


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BrewerFaade de

Intermediatehorizontal element

Faadepanel perimeter steel frame3m x2m

Gap sealedprior to installation of panel

Bolt/Threadcast within printedpanel

Steel anglesupports on undersideof frame

Titanium Dioxidecoating appliedon outside

Intermediatevertical elements


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Curry Tower

TfL Headquarters

New Truman Brewery

Cityscape

Petticoat Lane Arcade

Opening Scene

onescene

pan from interior

to ruins

Details of Petticoat

LaneArcade

(street canopy detail

&shop front add-ons)

Details of New

Truman Brewery

(crackedtimber

construction &

chimney)

Details of St. Marys

Hospital (sign hanging

&gothicvaults)

Details of Curry Tower

(sweet shop front

&hint of stacked

streets arrangement)

Details of

TfLHeadquarters

(victorian brick arches

&Shoreditch High

Street bridge)

Details of

Brick LaneMarket

Shopping Mall

(stalls &street/mall

faade)

Medium plans of

Petticoat LaneArcade

(street cafes and

tables &part of

canopy)

Medium plans of

NewTruman Brewery

(interior of main hall

&view of swimming

pool/cellars)

Medium plans of

St. Marys Hospital

(cloister &partial external

viewshowing contrast

of gothicruins

andnew building)

Medium plans of

Curry Tower

(raisedstreet view

&external viewof

structurewith

Brick Lane)

Medium plan

TfLHeadqua

(undergroundplatfor

external vie

perimeter

Brick Lane Market

Hospital ofSt. Mary without

Bishopsgate

Timeline

& Storyboard


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0 0 0 1 0 2 0 3 0 4 0 5 0 6 0 7 0 8 0 9 1 0 1 1 1 2 1 3 1 4 1 5 1 6 1 7 1 8 1 9 2 0 2 1 2 2 2 3 2 4 2 5 2 6 2 7 2 8 2 9 3 0 3 1 3 2 3 3 3 4 3 5 3 6 3 7 3 8 3 9 4 0 4 1 4 2 4 3 4 4 4 5

Brewery industrial sound

Street andpeoplerawsounds

entering into Brewery Brewery - view of cen

site entrance from Hanbury Street restaurant faades Dray Walk view Dray Walk arcade detail Ruin detail Ruin general view

camera movement from

street viewtowardsbuilding entrance sceneof restaurant faades

breaks continuity

focus on brewery entrance


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