Development Portfolio

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t i m e t i m e m a c h i n e sm a c h i n e s u n i t 1 5 u n i t 1 5 d e v e l o p m e n t d e v e l o p m e n t p o r t f o l i op o r t f o l i o a d v a n c e a d v a n c e d d a r c h i t e c a r c h i t e c t u r a l d e s i g n t u r a l d e s i g n 0 20 2 c a r o l y n c a r o l y n g a r d e ng a r d e n P T Y 3 P T Y 3

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t i m e t i m e m a c h i n e sm a c h i n e s u n i t 1 5 u n i t 1 5 b r i e f : b r i e f :

Imagine that you are on a rock that is rotating at 652mph and travelling through Imagine that you are on a rock that is rotating at 652mph and travelling through space at 67,000mph. Imagine that this rock is 4.54 million years old, has a mass of space at 67,000mph. Imagine that this rock is 4.54 million years old, has a mass of 5.9 x 1018 tonnes and is home to 8.7 billion different species.

5.9 x 1018 tonnes and is home to 8.7 billion different species. Imagine that you are located somewhere on

Imagine that you are located somewhere on that rock within an area of that rock within an area of 610 sq miles610 sq miles that is home to 13 million of the rocks most advanced species.

that is home to 13 million of the rocks most advanced species.

Imagine that your specic location enables you to move freely for over 21 miles at Imagine that your specic location enables you to move freely for over 21 miles at a maximum speed of 50mph and potentially

a maximum speed of 50mph and potentially brings you into contact with 192,000 of brings you into contact with 192,000 of these advanced life forms every day.

these advanced life forms every day.

Imagine that you are asked to analyse and record that location with respect to Imagine that you are asked to analyse and record that location with respect to movement, space, and time.

movement, space, and time.

Imagine that you can slow time down or speed it

Imagine that you can slow time down or speed it up, or even stop it completely: thatup, or even stop it completely: that you can travel forwards or backwards in time, or create endless loops of time. you can travel forwards or backwards in time, or create endless loops of time. Imagine that you select a specic part of that location and propose an intervention Imagine that you select a specic part of that location and propose an intervention that constitutes a ‘Time Machine’.

that constitutes a ‘Time Machine’.

Imagine that within your ‘Time Machine’ you have the capacity to construct spatial Imagine that within your ‘Time Machine’ you have the capacity to construct spatial narratives that inherently communicate your values as a designer.

narratives that inherently communicate your values as a designer. Welcome to Unit 15.

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1 . 0

1 . 0 | | c o n t e c o n t e n t sn t s

1.1 | 1.1 | star guitar star guitar

music video synopsis music video synopsis

2.6 |

2.6 | space-time analysisspace-time analysis video stills 02 video stills 02

2.16 |

2.16 |space-time analysisspace-time analysis animation 01 animation 01

3.8 |

3.8 | impossible scenariosimpossible scenarios london city scape 04 london city scape 04

3.9 |

3.9 | impossible scenariosimpossible scenarios my version of bank my version of bank

3.15 |

3.15 |impossible scenariosimpossible scenarios chronogram chronogram 3.10 |

3.10 |impossible scenariosimpossible scenarios video stills 01 video stills 01

3.11 |

3.12 |

3.13 |

3.14 |

4.0 |

4.0 | impossible spacesimpossible spaces places of the dlr places of the dlr

4.2 |

4.2 | impossible spacesimpossible spaces spatial edit 02 spatial edit 02 4.1 |

4.1 | impossible spacesimpossible spaces spatial edit 01 spatial edit 01 3.0 |

3.0 | impossible scenariosimpossible scenarios places of the dlr places of the dlr

3.1 |

3.1 | impossible scenariosimpossible scenarios places of events 01 places of events 01

3.2 |

3.2 | impossible scenariosimpossible scenarios introduction introduction

3.3 |

3.3 | impossible scenariosimpossible scenarios location plan_bank location plan_bank

3.4 |

3.4 | impossible scenariosimpossible scenarios places of the dlr places of the dlr

3.5 |

3.6 |

3.7 |

3.7 | impossible scenariosimpossible scenarios london city scape 03 london city scape 03 2.7 |

2.8 |

2.9 |

2.10 |

2.10 |space-time analysisspace-time analysis image 01 image 01

2.11 |

2.11 |space-time analysisspace-time analysis chronogram 01 chronogram 01

2.12 |

2.13 |

2.14 |

2.15 |

2.15 |space-time analysisspace-time analysis chronogram 05 chronogram 05 1.2 |

1.2 | star guitar star guitar video stills video stills

chronogram analysis chronogram analysis

chronogram chronogram

2.0 |

2.0 | space-time analysisspace-time analysis docklands light railway docklands light railway

2.1 |

2.1 | space-time analysisspace-time analysis introduction introduction

2.2 |

2.2 | space-time analysisspace-time analysis location plan_poplar location plan_poplar

2.3 |

2.3 | space-time analysisspace-time analysis animation 01 animation 01

2.4 |

2.4 | space-time analysisspace-time analysis chronogram chronogram

2.5 |

2.5 | space-time analysisspace-time analysis video stills 01 video stills 01 4 0 4 0 0 6 0 6 1 6 1 6 2 6 2 6 0 7 0 7 1 7 1 7 2 7 2 7 3 6 3 6 0 8 0 8 1 8 1 8 2 8 2 8 3 7 3 7 0 9 0 9 1 9 1 9 2 9 2 9 3 8 3 8 1 0 1 0 2 0 2 0 3 0 3 0 3 9 3 9 1 1 1 1 2 1 2 1 3 1 3 1 4 411 4422 4433 4444 4455 1 122 1133 1144 1155 2 222 2233 2244 2255 3 322 3333 3344 3355 b r i e f b r i e f t h e m a t i ct h e m a t i c a n a l y s i s a n a l y s i s c h r o n o g r a m c h r o n o g r a m a n a l y s i s a n a l y s i s t e c h n i c a l t e c h n i c a l a n a l y s i s a n a l y s i s b r i e f b r i e f b r i e f b r i e f

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1 . 0

4 6 4 6

4.3 |

4.3 | impossible spacesimpossible spaces spatial edit 03 spatial edit 03

5.1 |

5.1 | impossible spacesimpossible spaces dlr city_thesis abstract dlr city_thesis abstract

6.4 |

6.4 | impossible spacesimpossible spaces dlr city_lm tests 04 dlr city_lm tests 04

6.11 |

6.11 |impossible spacesimpossible spaces dlr city_sequence 07 dlr city_sequence 07

6.12 |

6.16 |

6.16 |impossible spacesimpossible spaces dlr city_sequence 12 dlr city_sequence 12 6.13 |

6.13 |

6.14 |

6.15 |

6.17 |

6.5 | impossible spacesimpossible spaces dlr city_sequence 01 dlr city_sequence 01

6.6 |

6.7 |

6.8 |

6.9 |

6.10 |

6.11 |

5.2 | impossible spacesimpossible spaces dlr city_thesis method dlr city_thesis method

5.3 |

5.3 | impossible spacesimpossible spaces dlr city_case study 01 dlr city_case study 01

5.4 |

5.5 |

5.6 |

6.0 |

6.0 | impossible spacesimpossible spaces dlr city_spatial brief dlr city_spatial brief

6.1 |

6.2 |

6.3 |

6.3 | impossible spacesimpossible spaces dlr city_lm tests 03 dlr city_lm tests 03 4.4 |

4.5 |

4.6 |

4.7 |

4.8 |

4.9 |

4.10 |

4.10 |impossible spacesimpossible spaces chronogram part 1 chronogram part 1

4.11 |

4.11 |impossible spacesimpossible spaces chronogram part 2 chronogram part 2

5.0 |

5.0 | impossible spacesimpossible spaces dlr city_spatial brief dlr city_spatial brief 5 6 5 6 6 6 6 6 7 6 7 6 4 7 4 7 5 7 5 7 6 7 6 7 7 7 7 7 4 8 4 8 5 8 5 8 6 8 6 8 8 3 8 3 4 9 4 9 5 9 5 9 6 9 6 9 7 8 7 8 5 0 5 0 6 0 6 0 7 0 7 0 7 9 7 9 5 1 5 1 6 1 6 1 7 1 7 1 8 0 8 0 5 2 5 2 6 2 6 2 7 2 7 2 8 1 8 1 5 3 5 3 6 3 6 3 7 3 7 3 8 2 8 2 5 4 5 4 6 4 6 4 7 4 7 4 8 844 8855 5 5 5 5 6 5 6 5 7 5 7 5 b r i e f b r i e f b r i e f b r i e f

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1 . 0

8 6 8 6

6.18 |

6.25 |

7.0 | 7.0 | bibliographybibliography

6.33 |

6.33 |impossible spacesimpossible spaces dlr city_summary dlr city_summary

6.34 |

6.34 |impossible spacesimpossible spaces dlr city bricolage 01 dlr city bricolage 01

6.35 |

6.36 |

6.37 |

6.38 |

7.0 | 7.0 | bibliographybibliography 6.25 |

6.26 |

6.27 |

6.28 |

6.29 |

6.29 |impossible spacesimpossible spaces dlr city_collage fragments dlr city_collage fragments

6.30 |

6.31 |

6.32 |

6.32 |impossible spacesimpossible spaces dlr city_chronogram dlr city_chronogram

6.32 |

6.32 |impossible spacesimpossible spaces dlr city_chronogram dlr city_chronogram 6.19 |

6.19 |

6.20 |

6.21 |

6.22 |

6.23 |

6.24 |

6.24 |impossible spacesimpossible spaces dlr city_sequence 20 dlr city_sequence 20 9 6 9 6 106 106 116 116 8 7 8 7 9 7 9 7 107 107 8 8 8 8 9 8 9 8 108 108 8 9 8 9 9 9 9 9 109 109 9 0 9 0 100 100 110 110 9 1 9 1 101 101 111 111 9 2 9 2 102 102 112 112 9 3 9 3 103 103 113 113 9 4 9 4 104 104 114 114 9 5 9 5 105 105 115 115

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c h e m i c a l c h e m i c a l b r o t h e r sb r o t h e r s 1 . 1 1 . 1 | | s t a r g u i t a r s t a r g u i t a r m u s i c v i d e o m u s i c v i d e o s y n o p s s y n o p s i si s s t r u c t u r e s t r u c t u r e Star Guitar

Star Guitar is approximately 126 beats per minute and in the key of F major.is approximately 126 beats per minute and in the key of F major. The song contains a four measure-long acoustic guitar sample from the beginning The song contains a four measure-long acoustic guitar sample from the beginning of the David Bowie song, ‘Starman,’ hence its name,

of the David Bowie song, ‘Starman,’ hence its name,Star Guitar Star Guitar . This sample is. This sample is repeated throughout the track, with various musical elements playing off of it as a repeated throughout the track, with various musical elements playing off of it as a main theme. The song also contains an

main theme. The song also contains an electronic sample of ‘Fly to Venus’ by Elec-electronic sample of ‘Fly to Venus’ by Elec-tronic System.

tronic System. v i d e o v i d e o

The music video, directed by

The music video, directed by Michel Gondry, features a continuous shot lmed fromMichel Gondry, features a continuous shot lmed from the window of a speeding train passing through towns and countryside; however, the window of a speeding train passing through towns and countryside; however, the buildings and objects passing by appear exactly in time with the various beats the buildings and objects passing by appear exactly in time with the various beats and musical elements of the track.

and musical elements of the track. The video is based on DV footage Gondry shotThe video is based on DV footage Gondry shot while on vacation in France; the train

while on vacation in France; the train ride between Nîmes and Valence was shot tenride between Nîmes and Valence was shot ten different times during the day to get

different times during the day to get different light gradients. The Pont du Robinet asdifferent light gradients. The Pont du Robinet as well as Pierrelatte’s station can be seen. Gondry had experimented with a different well as Pierrelatte’s station can be seen. Gondry had experimented with a different version of the same effect in

version of the same effect in his video for Daft Punk’s ‘Around the World’, where hehis video for Daft Punk’s ‘Around the World’, where he had represented each element of the music with a dancer.

had represented each element of the music with a dancer. Gondry actually plotted out the synchronization

Gondry actually plotted out the synchronization of the song on graph paper beforeof the song on graph paper before creating the video, eventually ‘modelling’ the scenery with oranges, forks, tapes, creating the video, eventually ‘modelling’ the scenery with oranges, forks, tapes, books, glasses and tennis shoes.

books, glasses and tennis shoes. p i e r r e l a t t e ’ s p i e r r e l a t t e ’ s t r a i n t r a i n s t a t i o ns t a t i o n p o n t d u p o n t d u r o b i n e t r o b i n e t p p o o n n t t d d u u r r o o b b i i n n e e tt p p i i e e r r r r e e l l a a t t t t e e ’ ’ s s s s t t a a t t i i o o nn

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c h e m i c a l c h e m i c a l b r o t h e r sb r o t h e r s 1 . 2 1 . 2 | | s t a r g u i t a r s t a r g u i t a r v i d e o v i d e o s t i l l ss t i l l s ( (00--0000--0000--0000)) ((00--0000--1100--0000)) ((00--0000--3300--0000)) ((00--0000--5500--0000)) ((00--0011--1100--0000)) ( (00--0011--2255--0000)) ((00--0011--3300--0000)) ((00--0011--3355--0000)) ((00--0011--4400--0000)) ((00--0011--4455--0000)) ( (00--0011--5555--0000)) ((00--0022--2200--0000)) ((00--0022--4400--0000)) ((00--0033--1155--0000)) ((00--0033--5555--0000))

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c h e m i c a l c h e m i c a l b r o t h e r sb r o t h e r s 1 . 3 1 . 3 | | s t a r g u i t a r s t a r g u i t a r c h r o n o g r a m c h r o n o g r a m a n a l y s i sa n a l y s i s b r i e f b r i e f

make a survey drawing of this video... make a survey drawing of this video... s i t e :

s i t e : t r a i n j o u r n e y b e t w e e n n i m e s t r a i n j o u r n e y b e t w e e n n i m e s a n d a n d v a l e n v a l e n c ec e My rst attempt at mapping a chronogram for the Chemical Brothers Star Guitar My rst attempt at mapping a chronogram for the Chemical Brothers Star Guitar Video. Has anyone ever tried to make a literal mapping of something that actually Video. Has anyone ever tried to make a literal mapping of something that actually doesn’t exist in reality?

doesn’t exist in reality?

At rst glimpse, and many viewings thereafter, I did not fully comprehe At rst glimpse, and many viewings thereafter, I did not fully comprehend the technd the tech

--niques involved to construct this master piece. It took hours of mapping the towns niques involved to construct this master piece. It took hours of mapping the towns and landscapes of the French countryside to learn that most of the footage, stills and landscapes of the French countryside to learn that most of the footage, stills and architectural objects within the piece had been fabricated, repeated and and architectural objects within the piece had been fabricated, repeated and ma-nipulated.

nipulated.

I found merely 3 stills of the 4 minute piece that were a true representation of the I found merely 3 stills of the 4 minute piece that were a true representation of the train journey between Nimes and

train journey between Nimes and Valence, Pierrelatte’s Station being one of them.Valence, Pierrelatte’s Station being one of them. The drawing shows a sequence of built objects found in the video, mapped out on The drawing shows a sequence of built objects found in the video, mapped out on Graph Paper. Each sequence is repeated 4 times to

Graph Paper. Each sequence is repeated 4 times to replicate the 4 minute duration.replicate the 4 minute duration. The audio track is made up of 126 beats per minute, and 504 beats for the total The audio track is made up of 126 beats per minute, and 504 beats for the total duration, The graph layout grid denoting this scale.

duration, The graph layout grid denoting this scale. The SLR wireframe shown in the glass

The SLR wireframe shown in the glass reection shows that the camera position reection shows that the camera position isis static, and does not move or rotate throughout the entire piece. This is also static, and does not move or rotate throughout the entire piece. This is also repli-cated on 4 occasions, capturing 4 stills of the composition that fall within the cated on 4 occasions, capturing 4 stills of the composition that fall within the land-scape...or not as the case may be!

scape...or not as the case may be! The visual audio wave is placed to travels

The visual audio wave is placed to travels through the lens of the SLR’s, fading andthrough the lens of the SLR’s, fading and sharpening as the stills appear alongside the

sharpening as the stills appear alongside the railway route, representing a continualrailway route, representing a continual mapping of the train

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c h e m i c a l c h e m i c a l b r o t h e r sb r o t h e r s 1 . 4

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s p a c e - t i m e s p a c e - t i m e a n a l y s i sa n a l y s i s 2 . 0 | 2 . 0 | b r i b r i e f e f d o c k l a n d s d o c k l a n d s l i g h t l i g h t r a i l w a yr a i l w a y “….just as we perceive things where they are present, in space, we remember “….just as we perceive things where they are present, in space, we remember where they have passed in time…”

where they have passed in time…” Gilles Deleuze,

Gilles Deleuze, The Time ImageThe Time Image

“The fact is that space ‘in itself’ is ungraspable, unthinkable, unknowable. Time “The fact is that space ‘in itself’ is ungraspable, unthinkable, unknowable. Time ‘in itself’, absolute time is no less unknowable. But that is the whole point: time is ‘in itself’, absolute time is no less unknowable. But that is the whole point: time is known and actualized in space, becoming a social reality by

known and actualized in space, becoming a social reality by virtue of a spatial prac-virtue of a spatial prac-tice. Similarly space is known only in and through time.”

tice. Similarly space is known only in and through time.” Henry Lefebvre,

Henry Lefebvre, The Production Of SpaceThe Production Of Space

“A space exists when one takes into consideration vectors of direction, velocities, “A space exists when one takes into consideration vectors of direction, velocities, and time variables. Thus space is composed of intersections of mobile elements. It and time variables. Thus space is composed of intersections of mobile elements. It is in a sense actuated by the ensemble of movements deployed within it.” is in a sense actuated by the ensemble of movements deployed within it.” Michel De Certeau,

Michel De Certeau, The Practice Of Everyday LifeThe Practice Of Everyday Life b r i e f

b r i e f

You are required to visit the site and record your visit. You are required to visit the site and record your visit.

You are required to record as much of the site as you can, by whatever means you You are required to record as much of the site as you can, by whatever means you feel is appropriate.

feel is appropriate.

You may wish to visit parts of the site a number of times to record them under a You may wish to visit parts of the site a number of times to record them under a number of different conditions.

number of different conditions.

You are required to make a space-time analysis of your visit. You are required to make a space-time analysis of your visit.

Your analysis needs to identify your interests both thematically and representationally. Your analysis needs to identify your interests both thematically and representationally. You are to present your initial ndings on Wednesday 10th October

You are to present your initial ndings on Wednesday 10th October

Your ndings should be presented in such a way that they are able to go straight Your ndings should be presented in such a way that they are able to go straight onto your blogs and into your portfolio...

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s p a c e - t i m e s p a c e - t i m e a n a l y s i sa n a l y s i s 2 . 1 2 . 1 | | i n t r o i n t r o d u c t i o d u c t i o nn d o c k l a n d s d o c k l a n d s l i g h t l i g h t r a i l w a yr a i l w a y i n i t i a l i n i t i a l t r i p t r i p a n d a n d o b s e r v a t i o n so b s e r v a t i o n s

The Docklands Light Railway (DLR) is an automated light metro or light rail The Docklands Light Railway (DLR) is an automated light metro or light rail sys-tem which opened in 1987 to serve the redeveloped Docklands area of London. It tem which opened in 1987 to serve the redeveloped Docklands area of London. It reaches north to Stratford, south to Lewisham, west to Tower Gateway and Bank in reaches north to Stratford, south to Lewisham, west to Tower Gateway and Bank in the City of London nancial district, and east to Beckton, London City Airport and the City of London nancial district, and east to Beckton, London City Airport and Woolwich Arsenal.

Woolwich Arsenal.

The system is not entirely unmanned, using minimal stafng on board trains and at The system is not entirely unmanned, using minimal stafng on board trains and at major interchange stations.

major interchange stations. The DLR is operated under a

The DLR is operated under a concession awarded by Transport for London to Ser-concession awarded by Transport for London to Ser-co Docklands, part of the SerSer-co Group. The system is owned by Docklands Light co Docklands, part of the Serco Group. The system is owned by Docklands Light Rail Limited, part of the London Rail division of Transport for London. In 2011 the Rail Limited, part of the London Rail division of Transport for London. In 2011 the DLR carried over 86 million passengers. It has been extended several times and DLR carried over 86 million passengers. It has been extended several times and further extensions are being planned.

further extensions are being planned. Tower Tower Gateway Gateway Bank Bank Shadwell Shadwell L

Liimmeehhoouussee WestferryWestferry EaEassttIInnddiiaa All Saints

All Saints Langdon Park Langdon Park Devons Road

Devons Road Stratford high StreetStratford high Street

West Silvertown West Silvertown Abbey Road Abbey Road West Ham West Ham Star Lane Star Lane Royal Royal Victoria Victoria Prince Prince Regent Regent B Be ce ckkt ot on Pn Pa ra rkk GGa la ll il io no nss Reach Reach Royal Royal Albert Albert Stratford International Stratford International Stratford Stratford

West India Quay West India Quay

Canary Wharf Canary Wharf Heron Quays Heron Quays South Quays South Quays Crossharbour

Crossharbour GGrreeeennwwiicchh PoPonnttoooonnDDoocckk London City AirportLondon City Airport KKiinng g GGeeoorrgge e VV WWoooollwwiicchh Arsenal Arsenal Elverson Elverson Road Road Island Island Gardens Gardens Mudshute Mudshute Bow Church

Bow Church Pudding Mill LanePudding Mill Lane

Blackwell Blackwell

C

Caannnniinng g TToowwnn CCuussttoom m HHoouussee CCyypprruuss BecktonBeckton

Cutty Sark

Cutty Sark LewishamLewisham

Deptford Deptford Bridge Bridge Poplar Poplar

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p o p l a r p o p l a r i n t e r c h a n g ei n t e r c h a n g e 2 . 2 2 . 2 | | l o c a t i l o c a t i o n o n p l a np l a n s c a l e s c a l e 1 : 2 5 0 01 : 2 5 0 0

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 3 2 . 3 | | a n i m a a n i m a t i o n 0 1t i o n 0 1 t h e m a t i c t h e m a t i c a n a l y s i sa n a l y s i s i m p o s s i b l e i m p o s s i b l e s c e n a r i o ss c e n a r i o s

This animation is a space time analysis, recording movement transitions of space This animation is a space time analysis, recording movement transitions of space through time. The given site is the Docklands Light Railway (DLR). This is made through time. The given site is the Docklands Light Railway (DLR). This is made of four main lines running through Poplar interchange. This station

of four main lines running through Poplar interchange. This station is central to theis central to the four intersecting lines, which is the reason for placing my site survey in this location. four intersecting lines, which is the reason for placing my site survey in this location. Over the selected 2400 Hours, the DLR runs for approximately 17 Hrs (beginning Over the selected 2400 Hours, the DLR runs for approximately 17 Hrs (beginning at 06:50 and nishing at

at 06:50 and nishing at 23:47), running through four platforms of the Poplar inter 23:47), running through four platforms of the Poplar inter --change. A train will pass each platform exactly

change. A train will pass each platform exactly 100 times during this 2400 100 times during this 2400 hour peri-hour peri-od, calculating 400 journeys in total. A single hour at

od, calculating 400 journeys in total. A single hour at 1200 Hrs was used to recorded1200 Hrs was used to recorded the movement of the DLR.

the movement of the DLR.

This sequence was taken and subsequently manipulated to

This sequence was taken and subsequently manipulated to represent the 100 jour-represent the 100 jour-neys travelling through each platform, totalling 400 separate jourjour-neys across the neys travelling through each platform, totalling 400 separate journeys across the 2400 Hr period. This animation has condensed

2400 Hr period. This animation has condensed 2400 Hrs of train movements into 2400 Hrs of train movements into 11 hr of real time footage. This single hour has been condensed to record the space hr of real time footage. This single hour has been condensed to record the space time analysis, plotting the movement transitions of space through time, into a 60 time analysis, plotting the movement transitions of space through time, into a 60 second animated clip.

second animated clip.

The genuine carriages representing real-time, remain in sequence and exactly as The genuine carriages representing real-time, remain in sequence and exactly as they appeared through the hour record. The additional carriages used to represent they appeared through the hour record. The additional carriages used to represent the 2400 Hr period are evidently apparent...

the 2400 Hr period are evidently apparent...

Effects and Audio have been added, in addition to the choreography of 400 + layers Effects and Audio have been added, in addition to the choreography of 400 + layers in Adobe After Effects.

in Adobe After Effects. Lev Manovich

Lev Manovich (What is digital cinema?)(What is digital cinema?), sums up my intention perfectly...”some-, sums up my intention perfectly...”some-thing which is intended to look exactly as if it could have happened, although it thing which is intended to look exactly as if it could have happened, although it really could not...”

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p o p l a r

p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 4

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 5 2 . 5 | | a n i m a a n i m a t i o n 0 1t i o n 0 1 v i d e o s t i l l s v i d e o s t i l l s 0 10 1 ( (00--0000--0000--0000)) ((00--0000--0066--0000)) ((00--0000--0077--0000)) ((00--0000--0088--0000)) ((00--0000--0099--0000)) ( (00--0000--1100--0000)) ((00--0000--1111--0000)) ((00--0000--1122--0000)) ((00--0000--1133--0000)) ((00--0000--1144--0000)) ( (00--0000--1155--0000)) ((00--0000--1166--0000)) ((00--0000--1177--0000)) ((00--0000--1188--0000)) ((00--0000--1199--0000))

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 7 2 . 7 | | a n i m a a n i m a t i o n 0 1t i o n 0 1 v i d e o s t i l l s 0 3 v i d e o s t i l l s 0 3 ( (00--0000--3355--0000)) ((00--0000--3366--0000)) ((00--0000--3377--0000)) ((00--0000--3388--0000)) ((00--0000--3399--0000)) ( (00--0000--4400--0000)) ((00--0000--4411--0000)) ((00--0000--4422--0000)) ((00--0000--4433--0000)) ((00--0000--4444--0000)) ( (00--0000--4455--0000)) ((00--0000--4466--0000)) ((00--0000--4477--0000)) ((00--0000--4488--0000)) ((00--0000--4499--0000))

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 8 2 . 8 | | a n i m a a n i m a t i o n 0 1t i o n 0 1 2 4 0 2 4 0 0 0 h r s | h r s | v i d v i d e o s t i l l e o s t i l l s s 0 40 4 ( (00--0000--5500--0000)) ((00--0000--5511--0000)) ((00--0000--5522--0000)) ((00--0000--5533--0000)) ((00--0000--5544--0000)) ( (00--0000--5555--0000)) ((00--0000--5566--0000)) ((00--0000--5577--0000)) ((00--0000--5588--0000)) ((00--0000--5599--0000)) ( (00--0011--0000--0000)) ((00--0011--0011--0000)) ((00--0011--0022--0000)) ((00--0011--0033--0000)) ((00--0011--0044--0000))

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 1 2 . 1 0 0 | | i m a i m a g e 0 1g e 0 1 s p a c e - t i m e s p a c e - t i m e a n a l y s i sa n a l y s i s

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 1 1 | 2 . 1 1 | c h r o n c h r o n o g r a mo g r a m p l a t f o r m p l a t f o r m 0 10 1

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 1 5 | 2 . 1 5 | c h r o n c h r o n o g r a mo g r a m i m p o s s i b l e i m p o s s i b l e s c e n a r i o ss c e n a r i o s p l a t f o r m 1 p l a t f o r m 1

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p o p l a r p o p l a r i n t e r c h a n g e i n t e r c h a n g e 2 4 0 0 2 4 0 0 h r sh r s 2 . 1 6 | 2 . 1 6 | a n i m a a n i m a t i o n 0 1t i o n 0 1 t e c h n i c a l t e c h n i c a l a n a l y s i sa n a l y s i s ...is embedded into the still images forming the background footage of the

...is embedded into the still images forming the background footage of the anima-tion. Should the layers overlap, the ‘false’ train sequence will appear ontop of tion. Should the layers overlap, the ‘false’ train sequence will appear ontop of an-other train, and the

other train, and the impossible scenarioimpossible scenariois revealed a fallacy.is revealed a fallacy. Additional issues were raised after placing

Additional issues were raised after placing together the footage and realising thattogether the footage and realising that there had been movement of the tripod during the shooting

there had been movement of the tripod during the shooting of footage. Due to addi-of footage. Due to addi-tional layers being overlaid onto the background footage, the ‘false’ trains ended up tional layers being overlaid onto the background footage, the ‘false’ trains ended up in all places; above and below the tracks, off the tracks to the side, and oating in in all places; above and below the tracks, off the tracks to the side, and oating in mid air! To avert this issue, each layer of train stills had to be analysed across their mid air! To avert this issue, each layer of train stills had to be analysed across their appearance and the ‘x,y’ dimensions of the layer position altered.

appearance and the ‘x,y’ dimensions of the layer position altered. Movement of auto focus during shooting also

Movement of auto focus during shooting also meant that the lens automatically triedmeant that the lens automatically tried to focus on the trains as

to focus on the trains as they appeared in shot. Because of this they appeared in shot. Because of this setting, the camerasetting, the camera is not as still as I would have liked it to be. The saving grace however of fast speed is not as still as I would have liked it to be. The saving grace however of fast speed image motion is that it is relatively discrete across the entire lm. Many attempts image motion is that it is relatively discrete across the entire lm. Many attempts to track the camera motion were applied, but due to this movement taking place to track the camera motion were applied, but due to this movement taking place across the ‘z’ axis, it had little or no affect on the overall improvement settings. across the ‘z’ axis, it had little or no affect on the overall improvement settings. Improvements to the image stills includes a daylight fade in and out of the lm at Improvements to the image stills includes a daylight fade in and out of the lm at both dawn and dusk. Following the lighting is a sun path that is tracked at the sun both dawn and dusk. Following the lighting is a sun path that is tracked at the sun angle across the lm from left to right as it would move through the sky in reality. angle across the lm from left to right as it would move through the sky in reality. Attached the

Attached the the spot the spot light used light used to imitate to imitate the sun the sun path, is path, is camera are camera are with awith a 105mm prime lens, providing subtle but realistic effects onto the raw footage. 105mm prime lens, providing subtle but realistic effects onto the raw footage. Additional image improvements include

Additional image improvements includeUnsharp Mask Unsharp Mask to provide further clarity toto provide further clarity to the 2000 image stills;

the 2000 image stills;B&W B&W colour correction;colour correction; RotationRotation at 0,08 degrees to straightenat 0,08 degrees to straighten the vertical alignment of buildings;

the vertical alignment of buildings;Scale, set to 55%Scale, set to 55%;; Brightened & Contrast Brightened & Contrast ...

...to provide deeper tonal variations throughout the footage; and lastly ...to provide deeper tonal variations throughout the footage; and lastlyPosition,Position, used to accurately move the images / layers to ensure both the factual and false used to accurately move the images / layers to ensure both the factual and false footage aligned convincingly, ensuring the trains appeared on

footage aligned convincingly, ensuring the trains appeared on the track, as indeedthe track, as indeed they should!

they should!

To ensure the nal edit provided moments of build and surprise, I chose an instru To ensure the nal edit provided moments of build and surprise, I chose an instru --mental music composition appropriately named

mental music composition appropriately named‘time-lapse’,‘time-lapse’, by a composer namedby a composer named Paul Mottram

Paul Mottram, sourced from Audio Network., sourced from Audio Network.

The original music composition lasts for approximately 4 minutes, which required The original music composition lasts for approximately 4 minutes, which required editing with Adobe Premier to cut the most appropriate sections and collage them editing with Adobe Premier to cut the most appropriate sections and collage them semlessly together into the duration of the 

semlessly together into the duration of the  lm edit, which in total, lasted 01:30:00.lm edit, which in total, lasted 01:30:00. This audio required coreographing with every layer to ensure the

This audio required coreographing with every layer to ensure the piece as a wholepiece as a whole worked in-situ with one another. This alone was i

worked in-situ with one another. This alone was i ncredibly time consuming with thencredibly time consuming with the nal number of layers that were used in the construction of the animation. nal number of layers that were used in the construction of the animation. In total, the nal Adobe After Effects le had acquired 451 l

In total, the nal Adobe After Effects le had acquired 451 l ayers, each individuallyayers, each individually cut and placed into sequence, most of which can be broken into a further 54 layers cut and placed into sequence, most of which can be broken into a further 54 layers - A time consuming lm edit to say the least!

- A time consuming lm edit to say the least!

Since using Adobe After Effects for the rst time, It was only then that I realised that Since using Adobe After Effects for the rst time, It was only then that I realised that this program was able to mask areas of an image with just a few clicks of the mouse this program was able to mask areas of an image with just a few clicks of the mouse to select the areas you want to reveal or conceal. The careful cutting of 258 to select the areas you want to reveal or conceal. The careful cutting of 258 indi-vidual stills needn’t have been necessary, in additional to

vidual stills needn’t have been necessary, in additional to the individual colouring of the individual colouring of every train (an effect used for the rst variation of the lm).

every train (an effect used for the rst variation of the lm).

Live and learn...By going through the process of my rst lm, I have gained the Live and learn...By going through the process of my rst lm, I have gained the knowledge of a few short cuts along the way ready for the next animation... knowledge of a few short cuts along the way ready for the next animation... t i t l e :

t i t l e : p o p l a r i n t e r c h p o p l a r i n t e r c h a n g e 2 4 0 0 a n g e 2 4 0 0 h r sh r s

To construct a lm, with no prior knowledge of how to technically produce a motion To construct a lm, with no prior knowledge of how to technically produce a motion image, I took comfort in using a program I know well; Adobe Photoshop. Having image, I took comfort in using a program I know well; Adobe Photoshop. Having chosen a site (Poplar Interchange), and collecting ‘still’ not ‘motion’ footage (as chosen a site (Poplar Interchange), and collecting ‘still’ not ‘motion’ footage (as de-scribed in thematic analysis), I was confronted with 2000 image stills

scribed in thematic analysis), I was confronted with 2000 image stills , at 25 frames, at 25 frames per second, with a duration of 1 minute and 20 seconds to ll.

per second, with a duration of 1 minute and 20 seconds to ll. After analysing the

After analysing the footage and counting footage and counting the number of trthe number of trains to pass each ains to pass each platformplatform during the 1 hour duration of 1 second time lapse images, I calculated how many during the 1 hour duration of 1 second time lapse images, I calculated how many more trains were required per track, to accumulate to the total

more trains were required per track, to accumulate to the total number of trains thatnumber of trains that would pass each platform during the 24 hour period.

would pass each platform during the 24 hour period. To construct an

To construct an impossible scenario,impossible scenario,in Adobe Photoshop, I tirelessly cut out everyin Adobe Photoshop, I tirelessly cut out every train combination per track, which equated to 6 full trains, 1 per platform with 2 train combination per track, which equated to 6 full trains, 1 per platform with 2 carriages, and 2 additional trains with 3 carriages for platforms 1 and 4, for a larger carriages, and 2 additional trains with 3 carriages for platforms 1 and 4, for a larger capacity of passengers.

capacity of passengers.

Each full train image collection ranged from 31 stills to 54 stills, totalling 258 trains Each full train image collection ranged from 31 stills to 54 stills, totalling 258 trains to cut out individually using the ‘polygonal lasso’ tool!

to cut out individually using the ‘polygonal lasso’ tool!

Once cut out and saved down with a transparent background, I was able to open Once cut out and saved down with a transparent background, I was able to open each of the 6 layer sequences into Adobe After Effects. An additional 374 trains each of the 6 layer sequences into Adobe After Effects. An additional 374 trains were required to construct the

were required to construct the impossible scenarioimpossible scenario of the full 24 hours of trains toof the full 24 hours of trains to pass through Poplar in a single hour worth of footage.

pass through Poplar in a single hour worth of footage.

To construct the additional layers, the 6 sequences were duplicated and placed To construct the additional layers, the 6 sequences were duplicated and placed be- be-tween the appearances of those trains which actually appeared in

tween the appearances of those trains which actually appeared in reality. This alonereality. This alone highlighted issues; no ‘false’ trains were able to appear at the same time as another highlighted issues; no ‘false’ trains were able to appear at the same time as another train where the platforms of the two crossed. This is because the factual train... train where the platforms of the two crossed. This is because the factual train...

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p l a c e p l a c e s s o f o f t h e d l r t h e d l r i m p o s s i b l e i m p o s s i b l e s c e n a r i o ss c e n a r i o s 3 . 0 | 3 . 0 | b r i b r i e f e f s i s i t e : t e : p l p l a c a c e s o f t h e d o c k e s o f t h e d o c k l a l a n d n d s s l i l i g h g h t t r a r a i l i l w a w a yy ”A photograph passes for incontrovertible proof that a given thing happened. The ”A photograph passes for incontrovertible proof that a given thing happened. The picture may distort; but there is always a presumption that something exists, or did picture may distort; but there is always a presumption that something exists, or did exist.”

exist.” Susan Sontag, On Photography Susan Sontag, On Photography

”Something which looks is intended to look exactly as if it could have happened, ”Something which looks is intended to look exactly as if it could have happened, although in reality it could not.”

although in reality it could not.”Lev Manovich, What is Digital Cinema? Cinema, theLev Manovich, What is Digital Cinema? Cinema, the Art of the Index

Art of the Index

”Cinema works hard to erase any traces of its own production process, including ”Cinema works hard to erase any traces of its own production process, including any indication that the images which we see could have been constructed rather any indication that the images which we see could have been constructed rather than recorded. It denies that the reality it shows often does not exist outside of the than recorded. It denies that the reality it shows often does not exist outside of the lm image, the image which was arrived at by photographing an already impossible lm image, the image which was arrived at by photographing an already impossible space, itself put together with the use of

space, itself put together with the use of models, mirrors, and matte paintings, andmodels, mirrors, and matte paintings, and which was then combined with other images through optical printing. It pretends to which was then combined with other images through optical printing. It pretends to be a simple recording of an already existing reality - both to a viewer and to itself.” be a simple recording of an already existing reality - both to a viewer and to itself.” Walter Benjamin, The Work of Art in

Walter Benjamin, The Work of Art in the Age of Mechanical Reproductionthe Age of Mechanical Reproduction b r i e f :

b r i e f :

Visit places of the Docklands Light Railway and record its current space in time. Visit places of the Docklands Light Railway and record its current space in time. Create a space-time analysis of the site moving forward.

Create a space-time analysis of the site moving forward. Record places of the Docklands Light

Record places of the Docklands Light Railway through the art form of photograph,Railway through the art form of photograph, lm, and construction drawings of the space-time analysis proposition. lm, and construction drawings of the space-time analysis proposition. Create a program of event within the social space of the docklands light railway and Create a program of event within the social space of the docklands light railway and its connective places.

its connective places.

Create a self contained, stealth architectural spatial design of the propositional Create a self contained, stealth architectural spatial design of the propositional event to construct a false reality; an impossible scenario.

event to construct a false reality; an impossible scenario. Expose an Architectural sub-reality through cinematic Expose an Architectural sub-reality through cinematic propositions.propositions.

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t r a f t r a f a l g a r s q a l g a r s q | | c a n a c a n a r y r y w h a w h a r f r f i m p o s s i b l e i m p o s s i b l e s c e n a r i o ss c e n a r i o s 3 . 1 | 3 . 1 | p l a p l a c e s c e s o f o f e v e e v e n t sn t s

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i m p o s s i b l e i m p o s s i b l e s c e n a r i o ss c e n a r i o s 3 . 2 3 . 2 | | i n t r o i n t r o d u c t i o d u c t i o nn b a n k b a n k i n i t i a l i n i t i a l t r i p t r i p a n d a n d o b s e r v a t i o n so b s e r v a t i o n s

Situated along King William Street in the City of London, Bank is in the rich heart Situated along King William Street in the City of London, Bank is in the rich heart--land of the nation’s capital. King William Street is known for its investment banks land of the nation’s capital. King William Street is known for its investment banks and other nancial institutions, although this is

and other nancial institutions, although this is hardly surprising when you consider hardly surprising when you consider its proximity to the Bank of England. Ofce space in Bank will bring you together its proximity to the Bank of England. Ofce space in Bank will bring you together with some of London’s most important nancial institutions and if you work in the with some of London’s most important nancial institutions and if you work in the industry, this can be enormously benecial.

industry, this can be enormously benecial.

The tube station is the eighth busiest on the underground network, serviced by ve The tube station is the eighth busiest on the underground network, serviced by ve lines ain addition to

lines ain addition to the Docklands Light Railway. This makes travel in and the Docklands Light Railway. This makes travel in and aroundaround London particularly easy.

London particularly easy. Bank is connected to

Bank is connected to ve major lines; Central, ve major lines; Central, Northern, Waterloo and City, District,Northern, Waterloo and City, District, Circle, and to the Docklands

Circle, and to the Docklands Light Railway. The Waterloo and City line means conLight Railway. The Waterloo and City line means con --nections to Waterloo, a large mainline hub to the South West.

nections to Waterloo, a large mainline hub to the South West. Tower Tower Gateway Gateway Bank Bank Shadwell Shadwell L

Liimmeehhoouussee WWeessttffeerrrryy PoPoppllaar r EaEassttIInnddiiaa All Saints

All Saints Langdon Park Langdon Park Devons Road

Devons Road Stratford high StreetStratford high Street

West Silvertown West Silvertown Abbey Road Abbey Road West Ham West Ham Star Lane Star Lane Royal Royal Victoria Victoria Prince Prince Regent Regent B Be ce ckkt ot on Pn Pa ra rkk GGa la ll il io no nss Reach Reach Royal Royal Albert Albert Stratford International Stratford International Stratford Stratford

West India Quay West India Quay

Canary Wharf Canary Wharf Heron Quays Heron Quays South Quays South Quays Crossharbour

Crossharbour GGrreeeennwwiicchh PoPonnttoooonnDDoocckk London City AirportLondon City Airport KKiinng g GGeeoorrgge e VV WWoooollwwiicchh Arsenal Arsenal Elverson Elverson Road Road Island Island Gardens Gardens Mudshute Mudshute Bow Church

Bow Church Pudding Mill LanePudding Mill Lane

Blackwell Blackwell

C

Caannnniinng g TToowwnn CCuussttoom m HHoouussee CCyypprruuss BecktonBeckton

Cutty Sark

Cutty Sark LewishamLewisham

Deptford Deptford Bridge Bridge

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b a n k b a n k 3 . 3 3 . 3 | | l o c a t i l o c a t i o n o n p l a np l a n s c a l e s c a l e 1 : 2 5 0 01 : 2 5 0 0

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i m p o s s i b l e

i m p o s s i b l e s c e n a r i o ss c e n a r i o s 3 .

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d o u g d o u g p a t t e r p a t t e r s o n s o n o r i g i n a o r i g i n a l sl s ‘ b u i l d i n g ‘ b u i l d i n g b a n k ‘b a n k ‘ 3 . 5 3 . 5 | | l o n d l o n d o n o n c i t y s c a p ec i t y s c a p e

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m y m y v e r s i o v e r s i o n n o f o f b a n kb a n k ‘ b u i l d i n g ‘ b u i l d i n g b a n k ‘b a n k ‘ 3 . 9 3 . 9 | | l o n d l o n d o n o n c i t y s c a p ec i t y s c a p e

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‘ b u i l d i n g ‘ b u i l d i n g b a n k ‘b a n k ‘ 3 . 1 0 | 3 . 1 0 | a n i m a a n i m a t i o n 0 2t i o n 0 2 v i d e o s t i l l s v i d e o s t i l l s 0 10 1 ((00--0000--0055--0000)) ((00--0000--1111--0000)) ((00--0000--1122--0000)) ((00--0000--1133--0000)) ((00--0000--1144--0000)) ((00--0000--1155--0000)) ((00--0000--1166--0000)) ((00--0000--1177--0000)) ((00--0000--1188--0000)) ((00--0000--1199--0000)) ((00--0000--2200--0000)) ((00--0000--2233--0000)) ((00--0000--2244--0000)) ((00--0000--2266--0000)) ((00--0000--2277--0000))

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‘ b u i l d i n g ‘ b u i l d i n g b a n k ‘b a n k ‘ 3 . 1 1 | 3 . 1 1 | a n i m a a n i m a t i o n 0 2t i o n 0 2 v i d e o s t i l l s v i d e o s t i l l s 0 20 2 ((00--0000--2288--0000)) ((00--0000--2299--0000)) ((00--0000--3300--0000)) ((00--0000--3311--0000)) ((00--0000--3322--0000)) ((00--0000--3333--0000)) ((00--0000--3344--0000)) ((00--0000--3355--0000)) ((00--0000--3377--0000)) ((00--0000--3399--0000)) ((00--0000--4455--0000)) ((00--0000--4466--0000)) e exxppoosseeddsseennssoorr eexxppoosseeddsseennssoorr ((00--0000--4477--0000)) ((00--0000--4488--0000)) ((00--0000--4499--0000))

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‘ b u i l d i n g ‘ b u i l d i n g b a n k ‘b a n k ‘ 3 . 1 2 | 3 . 1 2 | a n i m a a n i m a t i o n 0 2t i o n 0 2 v i d e o s t i l l s v i d e o s t i l l s 0 30 3 ((00--0000--5500--0000)) ((00--0000--5511--0000)) ((00--0000--5522--0000)) ((00--0000--5533--0000)) ((00--0000--5544--0055)) ((00--0000--5544--1100)) ((00--0000--5544--1155)) ((00--0000--5544--2200)) ((00--0000--5555--0000)) ((00--0000--5555--0055)) ((00--0000--5555--1100)) ((00--0000--5555--1155)) ((00--0000--5555--2200)) ((00--0000--5566--0000)) ((00--0000--5566--0055)) exposed sensor exposed sensor exposed sensor exposed sensor

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‘ b u i l d i n g ‘ b u i l d i n g b a n k ‘b a n k ‘ 3 . 1 5 | a n i m a t i o 3 . 1 5 | a n i m a t i o n n 0 20 2

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p l a p l a c e s o f c e s o f t h e d l r t h e d l r 4 . 0 4 . 0 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s s p a t i a l s p a t i a l e d i t se d i t s b r i e f b r i e f

Image processing within the parameters of digital cinema is the sole methodology Image processing within the parameters of digital cinema is the sole methodology explored within the Advanced Architectural Design Portfolio; based upon the explored within the Advanced Architectural Design Portfolio; based upon the Dockland Light Railway (DLR), London, fabricating my own ‘DLR City.’ Dockland Light Railway (DLR), London, fabricating my own ‘DLR City.’ I am exploring the systems of digital cinema to reconstruct London as a collage, a I am exploring the systems of digital cinema to reconstruct London as a collage, a false reality; an elusive cinematic city, isolating buildings, stations, lines, dynamic false reality; an elusive cinematic city, isolating buildings, stations, lines, dynamic fragments and entire districts to recongure a place of endless possibilities, offering fragments and entire districts to recongure a place of endless possibilities, offering spatial possibilities of coll

spatial possibilities of coll age-London, far from any reality, and only ever subsistingage-London, far from any reality, and only ever subsisting on the cinematic-screen.

on the cinematic-screen.

To enable a cinematic collage of existing spaces to become juxtaposed and To enable a cinematic collage of existing spaces to become juxtaposed and enhanced to create illusive and dynamic spaces of sub-reality, I am using a process enhanced to create illusive and dynamic spaces of sub-reality, I am using a process known as 2.5D in

known as 2.5D in the Adobe After Effects Application.the Adobe After Effects Application.

2D graphics are used to create images or sceneries of 2.5D space giving the 2D graphics are used to create images or sceneries of 2.5D space giving the impression of three-dimensional space. Two-dimensional planes are cut and paste impression of three-dimensional space. Two-dimensional planes are cut and paste together and fragments placed along the Z axis, this technique providing the together and fragments placed along the Z axis, this technique providing the illuso-ry appearance of objects placed either

ry appearance of objects placed either in the foreground or background. Tried andin the foreground or background. Tried and tested in computer game engines, these projections have also been used for tested in computer game engines, these projections have also been used for geo-graphic projections to visually interpret cognitive

graphic projections to visually interpret cognitive spatial environments of 3D space.spatial environments of 3D space. Utilising the techniques of 2.5D space and collage, I am exploring the existing DLR Utilising the techniques of 2.5D space and collage, I am exploring the existing DLR network to fragment, collage and reconstruct my own DLR city. To gradually build network to fragment, collage and reconstruct my own DLR city. To gradually build from the real to computer generated screenscapes of sub-reality, rst, an introduc from the real to computer generated screenscapes of sub-reality, rst, an introduc --tion of the existing spaces of the DLR will be explored through 2.5D space. tion of the existing spaces of the DLR will be explored through 2.5D space. Following this brief are motion picture test stills outline the ways in which existing Following this brief are motion picture test stills outline the ways in which existing places have been constructed using

places have been constructed using 2.5D space Adobe After Effects. This short test2.5D space Adobe After Effects. This short test is a construct of the DLR, not yet incorporating collage means.

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Transform Transform Anchor Point Anchor Point 14127.0, 5549.0, 0.014127.0, 5549.0, 0.0 Position Position 512.0, 512.0, 288.0, 288.0, 0.00.0 Scale Scale 4.0, 4.0, 4.0, 4.0, 4.0%4.0% Orientation 0.0 Orientation 0.0oo, 0.0, 0.0oo, 0.0, 0.0oo,, X

X Rotation Rotation 0x 0x + + 0.00.0oo o o Active Camera Active Camera Active Camera Active Camera Plan View Plan View Y Y p o p l a p o p l a r r - - w e s t i n d i a w e s t i n d i a q u a yq u a y s p a t i a s p a t i a l l e d i t 0 1e d i t 0 1 4 . 1 4 . 1 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Position Position 3262.0, 3262.0, 288.0, 288.0, -25.0-25.0 Perspective View Perspective View Effects Effects _Y_Y w e s t i n d i a w e s t i n d i a q u a yq u a y s p a t i a s p a t i a l l e d i t 0 2e d i t 0 2 4 . 2 4 . 2 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Position Position 3262.0, 3262.0, 288.0, 288.0, -25.0-25.0 Effects Effects _Y_Y Perspective View Perspective View c a n a r y c a n a r y w h a r f w h a r f s p a t i a s p a t i a l l e d i t 0 3e d i t 0 3 4 . 3 4 . 3 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Perspective View Perspective View Y Y Active Camera Active Camera h e r o n h e r o n q u a y sq u a y s s p a t i a s p a t i a l l e d i t 0 4e d i t 0 4 4 . 4 4 . 4 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Front View Front View Transform Transform Anchor Point Anchor Point 0.0, 0.0, 0.00.0, 0.0, 0.0 Position Position 1100.0, 1100.0, 600.0, 600.0, 0.00.0 Active Camera Active Camera Active Camera Active Camera Null Object Null Object X X Y Y Z Z c a n a r y c a n a r y w h a r f w h a r f u n d e r g r o u n du n d e r g r o u n d s p a t i a s p a t i a l l e d i t 0 5e d i t 0 5 4 . 5 4 . 5 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Position Position 504.0, 504.0, 348.0, 348.0, -25.0-25.0 Effects Effects Y Y Null Object Null Object c a n a d a c a n a d a s q u a r es q u a r e s p a t i a s p a t i a l l e d i t 0 6e d i t 0 6 4 . 6 4 . 6 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Front View Front View Effects Effects Separate XYZ Position Separate XYZ Position X X Position Position 0.00.0 Y Y Position Position 250.0250.0 Z Z Position Position 0.00.0 Transform Transform Anchor Point Anchor Point 0.0, 0.0, 0.00.0, 0.0, 0.0 Position Position 504.0, 504.0, 598.0, 598.0, 0,00,0 Active Camera

Active Camera Active CameraActive Camera Active CameraActive Camera

Null Object Null Object Y Y Z Z s t r a t f o r d s t r a t f o r d s p a t i a s p a t i a l l e d i t 0 7e d i t 0 7 4 . 7 4 . 7 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Front View Front View Effects Effects Separate XYZ Position Separate XYZ Position X X Position Position 0.00.0 Y Y Position Position 250.0250.0 Z Z Position Position 0.00.0 Transform Transform Anchor Point Anchor Point 0.0, 0.0, 0.00.0, 0.0, 0.0 Position Position 504.0, 504.0, 598.0, 598.0, 0,00,0 Y Y s t r a t f o r d s t r a t f o r d s p a t i a s p a t i a l l e d i t 0 8e d i t 0 8 4 . 8 4 . 8 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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Transform Transform Anchor Point Anchor Point 896.5, 288.0, 0.0896.5, 288.0, 0.0 Position Position 512.0, 512.0, 288.0, 288.0, 0.00.0 Active Camera V Active Camera Viewiew

s t r a t f o r d s t r a t f o r d s p a t i a s p a t i a l l e d i t 0 9e d i t 0 9 4 . 9 4 . 9 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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c o n t i n u e d c o n t i n u e d o v e r l e a f . . .o v e r l e a f . . . c h r o n c h r o n o g r a m p a r t o g r a m p a r t II 4 . 1 0 | 4 . 1 0 | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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c o n t i n u e d c o n t i n u e d p r e v i o u s p r e v i o u s p a g e . . .p a g e . . . c h r o n c h r o n o g r a m p a r t o g r a m p a r t I II I 4 . 1 0 | 4 . 1 0 | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s

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d l r d l r c i t y _ s p a t i a l c i t y _ s p a t i a l b r i e f b r i e f 5 . 0 5 . 0 | | i m p o s i m p o s s i b l e s p a c e ss i b l e s p a c e s w w w . g o o g l e m a p s . c o m w w w . g o o g l e m a p s . c o m Image processing within the parameters of digital cinema is the sole methodology Image processing within the parameters of digital cinema is the sole methodology explored within the Advanced Architectural Design Portfolio; based upon the explored within the Advanced Architectural Design Portfolio; based upon the Dockland Light Railway (DLR), London, fabricating my own ‘DLR City.’ Dockland Light Railway (DLR), London, fabricating my own ‘DLR City.’ I am exploring the systems of digital cinema to reconstruct London as a collage, a I am exploring the systems of digital cinema to reconstruct London as a collage, a false reality; an elusive cinematic city, isolating buildings, stations, lines, dynamic false reality; an elusive cinematic city, isolating buildings, stations, lines, dynamic fragments and entire districts to recongure a place of endless possibilities, offering fragments and entire districts to recongure a place of endless possibilities, offering spatial possibilities of coll

spatial possibilities of coll age-London, far from any reality, and only ever subsistingage-London, far from any reality, and only ever subsisting on the cinematic-screen.