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CONTENTS
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PROJECT 1.1
WINGS OF DESIRE_CHRONOGRAM
CONTEXT
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PROJECT NUMBER
PROJECT TITLE
PAGE TITLE
3
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PROJECT 1.1
WINGS OF DESIRE_CHRONOGRAM
CHRONOGRAM 2
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A schizophrenic out for a walk is a better model than a
neurotic lying on the analysts couch
The Anti-Oedipus, Deleuze and Guattari
everyone has different characteristics, personalities
and behaviour depending on where we are, what we are
doing or who we are with. is it possible for one person
to utilise these split personalities as a tool during
analysis and design of architecture?
continuing the theme of duality that was so explicit
within wings of desire the following project looks
at how one space can be perceived differently (or
similarly) by two contrasting personalities which could
be the personalities of two people or just the split
schizophrenic personality of one person.
PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
SPLIT PERSONALITIES
split personality - tank
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PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
SITE CONTEXT: SPIALFIELDS, A FLUID POPULATION
in the 17th century french protestant refuges settled
in the spitalfields area after the revocation of the
edict of nantes. to avoid the restrictive legislation
of the city guilds they settled on the edge of the
city in spitalfields. the huguenots were skilled in silk
weaving and brought this industry with them to the area.
during the late 17th and 18th centuries large terraced
houses were being built to accommodate the wealthy master
weavers.
the 1730s saw the growth in the local irish population as
weavers moved into spitalfields after the decline in the
irish linen trade. the spitalfields silk trade went into
decline because of the availability of cheaper silks
from france. in 1769 riots caused by the depression led
to both an irish and a huguenot weaver being hanged in
bethnal green. the victorian era saw a further decline
in the silk trade and the large dwellings once home to
master weavers and merchants became multi-occupied slums.
spitalfields became a by-word for urban deprivation. by
1860 the silk trade was dead, making way for new industry
led by a new wave of immigrants.
the jewish population came to london to flee the pogroms
of eastern europe in the late 19th century. they worked
in the textile and furniture industry and also set up
their own synagogues, kosher butchers and restaurants,
giving the area a distinctly jewish feel. as the wealth
of the jews increased they started to move out in groups
to golders green, hendon and finchley.
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11
architecture depends on order, arrangement, eurythmy, symmetry,
propriety, and economy.
order gives due measure to the members of a work considered separately,
and symmetrical agreement to the proportions of the whole. it is
an adjustment according to quantity. by this i mean the selection
of modules from the members of the work itself and, starting from
these individual parts of members, constructing the whole work to
correspond. arrangement includes the putting of things in their
proper places and the elegance of effect which is due to adjustments
appropriate to the character of the work. its forms of expressionare
these: groundplan, elevation, and perspective. a groundplan is made
by the proper successive use of compasses and rule, through which we
get outlines for the plane surfaces of buildings. an elevation is a
picture of the front of a building, set upright and properly drawn in
the proportions of the contemplated work. perspective is the method
of sketching a front with the sides withdrawing into the background,
the lines all meeting in the centre of a circle.
eurythmy is beauty and fitness in the adjustments of the members.
this is found when the members of a work are of a height suited to
their breadth, of a breadth suited to their length, and, in a word,
when they all correspond symmetrically.
symmetry is a proper agreement between the members of the work itself,and relation between the different parts and the whole general scheme,
in accordance with a certain part selected as standard. thus in the
human body there is a kind of symmetrical harmony between forearm,
foot, palm, finger, and other small parts; and so it is with perfect
buildings. in the case of temples, symmetry may be calculated from
the thickness of a column, from a triglyph, or even from a module;
in the ballista, from the hole; in a ship, from the space between
the tholepins; and in other things, from various members.
propriety is that perfection of style which comes when a work
is authoritatively constructed on approved principles. it arises
from prescription, from usage, or from nature... propriety arises
from usage when buildings having magnificent interiors are provided
with elegant entrance-courts to correspond; for there will be no
propriety in the spectacle of an elegant interior approached by a
low, mean entrance. or, if dentils be carved in the cornice of the
Doric entablature or triglyphs represented in the Ionic entablature
over the cushion-shaped capitals of the columns, the effect will
be spoilt by the transfer of the peculiarities of the one order of
building to the other, the usage in each class having been fixed
long ago.
vitruvius, ten books on architecture
PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
THE ARCHITECT INSPIRED BY BODY
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PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
THE PARKOURIST
its a way of transforming the city, you cant change it
physically, you cant go and move the lamp post or the
staircase, but you can change the way you look at it and
the way you use it.
signe hojbjerre, team jiyo free runners 2004
architecture is as much about events that take place in
spaces as the spaces themselves
bernard tschumi, 1999
parkourists/traceurs/freerunners embrace the city and
find new ways of experiencing it and travelling through
it in the most direct route possible. they embrace
obstacles as opportunities within a concrete playground
of immense potential ian borden, 2000
parkour as we know it today originated in the early 90s
from the games of david belle and sebastien foucan. during
their childhood they would practice their movement le
art du deplacement as they described it at the time.
for over a decade they practiced with a small group of
friends as an isolated unit, reviled by the authorities
and seen as wildmen by the public.
draw a straight line on a map of your home town. start
from point a, and go to point b. do not consider theelements as obstacles. hug them: climb, get over, jump:
let your imagination flow sebastien foucan, 2003
their inspiration for this new movement through the urban
environment may have come form david belles father
who undertook the training methods of georges hebert
whilst serving in the french military. herberts methods
were inspired by the natural, physical conditioning of
indigenous peoples from africa in particular dan edwardes,2011
it is clear that parkours birth is not a straight line,
although david belle and sebastien foucan can be seen
as being responsible for bringing it out of the shadows
onto the world stage it has most definitely been around
for thousands of years. the art of moving across an
environment in the quickest way possible would no doubt
have been practiced by hunters many years ago.
it is not simplified into one category; it is not just a
sport, a philosophy, an art or means of travel; it is all
of these things combined into one discipline. it is a new
way of seeing and interacting with your surroundings.
the city will reveal itself to a parkourist in ways the
normal public would struggle to understand.
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movement is movement, and it is mastery of ones own
movement that one should seek through the practise of
Parkour dan edwardes, 2011
a jump is never an end in itself, what we call a
following is needed after a jump, to be able to link
with another move, to be always active sebastien foucan
2003
flow is a concept that is deeply routed in the practice
of parkour. the parkourist is always interested in going
forward and doing this in a smooth, fluid motion. it is
about looking ahead and preparing yourself for what is
coming next.
parkour is often represented in films with the big moves,
the money shots and the practitioners seem to be doing
these extreme moves in isolation but this is not what
parkour is inherently about. it is often the part of
parkour that the viewer gets excited about but it is much
deeper than just showing off a move that could be learn
in a gym; it is about the flow through the environment
and the art of movement.
there are a set of basic moves which the parkourist
will utilise to get over, around, below or through an
obstacle. these moves form the basis for the movement
but are open to interpretation and improvisation. they
are what a beginner will start off learning but the
experienced parkourist will have thousands of variations
of the moves that respond to their environment; it is
not a sport which dumbly regurgitates the same sequences
and events.
parkour is a new way of thinking and expressing oneself.
it is an understanding of ones own body, of its limitations
but mainly of the possibilities that come out of having
complete control over yourself. it is an innate,
effortless way of moving that utilises the entire body
as a whole rather than consciously employing isolated
muscle groups. the elusive flow state dan edwardes, 2011
where these movements are performed is crucial to the
understanding of how parkour not only writes over pre-
existing narratives of space, place, and time, but to
how the practice establishes its own narrative force
zoe laughlin, 2004
PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
THE PARKOURIST: MOVEMENT
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PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
THE PARKOURIST: EXPLORING THE CITY
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PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
THE SET
the
rectangular
box
of
the
nave
is
surmounted
at
its
west
end
by
a
broad
tower
of
three
stages
topped
by
a
steeple.
the
tuscan
porch
with
its
semi
circular
pediment
is
bluntly
attached
to
the
west
end:
it
was
a
late
addition
to
the
design
intended
to
add
further
support
to
the
tower.
christ
church
was
built
under
an
Act
of
parliament
of
1711
which
required
the
building
of
fifty
new
churches
to
serve
the
new
populations
on
the
fringes
of
london.
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PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
FILM CONCEPT
the concept of this film is based around the idea of
parkour being a hit and run choreography; the parkourist
is often seen to invade the architects realm.
the film looks at the parkourist as an explorer in the
space created by the architect. it is about how a space
that was conceived in one way by one person can be used
in a multitude of different ways that could never have
been imagined by the creator. wil alsop once said about
parkour that it corrupts the original use but rather
than corrupting this film looks at how parkour can
enhance a space by writing over the preconceptions that
people have of a place.
the church is still appreciated as a monumental structure
of worship but the parkourist adds another layer to its
history.
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Catenient, num, cuptati nctatus, consequo ma si sitas
eatempere posam simi, ut maion possi as ium ad eum
re repudan ihicae sitaessit, simagniscid et escipistio
imus et ab intur simusdae prent el ma dentemp elender
fererferro vent.
Parunt aut aceaqui unt ium erfere sam, cum, solupta
temporior most, quaeri doluptate sam que ommodipit, am
velest, cum entestis re lab il es ab id moles moluptatet
maio magnat aut essin conse net dolore, soloremodit iunt
et omnihil et faces quiae rem ute net eum quaspe quis re
prae eumquam qui veliquide dis dolupti onsenis perunto
ratus.
Ati reraestios que doluptatur sandis eosam verum volorae
estio int lab ium et a sus.
Id magnihi liquas is estia velese conseque nus et atium
eost et, num que verum quatur? Qui corae sum landam sequi
qui quas amus rem enis molum susam, ommolescia et, te
liassimus ium harum hilibeatur?
Oluptaqui as re arcienditate et faccum es volende id molut
eos re, que odi te et aspellorisin nos adis experrorem
fugit officiur? Elluptiunto dolliquiate voluptur, ne et
ma deligent ea sequia num quis eos ea cus dernam eosae
pligent isi rem neture cusciet molestionem. Et mint pos
accus, qui te pa pa aspitas imporatur? Odi ulles estios
dus sapis minctatia derum, cullessitae optaspe ribus.
Ximinis voloreseque et acepediant, nosaperum ut laborit
que cus volo odit et reseribus, officiis doluptatis
quaes cus, omnihicitam rae. Temqui adi cus molorrumqui
illigen imint, simus etus nonsequist, aboritibus et pro
vitemped ea dus alicia vellorerum quatem id que quiassiti
im volum aut fuga. Ut et doluptae laciatio expereiunt
aut ea coresectur? Quia dit labo. Equas acia id que
porias maxim quamus aspel et harum que et od qui si ut
aut veliam nonsed magnimus, seque serumquatio. Ribus
a consedi tionsequae viditi debis utemperum hil int
verum rem qui reperferunt int minis di consequo quiatur,
voluptatia velibus min nobitata conseque vendiania vitia
cus quae nis iur sinctur sumquos comnis etur, sit, tem
quat magnis sequaec taspernam idunt ium que vella dem re
cum et, arum, iuntiis sum qui dolorerae. Neque consequam
is ellant.
Ita quo et, cus dolorernati to coriaspit ex etur, optatis
mod quateceprat ipit vento blacia incipsa in pellatemo id
molland itatemquia illorec aerio. Neque poria corepel eos
min et erion pliquo to quiae volores debit et re porrum,
consequis eserum invelit venistium duciet odisqui commolu
ptatessunt ratus et eatiandam quam, ute sum faccabo. Ga.
Nequiae ma sae ipis se pa coritatur, seque
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PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
SHOT LIST
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PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
CHRONOGRAM: THE ARCHITECT
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the parkourist pictures themselves in the space, they see
the architecture as a series of objects that they need
to travel over, under or around in order to get to their
destination. they analyse each obstacle in terms of what
their body can achieve; what is the most efficient way to
get past that object and continue their journey.
they have a deep understanding of their own body and
picture themselves moving through the space via a series
of moves that they have practiced and performed on
different obstacles many times. they see only the objects
that they interact with or that have an effect on the
body. they are moving quickly through the space, there
is no time to stop and gaze at anything not in their path
or out of reach of the body. they break down the space
into individual, isolated objects.
PROJECT 1.2
MULTIPLICITY: ONE AND SEVERAL SPACES
CHRONOGRAM: THE PARKOURIST
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PROJECT 1.2
MULTIPLICITY: TIMELINE
POST EDIT CHRONOGRAM
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PROJECT 1.2
MULTIPLICITY: TIMELINE
POST EDIT CHRONOGRAM
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tower hamlets in the london context
6.1 tower hamlets occupies a key position
within london, with the city to the west and
the opportunities offered by an area defined as
the east thames corridor (stretching from tower
bridge on both sides of the thames into essex and
kent), to the east. the development of docklands
in particular has placed tower hamlets at the
centre of londons future, providing new homes
and entertainment but perhaps most dramatically
of all, a new business centre for the capital .
tower hamlets occupies a position at the centre of
improvements to the infrastructure of the capital
(covering road and rail). this combined with the
continuance of major development opportunities
places tower hamlets in a key position to shift
the direction of development in the capital to
the east.
6.2 in recent years there has been a massive
amount of investment in commercial development
in the borough, targeted at city functions, with
more planned in the future. this is matched by an
equally significant investment programme in road
and rail infrastructure to service this growth.these processes will link the borough physically
and functionally to the city and the west end.
with these changes the character of parts of the
borough will change to resemble more closely that
of the central area. the plan has been formulated to
recognise the growing importance of tower hamlets
to the national and international functions of
the capital.
6.3 tower hamlets is also located at the gateway
to the east thames corridor, an area identified by
serplan and the government as an under-used asset
which needs to be developed to its full potential.
the area has a number of natural strengths: access
to central london and east coast ports, an abundance
of land for development and its proximity to the
channel and through this, to europe. the area
contains a series of development sites terminating
at docklands, together with proposals for major
infrastructure improvements. realising the areas
potential will take a number of years but central
government has committed itself to assessing this
potential and is preparing proposals on the future
of the area. the implications of these proposals
for tower hamlets will be incorporated into future
revisions to the plan.
6.4 tower hamlets is at the centre of londons
transport improvements. it lies within easy reach
of londons newest international airports: at
stanstead, and london city airport at the royal
docks in newham. major transport infrastructure
investment in road and rail (including the fast
rail link to the channel tunnel) is taking place
or planned for, or adjacent to, the borough.
6.5 tower hamlets, therefore, enjoys a singularly
good location at a pivotal point between existing
growth in the west and future growth to the
east, which will enable it to benefit from new
investment in london and the south east in terms
of improved employment, shopping, leisure and
cultural activities. the plan sets a context
to enable these changes to be accommodated
satisfactorily using the existing resources of
the borough, in terms of land, and physical andsocial infrastructure.
6.6 the policies of the plan must also enable the
borough to take advantage of these opportunities
while ensuring that residents enjoy the benefits
of these changes, and that the amenity and
environment of the borough generally are protected
and enhanced.
6.7 one of the means of ensuring that the amenity
of residents and the environment are protected
is to ensure that economic growth takes place
in a balanced way. tower hamlets cannot achieve
this on its own. it has therefore co-operated
with other boroughs and through lpac and others,
to agree a common approach to the development of
londons central area. this approach includes the
location ofgrowth areas for particular central
london functions; such as policies for transport,
parking and for the environment. this approach is
fully reflected in this plan.
tower hamlets udp, p.11
PROJECT 2.1
URBAN DESIGN PROJECT
TOWER HAMLETS: SPITALFIELDS AND BANGLATOWN
the city:london
high t eet t g h
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PROJECT 2.1
URBAN DESIGN PROJECT
SPITALFIELDS AND BANGLATOWN CONTEXT
w fi i g?
the banglatown and spitalfields ward sits in the south west
edge of the borough and has the lowest population of all
the tower hamlets wards. it has the third lowest average
age of all the wards and lowest number of dwellings.
it sits in an interesting position within london, not
only does it have its own unique history of immigrants
and culture but it also sits right on the edge of the
city of london; on the city fringe. developments for
the city are encroaching into the ward and are being
actively encouraged by the tower hamlets council for
economic reasons. there is a tension in the area between
commercial development and cultural identity.
to the east is the olympic park which places spitalfields
and banglatown on an import route to the 2012 olympic
venues, thousands of tourists will be passing through
the area in 2012 on their way to the olympic stadiums.
thousands of tourists already visit the area as the
curry capital of the uk on the famous brick lane, for
the east london graffiti scene and to visit spitalfields
market.
spitalfields and banglatown: overview
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PROJECT 2.1
URBAN DESIGN PROJECT
SPITALFIELDS AND BANGLATOWN CONTEXT
there are a number of primary schools in the
ward but no secondary schools; these are located
in the surrounding wards. just under 87% of
pupils went onto post 16 further education
in 2010, with 75.2% of pupils gaining 5 a*-c
grades at gsce level, just 0.1% below the
national average.
the largest proportion of people in the area
fall into the 16-29 year old category. the
area is seen as a trendy place to live in
london which is attracting a lot of young
people to the area. there is also a large
student population with london metropolitan
university and a number of london colleges
having campuses in the area.
spitalfields and banglatown: education buildings
population: age
education: post 16 education
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PROJECT 2.1
URBAN DESIGN PROJECT
SPITALFIELDS AND BANGLATOWN CONTEXT
spitalfields and banglatown is quite a dense ward with
few green spaces, the largest being altab ali park on
whitechapel high street. the streets around brick lane
are narrow and filled with dense terraces. towards
spitalfields market and liverpool street there are hard
landscaped courtyard areas enclosed by office buildings,
these areas, however, are lacking in character and very
much feel like part of the city of london, rather than
banglatown.
spaces for outdoor exercise and sports are limited. even
skateboarders and urban sports are limited in the area
with security guards patrolling the office areas. the
lack of exercise space and green areas must have an
affect on the residents.
recent research has established evidence to support the
benefits of a greener environment; studies have shown
correlations between the interaction with nature and
crime rates, adhd, and mental health; problems that have
been increasing significantly in the last century. this
puts importance on not only providing external spaces
within developments but also allowing these spaces to be
green.
Compared with housing blocks that had little or novegetation, housing blocks with high levels of greenery
had 48 per cent fewer property crimes and 56 per cent
fewer violent crimes. Greenery helps people to relax
and renew, reducing aggression. Green spaces also bring
people together outdoors, which increases surveillance
and discourages criminals. frances kuo, mental health benefits
from nature - associate professor: landscape and human health lab,
university of illinois.
not only is it thought that providing outside space
increases surveillance and reduces crime but providing
areas where residents of an area can exercise will lead
to more people taking part in these activities and
promote a healthier lifestyle. these spaces for exercise
dont necessarily have to be green spaces, they can be
cycle routes, running routes, skate parks or community
leisure centres. the mire readily available these spaces
become to the population the more likely they are to be
utilised.
spitalfields and banglatown: green spaces
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PROJECT 2.1
URBAN DESIGN PROJECT
SPITALFIELDS AND BANGLATOWN CONTEXT
historically commercial street, brick lane and
whitechapel high street have been densely packed with
shops, restaurants and public houses, whilst this is
still the case along brick lane the shops along the other
high streets are thinning out. where there used to be
long thin buildings on terraced plots housing butchers,
bakers, tailors there are now vast office buildings or
construction sites. the small independent shops are moving
away from whitechapel high street in particular and,
where they havent been replaced by office buildings,
large chain shops are moving in, taking up multiple plots
to create an imposing presence on the high street.
a high proportion of the remaining small retail units are
vacant and to let; a commentary on the general state
of things in the recession, but also by the value of
the land being pushed up by the encroaching development
of the city. the city corporations can afford to pay
large amounts for plots of land; pushing out independent
retailers in the process and the historical buildings
that house them.
brick lane has been designated as conservation area,
adding a layer of protection between it and the city.
whitechapel high street has been designated as a
conservation area but only in 1998 when many of the historic
terraces had already been lost to new development. the
conservation area weaves around these office buildings,
leaving them out of the protected zone; the conservation
area report even states that these buildings have ruined the
fine grain of the high street. yet since the allocation
of the conservation area more historic buildings have
been demolished to make way for large scale offices, the
most recent gaining planning permission in 2008 for a
19 storey office building bounded by whitechapel high
street, leman street and commercial road.
spitalfields and banglatown: high streets
PROJECT 2 1
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PROJECT 2.1
URBAN DESIGN PROJECT
WHITECHAPEL HIGH STREET: 1841
PROJECT 2 1
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PROJECT 2.1
URBAN DESIGN PROJECT
WHITECHAPEL HIGH STREET: 1934
PROJECT 2 1
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Catenient, num, cuptati nctatus, consequo ma si sitas
eatempere posam simi, ut maion possi as ium ad eum
re repudan ihicae sitaessit, simagniscid et escipistio
imus et ab intur simusdae prent el ma dentemp elender
fererferro vent.
Parunt aut aceaqui unt ium erfere sam, cum, solupta
temporior most, quaeri doluptate sam que ommodipit, am
velest, cum entestis re lab il es ab id moles moluptatet
maio magnat aut essin conse net dolore, soloremodit iunt
et omnihil et faces quiae rem ute net eum quaspe quis re
prae eumquam qui veliquide dis dolupti onsenis perunto
ratus.
Ati reraestios que doluptatur sandis eosam verum volorae
estio int lab ium et a sus.
Id magnihi liquas is estia velese conseque nus et atium
eost et, num que verum quatur? Qui corae sum landam sequi
qui quas amus rem enis molum susam, ommolescia et, te
liassimus ium harum hilibeatur?
Oluptaqui as re arcienditate et faccum es volende id molut
eos re, que odi te et aspellorisin nos adis experrorem
fugit officiur? Elluptiunto dolliquiate voluptur, ne et
ma deligent ea sequia num quis eos ea cus dernam eosae
pligent isi rem neture cusciet molestionem. Et mint pos
accus, qui te pa pa aspitas imporatur? Odi ulles estios
dus sapis minctatia derum, cullessitae optaspe ribus.
Ximinis voloreseque et acepediant, nosaperum ut laborit
que cus volo odit et reseribus, officiis doluptatis
quaes cus, omnihicitam rae. Temqui adi cus molorrumqui
illigen imint, simus etus nonsequist, aboritibus et pro
vitemped ea dus alicia vellorerum quatem id que quiassiti
im volum aut fuga. Ut et doluptae laciatio expereiunt
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47
PROJECT 2.1
URBAN DESIGN PROJECT
WHITECHAPEL HIGH STREET: 2011
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PROJECT 2.1
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URBAN DESIGN PROJECT
THE TRANSFORMATION OF THE HIGH STREET
buildings demolished since 1841
surviving buildings from 1841
newly constructed buildings
construction sites in 2011
PROJECT 2.1
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URBAN DESIGN PROJECT
HIGH STREET 2012
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URBAN DESIGN PROJECT
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URBAN DESIGN PROJECT
HIGH STREET 2012: REPRESENTATION
high street 2012s documentation uses a vibrantly coloured,
simplistic way of representing the scheme and the areas
that it relates to. their forms of representation
flatten and remove the scheme from reality. its use of
superlatives in the text give off a positive image of
the scheme. it reads as a manifesto for the project, as
if it is selling something to you.
high street 2012 is an ambitious project to improve
and celebrate one of londons great high streets. this
ribbon of london life is both everyday and remarkable. it
is historic and modern, and constantly evolving.
high street 2012
the images dont do anything to represent this remarkabl e
area. the use of bold areas of colour give the impression
of a generic brush stroke being applied to the areas.
the only differentiating feature between the areas of
the high street that have been identified as unique
area initiatives that respond to the specific needs of
different places, making each work better for the local
community area that they are show in different colours.
diagrams will always have a place in representing themes
but representing historic buildings with a clipart image
of a castle and plastering an area in brightly coloured
shapes that have no relation to any thing that theyrepresent is almost insulting to the area. the overly
simplified aesthetic of their documents seem to contradict
with the values that they put forward in their text.
Cr t r n thn h n c i n c l u st rf r n l n t hr n s c s n
t r n w ll s nc m m u ni ty r
c n t ri u t t r
R i r, im r v nh i st r i c u i l i n s tt h st r t s h r it
t t r s n s f
L i h t u t h H i h St l i f . r ki n w i
s i n rs , v l t h h i h s tr t s c
n v m n ts ,s c i l li h t in f
n s t i n t i n s sm r k t s n h i st r
I m r v s ur f c su s in m t r i l s wl c l c h r c t r n
C r t n w c yct h ir l n r ts
T r n sf r m f in ic m l m n t in sw i t h m r s u t l i n t r v n t i n s t h t f t ur s f t h st r
r v i s n s n i n tt l c
t h v i us n
O E
AYTWO
W
5.3 m
c l ut t r t h s t ru nu s s i n , r
f u r ni t u r t m k n s i r t n v
I n v l v l c l c m mH i h S t r t 2 0 12 th
f r j c t s , s m wu t c m s n t h
h v s c i l f c
HIGH STREET2012
PROJECT 2.1
URBAN DESIGN PROJECT
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URBAN DESIGN PROJECT
LOCAL TRADERS: INTERVIEWS
Said, the eatery, 68 whitechapel high street
Have you been in these units long?
This one? 3 years, this one was falling down, this building, the lottery fund has paid for it. The lottery
fund and the local council because the Olympic marathon was supposed to be going that way, but I dont think
its not going because of security or some political, because someone wants a bigger fish so they changed it
round now. But Im not complaining.
For 9 months we were just opening for the sake of it because the scaffolding was up, they wanted to change
the front but we didnt. this building looked like this 60 years ago. Its a grade 2 listed building, you
cant do much with it.
Did they mind that you didnt want to change the front?
No I said they were most welcome to go to court with it because I dont want wooden frame window, two rainy
seasons like this they will start, the plywood will start to rot again.
Was your trade affected much by the work, when they had the scaffolding up?
We were very quiet, just opening for the sake of it, here mostly is regular customers, we have a set of
customers from offices, university, here passing by trade is dead virtually, its all regular, people keep
coming back.
Im not too sure about this side, Im not sure what they are doing with that.
Do you think its just going to be for the showcase of the Olympics?
Yes, I think the recession is not even here yet, it will come after when the Olympics finishes , youll
see how the legacy lasts.
Is there a maintenance contract to keep the buildings repaired?
This will stay because it is owned by a big company.There is a restriction down here, we wanted to put in a kitchen down here but they will not let us put any
grill or anything. There is a problem from upstairs because all the pipework comes down here. We would keep
it as a caf. We have a basement as big as this, plus we have air conditioning so all we would have to do
is put one more outside and get the pipe in so we would have a central air conditioning. The it would be
lovely for evening bar, for drinking, because coffee shop, we dont need it now, after 2 oclock everybody
is gone, we can get rid of everything. Its still going on, we are fighting with it. The landlord wont
let us, they have submitted a plan.
Have your rates changed since the improvements have been done?
No, but there is a clause in the lease saying when the rent is reviewed it will always go up. I t is reviewed
every 5 years. It was reviewed last year so there is no change, because it was falling down we did not budge
on the rent. The landlord was quite pleased because it was 550,000 spent on it, all the cornerstones, this
sandstone, those were made to put in there, this was just plastered building before. Everything is new, they
broke everything down on the front and rebuilt everything. The bricks was laid in two parts, they took the
front one out. These bricks are not full bricks, they are half bricks, like a tile. All the stones, they
made them somewhere else and just put them up.
I think it looks absolutely beautiful, I like the library even better, I dont like concrete buildings, I
think the best british architecture is in the brick. Maybe in 5 years when it has aged a bit it will look
even better. Some of it is there from 1700s and not even one single brick has been damaged. Some of it is
going away, people work over it, they put things on. Before it was wasting like this, falling down, breaking
apart. 20 years ago this place was dangerous. I grew up in this area, lived all of my life here.
PROJECT 2.1
URBAN DESIGN PROJECT
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URBAN DESIGN PROJECT
HIGH STREET: PASTNESS
PROJECT 2.1
URBAN DESIGN PROJECT
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the high street 2012 team want to transport the visitors
to the games into an idealised version of the past; they
are creating a perceived reality of what once was, rather
than building on the culture and diversity of the area
as it is.
baudrillard talks about the simulacra, in his essay
simulacra and simulation he talks about he construction
of a perceived reality through the use of images of the
past.
natural, naturalistic simulacra: based on image,
imitation, and counterfeiting. they are harmonious,
optimistic, and aim at the reconstitution, or the ideal
institution, of a nature in gods imagebaudrillard, simulacra and simulation
the creation of this perceived reality by high street
2012 is meant to fool the visitors into believing that
they are somewhere that they are not. they are trying to
create, in their words, a thriving high street of which
London can be proud and which the world will admire.
after the restoration works 3 of the 5 retail units
at 64-68 whitechapel high street are vacant. have they
created a thriving high street, or have they just polished
a failing high street? their attempt to return their
buildings to how they once were has resulted in the
construction of a new building, with no signs of age, in
the style of an old building.
HIGH STREET: SIMULACRA
PROJECT 2.2
URBAN DESIGN PROJECT - SITE
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SITE LOCATION
PROJECT 2.1
URBAN DESIGN PROJECT
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SITE LOCATION: ON THE EDGE OF THE CITY
the site sits right at the edge of the
city. it marks the change from the tall
monolithic office buildings to the smaller
scale of the traditional high street. the
adjacent london metropolitan university
building acts as a intermediate between
these two scales but beyond this planning
consent has been given for a 19 storey
office building that fills the site of
the old leisure centre which has already
been demolished. the high street is again
losing community buildings in place of
office buildings which serve the city.
any building proposal on the site needs to
be for the community in the area. whitechapel high street north side
whitechapel high street south side
25m
25m
20m
20m
15m
15m
10m
10m
5m
5m
0m
0m
PROJECT 2.1
URBAN DESIGN PROJECT
RE WRITING HISTORY
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RE-WRITING HISTORY
PROJECT 2.2
URBAN DESIGN PROJECT - SITE
A SITE OF TWO SIDES
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following on from the previous urban study i have chosen
64-68 whitechapel high street as my site and will develop
a deeper analysis of these buildings within their wider
context on whitechapel high street.
these buildings featured very strongly in the high street
2012 scheme and raised some interesting questions in the
previous research. they brought up questions on facade
treatment, historical nostalgia and pastness, as well
raising issues into participation within architectural
schemes and how this can be achieved effectively.
64 - 68 were restored to create an idealised version of
the past. the layers that have built up on the building
over its life were stripped back and a fake historical
facade was created.
if it was possible to go back in time and proposed a
different way of bringing these buildings back to life
to create something that london could be proud of how
would i undertake it differently? what are appropriate
uses for these buildings given the lack of demand for
high street retail units and the encroachment of the
city? a number of the surrounding sites have gainedplanning permission for 15 - 20 storey office blocks,
how will any development sit within that new landscape?
how will the character of whitechapel high street be
retained, improved or reinvented in the future?
A SITE OF TWO SIDES
PROJECT 2.1
URBAN DESIGN PROJECT
FIRST IMPRESSIONS
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FIRST IMPRESSIONS
PROJECT 2.2
URBAN DESIGN PROJECT - SITE
CONSTRUCTING THE FACADE
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modelling the facade from photos i learnt to look more
closely at the subject, not only taking the building is
as whole but as individual elements.
by constructing the facade in 3d space it lead me to
start breaking it down.
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PROJECT 2.2
URBAN DESIGN PROJECT - SITE
HIGH STREET FACADE IN 24 HOURS
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PROJECT 2.2
URBAN DESIGN PROJECT - SITE
THE ALLEY IN 24 HOURS
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PROJECT 2.2
URBAN DESIGN PROJECT - SITE
PROCESS: LIGHTING THE HIGH STREET
NPATH
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the following pages take a 4 second clip from the site
analysis film and look at how they were created using
blender and after affects. the 4 second clip was part of
a longer sequence showing the site over a 24 hour period,
this section looks at the early morning.
SUN
the orange outlines on this image show the active camera
and the settings used for it in terms of position and
rotation within the 3d space and the lens type.
PROJECT 2.2
URBAN DESIGN PROJECT - SITE
PROCESS: LIGHTING THE HIGH STREET
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the following 4 images are 4 frames from the sequence
which was made up of 100 frames in total. they are frames
1 [artificially lit, no sunlight], 45 [combination of
sunlight and artificial lighting], 55 [sunlight only]
and 100 [sunlight only].
the sequence involved creating the sun as a point light
in the scene, changing the intensity [energy] of the
sunlight along the timeline to create the effect of
sunrise and changing the position of the sunlight across
the scene, tracking the suns path to create a realistic
lighting effect. spotlights were also created for the
street lamps which were set to turn off at a given point
as the intensity of the sun increased and their colour
was set to match the orange glow of street lighting. the
size of the spotlight, in terms of the angle of spread of
the light, and the softness of the light, the feathering
of the edges, also had to be set.
all of the settings and changes to the settings are set
along a timeline, using keyframes. each keyframe controls
what each object in the scene does and when, by set two
keyframes of different values the computer will process
the time between the key frames and create a transition
which can then be sped up or weighted towards one of the
keyframe values. when rendered the animation is exported
as a series of images [frames] which can then be brought
together in a video editing suite and converted into avideo file.
the following page out lines how the vehicle lights were
added to the scene during the night sequence in the video
FRAME 1FRAME 1 FRAME 45
street light settings street light settingsstreet light settingssunlight settings sunlight settingsunlight setting
sunlight position
PROJECT 2.2URBAN DESIGN PROJECT - SITE
PROCESS: VEHICLE LIGHTSstep 3step 2step 1
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after opening a new composition in after effects the
first step was to import the precomposed video sequence
created from the nighttime renders in blender.
the path was duplicated to create more lines of headlights
and the path and settings altered slightly for each
one so that they animated differently and matched the
perspective of the scene.
the lights on the far side of the road were passing
in front of the pedestrian island, to give the illusion
that they were passing behind it the island was cut out
in photoshop and applied as a layer mask to the lights
in after effects. this removed the section of the lights
which would be hidden behind the island.
as the car lights passed by the environment would be
effected by the light. to create this effect part of
the surroundings was duplicated and cutout using the pen
tool, the edge of the cut was feathered to soften the
edges of the light.
the precomposed sequence contained the street lights and
the sunlight which were animated to change as the video
changed from day to night and back to day time.
the first step in creating the illusion of car lights
passing by the building at night was to draw a path using
the pen tool. this is the path that the lights would be
animated along. the path was drawn to match the route a
car would take along the road and at a height that their
headlamps would be.
step 8step 7step 6
PROJECT 2.2URBAN DESIGN PROJECT - SITE
VEHICLE LIGHTS
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PROJECT 2.2URBAN DESIGN PROJECT - SITE
MAKING MARKS
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using thermal imaging it is possible
to capture the moment traceurs come
into contact with objects and the
marks they leave upon them. these
marks and interactions are usually
so quick that it can be hard or
impossible to process them using
normal imaging or the human eye.
the intensity of the mark shows
the intensity of the touch on the
surface and different surfaces
produce different types of mark so
it represents both the act of thetraceur and their effect on the object
as well as the effect the texture,
surface and shape of the object on
the interaction of the traceur.
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PROJECT 2.2URBAN DESIGN PROJECT - SITE
ELEMENTS OF INTERACTION 2
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untrained eye elements of interaction
PROJECT 2.2URBAN DESIGN PROJECT - SITE
ELEMENTS OF INTERACTION 3
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PROJECT 2.2
URBAN DESIGN PROJECT - SITE
CHRONOGRAM
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white - traceur
black - camera
red - lights
blue - interaction
PROJECT 2.3
URBAN DESIGN PROJECT: BUILDING
THE STATE OF THE HUMAN BODY
parkour is a method of training which allows
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for most of us it has become the norm to sit hunched over
a computer for 8, 9, 10, maybe even 12 hours a day whilst
at work. and then what do we do when we go home, turn
on the tv, watch a film, indulge in some social media?
we are becoming less active, our evolution could soon
start to take a backwards step, we will become constantly
hunched in the perfect position for working at a desk.
to travel from place to place we slump down in a seat
on the train, bus, or car. look at the parkourist, not
only are they experiencing the city in a new way, they
are faster, fitter and stronger than the average person.
by exploring the city and seeing built obstacles asopportunities they remain in peak physical condition.
what if everyone moved like a parkourist?
parkour evolved from the methode naturelle training
developed by georges herbert. he creating obstacle
course based around his motto tre fort pour tre utile
(be strong to be useful). he created training sessions
consisting of ten fundamental groups of movement: walking,
running, jumping, quadrupedal movement, climbing,
balancing, throwing, lifting, self-defence, swimming.
these he believed developed three main senses;
energetic or virile sense: energy, willpower, courage,
coolness, and firmness;
moral sense: benevolence, assistance, honour, and honesty;
physical sense: muscles and breath.
according to herbert, if we all embraced and practiced
parkour we would be a lot more useful.
us to overcome obstacles, both in the urban
and natural environments. its a weapon in
disguise. We train and when one day we
encounter a problem, we know that we are able
to use it. it can be the art of flight, of
the chase, of helping someone with a problem,
something ordinary.
david belle,2009
PROJECT 2.3
URBAN DESIGN PROJECT: BUILDING
THE BODY AS A GENERATOR
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PROJECT 2.3
URBAN DESIGN: BUILDING
FUEL FOR THE BODY
in order for the body to be in motion it needs fuel. this
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fuel produces the energy that could be harnessed once it
leaves the body.
food is fuel for the body. energy is produced from
respiration. fats, complex carbohydrates and glucose in
the food we eat are converted into energy by the body.
fats and carbohydrates are broken down into glucose which
is used in respiration.
the body has a complex energy management system; it
closely monitors the amount of fuel that enters the body
and the amount required by the body. if too much glucose
enters the blood stream the pancreas releases insulin to
counteract it. insulin converts the excess glucose into
glycogen which can be stored in the muscles and liver
to be used later. glucose in its simple state cannot be
stored by the body.
the liver can store between 90-100g of glycogen at any
time, the equivalent amount of energy for 3-4 hours of
normal activity. once this limit has been reached the
liver will start to convert any more excess glucose into
fat. this process occurs each time we eat a meal and it
is normal for glucose to be converted into fat after a
normal sized meal.
as the amount of glucose in the blood starts to drop in
the hours after we eat the pancreas responds and releasesglucagon which stimulates the liver to access the fuel it
has stored as glycogen. the glycogen is broken down into
glucose which then enters the blood stream to be used in
respiration.
once the glycogen reserves in the liver start to fall
they are replenished by the break down of fat into
replacement glycogen to be stored in the liver. when fat
reserves start to fall it is time to eat again and the
fuel cycle continues.
hydrogen atom
carbon atom
oxygen atom
pavegen harvests energy from footsteps. every time someone
walks over the pavegen pad kinetic energy is converted
PROJECT 2.3
URBAN DESIGN: BUILDING
ENERGY CASE STUDY: PAVEGEN
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walks over the pavegen pad kinetic energy is converted
into electricity that can be stored and used,
each pad includes a central luminaire which lights up
every time someone steps on it. this engages the user
with the energy generation process and also attracts
more footfall to the pad.
the pads can be retro fitted within existing floor
surfaces; they come in standard slab and tile sizes. the
upper part of the pad is made from 100% recycled tyres
and over 80% of the lower part and mechanical components
are also made from recycled material. they perform well
in both internal and external environments.
the pads are ideally suited to places of high footfall,
especially places where large crowds are channelled through
a narrow route such as ticket barriers at train stations
or entrances to buildings. they have been installed in
school corridors to contribute to the energy requirement
for the schools lighting needs. the pads in the school
provide the equivalent energy to power 400 leds for the
entire 8 hour school day. plans are also in place to use
pavegen at the london 2012 stratford site.
5% of the energy from each pad is used to power the built
in luminaire and the other 95% is harvested for other
uses. the pads create 4-8w over a period of 1 second foreach footstep. the output voltage is 12v.
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PROJECT 2.3
URBAN DESIGN: BUILDINGENERGY CASE STUDY: BODY HEAT
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PROJECT 2.3
URBAN DESIGN: BUILDINGBUILDING CONCEPT
taking inspiration from the previous work on parkour and
the parkourists movement the concept for my building
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is to utilise this movement and harness the energy it
gives off to contribute to the power requirement for the
building.
the building will be a performing arts venue and gym.
with the gym providing power to the venue. audience
members will be able to pay for their tickets to events
with energy. the energy they create in the gym will be
transferred to points which will allow them entry in to
the arts venue.
it is a building powered by humans; a renewable source
of energy.
the building will be split into 3 main zones; the venue,
the gym and a cafe/bar.
PROJECT 2.3
URBAN DESIGN: BUILDINGBUILDING ZONES
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the gym acts as the generator for the buildings energy
requirement. the cafe/bar acts as a refuelling station
for the gym users; for them to continue to create energy
they must take on energy in the form of food. the venue
will be the incentive for people to use the gym and will
allow people to engage with the energy creation process
and experience where the energy goes.
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PROJECT 2.3
URBAN DESIGN: BUILDING
DEMOLITION
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as well as salvaging historical parts from the site
itself, parts will also be obtained from nearby sites.
demolished buildings which would be lost will be given
PROJECT 2.3
URBAN DESIGN: BUILDING
SALVAGE YARDS
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new life used in the new building.
elements will be salvaged and re-used. salvaged parts
will be used to create a new structure for the new
building; the structure will have to be designed around
the parts and components that can be sourced from the
site and nearby sites.
proposed site
proposed site
PROJECT 2.3
URBAN DESIGN: BUILDING
FUNCTION: A DRAINPIPE OR A CLIMBING FRAME
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the cladding system of the new building will provide the
parkourist with an environment that they can interact
with. usually the parkourists only get to interact with
the external facades of a building but this building will
provide internal and external spaces that the parkourists
can utilise to practice their discipline. the spaces will
intertwine with one another, the parkourist will be able
to move through the inside and outside of the building
as if it were one space.
the cladding system, internally and externally will the
made up of salvage elements from historical buildings.
that the parkourists can interact with. the structure
and services of the new building will also be exposed
to allow further interaction between the movement and
the parkourists and the building elements. not only will
the services provide the building with the systems it
requires to function but they will also be providing the
parkourists the systems they need to practice and create
kinetic energy to power the buildings services.
PROJECT 2.3
URBAN DESIGN: BUILDING
MORPHING ELEVATION
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