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Leeds Film School

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20 14 CITYzen Agency Live Project Rachel Berry Chris Newbold Chris Parasakos


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00 // Contents

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Introduction 01 // CITYzen Agency 02 // Introduction 03 // Group Dynamics 04 // The Initial Brief 05 // Project Time-line Concern A 06 // Introduction 07 // Live Projects 08 // Design Collaboration 09 // Other Ways of Doing Architecture 10 // Urban Interventions 11 // Drawing & Presentation Skills 12 // Film School & Film Studio Architecture Concern B 13 // live Project Methodology 14 // London Visit 15 // Stakeholders 16 // Collaborators 17 // Enterprise 18 // Educators 19 // Pedagogy 20 // Participation Workshop 21 // The Ugly Truth 22 // The Seven Basic Plots 23 // Space Invaders 24 // Data Collection 25 // Open Discussion 26 // Film School Visit 27 // Schedule of Accommodation 28 // The Expanded Brief 29 // Concern B Reflection

Concern C 30 // Introduction 31 // Potential Sites 32 // Discussion 33 // The Electric Press 34 // History of The Electric Press 35 // Existing Condition 36 // Electric Press Connections 37 // Electric Press Travelling Distances 38 // Electric Press Transport Connections 39 // The Compact City 40 // The Icon 41 // Leeds Film Connections 42 // Site Strategies 43 // Development Sketches 1 44 // Development Sketches 2 45 // Development Montage 46 // The Film Making Process 1 47 // The Film Making Process 2 48 // Schematic Diagrams 49 // Proposal 50 // Sound Stage Strategy 51 // Drawings 52 // Investment strategy 53 // Funding Opportunities 54 // Expansion Strategy 55 // Design Guide Legacy 56 // Client Presentation 57 // Reflection


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01 // CITYzen Agency

Who We Are:

CONTENTS

CITYzen Agency is one of three design studios, which make up the Masters of Architecture course at Leeds Beckett University. The studio is run by Simon Warren and Dr Maria Theodorou. There are 9 students in the 1st year CITYzen Agency Studio, which consists of both part-time and full-time students. Learn more about CITYzen Agency at: http://cityzenagency.wix.com/cityzen

What We Think: By thinking about the strategic urban design of the city and understanding the resources within communities, the city can become more adaptive, resilient, egalitarian and coherent. C

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We consider global imperatives and local issues together. We explore their interconnection and consequence of each on the other. In Bruno Latour's terms, ‘critical attention is shifted from architecture as a matter of fact to architecture as a matter of concern.’ In CITYzen Agency the student is the citizen architect, the protagonist and agent? We consider other ways of doing architecture. This means we engage in ‘live projects’ with our in house architectural practice Project Office. In CITYzen Agency student agents make, test and refine through the ‘live project’ and design studio prototyping.


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02 // Introduction

The Team: This design guide has been produced by Rachel Berry, Chris Paraskos and Chris Newbold from the 1st year CITYzen Agency studio. Working in a team has enabled us to produce a substantial amount of work and produce a resolved design guide which responds to the brief within a limited period of time. The opportunity of working as part of a team also provides us with valuable experience, for when we work in practice. Also as two of the three group members are part-time with jobs, good organisation and communication within the group has been vital in enabling us to fulfil this design guide.

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Through working in collaboration with the Film School and Enterprise our aim for this book, is to produce a design guide which explores the potential for a new film school through collaborative design. This design guide will act as a feasibility study covering different aspects of participatory design, funding strategies, potential site strategies and also potential future application strategies.


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Rachel Berry

Chris Paraskos

Chris Newbold

Age: 26

Age : 24

Age : 25

Part-Time

Part-Time

Full-Time

Undergraduate Degree: Sheffield Hallam University (2010)

Undergraduate Degree : Leeds Metropolitan University (2012)

Undergraduate Degree : Leeds Metropolitan University (2011)

Favourite Architect: Nicholas Grimshaw

Favourite Architect: Richard Rogers

Favourite Architect: Neil Denari / Thom Mayne

Interests: “ I am interested in self-sufficiency and sustainable design. The Eden project by Nicholas Grimshaw is a particular favourite of mine. After working in practice for three years I have particular I interest in viability and the role of the client. In architectural education I am exploring this through participation and live projects.”

Interests: “I am interested in constructivism and high-tech architecture, the Pompidou Centre by Rogers & Piano is one of my favourite projects, the animation of the facade through using exposed circulation routes and its relationship to the public square is a concept I think is really successful. I often find myself designing through the medium of physical models.”

Interests: “The work of Neil Denari and Thom mayne (Morphosis) have inspired a lot of my work whilst studying architecture, in particular I am interested in the role of the machine within architecture. I particularly enjoy sketching & drawing, I feel it is one of my key strengths within the field of architecture.”

Why CITYzen Agency: “I chose CITYzen Agency as it was a departure from the typical architecture school studio. The live project is something I find particularity exciting.”

Why CITYzen Agency: “Having worked in practice for several years, I felt that the CITYzen Agency studio is the one studio which most resembles working in practice, therefore I believed it would suit my particular skill set.”

Why CITYzen Agency: “Having never worked in practice, I felt working in the CITYzen Agency studio would offer me some practical experience working with clients through the live project process. Which would benefit me when I do eventually work in practice.”


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03 // Group Dynamics

Group work presents the opportunity for students to come together and share their skills in a collective learning experience, accelerating learning to a position it could not have reached in the allotted time for an individual, in turn it can also present challenges from the fundamentals of group work, diplomacy, cooperation and division of labor. Group work is relevant to architectural students as this mimics the real world practice setting of working alongside colleagues for a shared goal, as opposed to potentially in competition, or isolation under individual work. This also goes some way towards breaking free from the, ‘god’ position of architectural education. Where a single student executes their own wishes from start to finish, devoid of a client, collaborators, or consultants.

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For this brief students were requested to form groups of three, in order to ensure the work load was evenly spread and the team met regularly on the assigned studio days with interim meetings on evenings and weekends to accommodate two of the group who work in practice part-time. These meeting were essential to bring the group up to speed on the other members progress, a division of labor was essential. Belbin’s, ‘Team Roles’ has previously been assessed by former CITYZEN Agents as a successful way of formulating a system of group dynamics aiding to calculate the strengths and weaknesses of individual group members leading to a successful collaboration within a group.


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Plant Pros: Generates ideas, solves problems Cons: Ignores incidentals

Pros: Practical, organises what needs to be done Cons: Somewhat inflexible, slow to respond

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Input

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Pros: Co-operative, averts friction Cons: Indecisive

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Coordinator Pros: Identifies talent, delegates effectively Cons: Can offload

Completer / Finisher Pros: Polishes and perfects Cons: Reluctant to delegate

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04 // The Initial Brief Leeds Beckett University are committed to developing a new building by 2020 for the Film, Music & Performing Arts School, part of the Arts Environment and Technology faculty. However, Leeds Beckett Enterprise Services are proposing that the project may benefit from having a wider scope. The proposal is for the development of a film, TV and sound production “village” in Leeds which will house the film and performing arts facilities of our academic activity (new faculty building), but also a great deal of Enterprise and Business activity. The project brief is broken down into three sections, Concern A, B & C, together they combine to create the ‘Design Guide’, the end product which can act as a lasting informant to aid the stakeholders of this real world project. Concern A - Armament (individual agent research covering a broad range of predetermined topics, to be combined together in the final output). C

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- Architecture Live Projects - Methods of Design Collaboration - Other ways of doing Architecture - Film & Studio Architecture - Urban Interventions - Drawing and Presentation Skills Concern B - Agents and Stakeholders (Live Project Methodology and Design Guide). The group student cohort was to ‘design’ the Live Project Methodology and Design Guide for working with stakeholders encapsulating the whole project as well as the early stages. In challenging the conventional architect client relationship the CITYzen agents decided to engage the stakeholders through participation events with all three stakeholder groups (students, educators and enterprise) and hands on agent research, firstly in the form of ‘shadowing’ selected end users. Concern C - Architectural Proposition (The Film School of the Future?) The final part of the project was to develop three unique architectural strategies, in three different locations. Legacy Legacy was not part of the initial brief but it became clear through group discussions that how the project was to continue once the agents were no longer executing the project brief was to be a crucial element of the project.


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05 // Project Timeline

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// Concern A Armament


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06 // Concern A Introduction

Prior to meeting with any of the stakeholders it was important that we armed ourselves with the knowledge and background to our initial brief. Cityzen Agency collaboratively worked together to produce this information, individual tasks were divided up and presented to the group. This information collected by citizen agency has been reformatted to provide a background for this design guide. The most important of these tasks was the film school and film studio sections, this enabled us to intellectually converse along with stakeholders with regards to the brief. Understanding Live Projects at this point was important, as it highlighted that the project could have a dynamic shift at any point and that stakeholders would have major influence throughout the process.

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07 // Live Projects

Client / Stakeholder

‘ A LIVE project compromises the negotiation of a brief, time-scale, budget and product between an educational organisation and an external collaborator for their mutual benefit. The project must be structured to ensure that students gain learning that is relevant to their educational development.” Anderson + Preist, Oxford Brookes University, 2012 Student

Tutor

Live Project

Benefits to clients: A live project is beneficial to a client not only due there often been reduced costs compared to what an architectural practice would ask, but in relation to design. Often students don't know the constraints in place and will design with more freedom than a professional architect. Benefits to the profession: The problem with the current architectural education system is the ever growing gap between the education system and architectural practice, students don’t learn about real life situations until much later on in their professional career. Live project bridge this gap, providing students with an in-site in to architecture in practice.

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Educational Studio Project

Benefits to students: The majority of UK architecture students have no contact with clients or with the consultation process until after they graduate. ‘Live Studio’ Projects not only address this but they also enable students to gain practice-ready professionals experience such as job running as well as develop a sense of civic social engagement.

Controlled by tutors/students No client or stakeholders Little exposure to real life situations Freedom of creativity Theoretical projects Defined time-scale and brief

Benefits to universities: It is an opportunity to establish partnerships that provide enduring benefits by mobilising students, faculty, and neighbourhood organisations to work together to solve urban problems that revitalise the economy, generate jobs and rebuild communities.

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Live Studio Project Entropy Clients, Stakeholders and Community input Adaptive design in response to problems which arise Real life constraints Changing time scale / brief through the project.

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Live projects are usually run within in university architectural practices which academic staff have set up. The live project often operates outside of the typical semester structure of a University. The six main factors within a live project are external collaborator, educational organisation, brief, time-scales, budget and product.

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liveprojectsnetwork.org has created a platform for communication of live projects through architecture schools in the UK.


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08 // Design Collaboration

Design collaboration is the coalition between disciplines throughout a design process, the collaborators will enter the design process at different stages or jointly dependent on there interest on the project. Participation needs to differentiate between the demands of the clients and the desires of the users. Architects, needing clients with power and money, are usually on the side of those in power and willing to embrace and express in built terms the ideology and economics of these clients, to the exclusion of the desires of the potential users. This removal of the general public from the architectural process creates a sense of alienation of the users from their environment. Collaborative design through participation effectively addresses this gap through involving the user in the early stages of architectural production, leading to an environment which not only has a sense of ownership but is more responsive to change.

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Discover Identify problem Research Precedent

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The Brief Visualisation Testing Develop Analysis Concepts

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Develop Testing Feedback Define Concepts Sketch

Deliver Visualise Present Communicate

End user Investors Community Neighbours Technical Experts Planners

Activities Focus Groups Context Analysis Contextual Inquiry Surveys Affinity Diagram Heuristics Evaluation Card Sorting Cluster Analysis Interviews Storyboards


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Erika Mann Elementary School Collaboration between Technical University Berlin and Hofmann Architekten. 2003 The worlds that the pupils presented with collages, a title, and story, formed the beginning of the design process for Die Baupiloten students, who identified the atmospheric qualities in the work, in order to discuss and refine them with the pupils. They developed the conceptual fiction of a “Silver Dragon World“ which connects the five interventions throughout the school, as seen in the photos below. They become more apparent as one moves up the building: Stardust Diving (Ground Floor), Breath of Gentle Air (1st Floor), The Throne on the Beat of the Wings (2nd Floor), and Flying on the Dragon’s Tail (3rd Floor). The stairwell is the educational music Giant Humming Trail.

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Taka Tuka Land Kindergarten Collaboration between Technical University Berlin and Hofmann Architekten. 2005 - 2007

1. Project brief initialized through on going program for regeneration of German Schools.

2. Students worked on individual designs involving kindergarten students during workshops. The younger students painted and crafted pictures, maps and models of there ideas, while their teachers recorded their explanations

3. Students developed their designs further with the input of 4th and 5th year architecture students, detailed observations were also made of the children’s daily routine and their play and communication rituals for further insight that could influence the design.

4. The final design was agreed as a collaboration of elements from various designs giving the students ownership over elements of the project.


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09 // Other Ways of Doing Architecture

Traditional Ways of Doing Architecture

Other Ways of Doing Architecture (Live Projects) Idea

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Economic down turns in many countries have resulted in Architects who otherwise would be out of work to create their own projects. This entrepreneurial spark has kept small projects in the construction sector continuing to develop throughout times of economic hardship.

Architect

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Information Collection

Information Collection

Schematic Design & Feasibility

Schematic Design & Feasibility

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Other Disciplines E.G. Engineer

This acclaimed, self-conscious ‘post-starchitect’ generation is characterized by social engagement and a strong urge to explore the borders of their profession. Many of which set up co-ops, manage complex processes and take the initiative to create projects themselves, rather than wait for new clients. The role of the architect has changed from producing buildings to programming and agenda-setting. This new way of looking at architecture has resulted in a strong focus on coalitions and partnerships, urban strategies instead of designs and unsolicited proposals. They present a selection of theme-specific agencies and their projects. Not only about buildings, landscapes and other types of spaces – also apps, new types of city-making processes and financing models are considered ‘architecture’.


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Rotterdam Citizens Crowd-fund Wooden Luchtsingel Footbridge. I Make Rotterdam, Maxwan Architecten and Zones urbaines Sensibles. 2003 This bridge in Rotterdam was crowd-funded thanks to citizens who donated through the internet. I Make Rotterdam, Maxwan Architecten and Zones Urbaines Sensibles collected donations through Crowd-funding to make the wooden Luchtsingel pedestrian bridge, which will connect and rejuvenate areas of the city while allowing people to avoid the hectic traffic below.

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The new crowd-funded bridge will connect the Hofplein area with the Northern district of Rotterdam. The original schedule was to fully complete the project in 30 years time, but the founders decided to start building it as soon as they received the first round of funding. They plan to extend the bridge’s length as they receive additional donations; their slogan is: “The more you donate, the longer the bridge.” When finished, Luchtsingel will consist of 17,000 wooden planks. Each donor will be entitled to have a message inscribed on one plank. The inscriptions can advertise a business, convey a message to a loved one, or simply state the donor’s name. A public piece of collaborative architecture, this project is an example of an alternative development strategy for the people by the people.


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10 // Urban Interventions

An urban intervention is a study of physical, social and political aspects of a particular location. Based on this observation, an action is generated that adds elements to the landscape or codifies existing ones. Urban Interventions are used by artists, designers and architects alike, often to communicate a message to an audience in a way which fully engages and immerses the protagonist within the message. But there isn't always a message, it could just be a reminder to have fun. Interventions can range from a small sticker on a lamp post or a temporary installation to a large structure or group of structures within a urban landscape, such as a iconic building. C

An urban intervention has the power to effect much more that the immediate site. The local context and city can be influenced by a single intervention and increasing with technological advances can work on a global scale.

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However long the psychical intervention is implemented, the memory of it can continue to influence a persons actions throughout their life.

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Urban interventions are about creating a change, which is usually for the better. But whether it's a good or bad change is down to the opinion of the inhabitants of the space. Visit the Urban Interventions website @ snoitnevretni-nabru.tumblr.com


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Extracts from the Urban Interventions website

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11 // Drawing & Presentation Skills

“ We are in the second decade of the 21st century and, as with most things, the distinction between digital and analogue has become tired and inappropriate. This is also true in the world of architectural drawing, which paradoxically is enjoying a renaissance supported by the graphic dexterity of the computer. This new fecundity has produced a contemporary glut of stunning architectural drawings and representations that could rival the most recent outpouring of architectural vision in the 1960s, 1970s and 1980s. Indeed, there is much to learn by comparing then and the now. The contemporary drawing is often about its ability to describe the change, fluctuations and mutability of architecture in relation to the virtual/real 21st century continuum of architectural space. Times have changed, and the status of the architectural drawing must change with them.” Neil Spiller, 2013 Developing new and different ways of presenting architectural ideas is something we will have to consider whilst working on live projects. The stakeholders and collaborators who are not from an architectural background may not be able to understand a traditionally drawn plan and section drawing. Therefore learning from precedents can we find a more creative way of portraying our ideas that everyone can understand.

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It is also important that we use the correct style of drawing which portrays the project we are working on. Therefore with it being a live project we are trying to sell the project to the client therefore the more artistic dark and moody images sometimes produced in architecture school may not be appropriate for this project.

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// Bjarke Ingels / BIG Yes is More, An Archicomic on Architectural Evolution Bjarke Ingels book ‘Yes is More, An Archicomic on Architectural Evolution’ explores a new way of explaining the design process of projects, through the use of storyboard/cartoon strip style presentations annotated by speech bubbles. Although some of the drawings may not be considered masterpieces of art, they do explain the projects very clearly and an architectural background would not be required to understand the concepts involved.


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// A4 Studio “We prepare mock-ups and model on the computer simultaneously, this way we plan the outside mass and the inside spaces of the building at the same time. And then, based on these simple ideas, we take photos and sketch hand drawings that we then clothe with collages.” A4 studio are a practice which produce particularly good example’’s of collages, this process may be important within the Film School project as collages can produced relatively quickly

// Alex Hogreefe Visualising Architecture.com www.visualisngarchitecture.com is a blog run by Alex Hogreefe, it features a large number of different visualisation tutorials mainly utilising photoshop and 3d modeling software such as sketchup. The tutorials feature step by step instructions and videos which help you easily follow the work-flows.


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12 // Film School & Film Studio Architecture

Through looking at previous precedents of Film School & Film Studio architecture we will be able to gain a better understanding of the concepts and complexities involved with there designs. One of the most important meetings we had in London was with Nicholas Hare architects who talked about there ongoing project with the new London Film School at the Barbican, we gained a real technical understanding of the complexities involved with designing a film school. We discovered that alot of specialist activities within a film school require spaces with particular features, for example studio had to sound proofed to prevent noise from entering the space. Additionally areas like editing suites and screening rooms had to be protected from natural light to prevent glare on the monitoring equipment.

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Meeting at Nicholas Hare Architects


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As a further part of the collaboration process we contacted Stride Treglown to gain information for their film school project for the University of Reading. Q. What would you say was the single most important design consideration in designing the Minghella building? Sighting of theatre spaces. The location of each of the individual theatre and performances spaces within the building footprint was critical to ensure the overall building efficiency and ease of access. Q. Who would you consider to be the buildings main client? Reading University Q. Who would you consider to be the buildings main occupant? Film, Theatre and Television Dept. Reading University C

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Q. Was there a concept behind the design? Yes – The building was envisaged as a single blank faced box which has been broken open to allow elements of the theatre inside to appear on the exterior. This was driven by the fact that the building had few external features such as windows. Q. Is there anything that you would consider you would do differently, should you of had the opportunity? As with all buildings there a number of small issues with the building that with hindsight we would have liked to have changed. The largest change I would have made would be to have chosen different materials for the exterior of the building changing both the external white render and external timber. Q. Have you had any feedback from the current occupant’s that indicates they are pleased with any element of the building? Overall the feedback from the client has been positive. Q. Have you had any feedback from the current occupant’s that indicates they are displeased with any element of the building? We have received no direct negative feedback for the building.


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Film Studio A film studio is a major motion picture company that has it’s own privately owned studio facilities that are used in the production of films. The majority of firms in the entertainment industry have never owned their own studios, but have rented space from other companies. There are also independently owned studio facilities, who have never produced a motion picture of their own however they sell or rent out studio space.

The Black Maria/the Kinetographic Theatre • Built by Thomas Edison in 1893 C

• The world's first film production studio,

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• Covered in black tar paper • A huge window in the ceiling that opened up to let in sunlight because early films required a tremendous amount of bright light • Built on a turntable so the window could rotate toward the sun throughout the day

The Big Five Film Studios


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Film Making Process The function of the studio facilities depend on the film-making process 1- Development 2- Pre-production 3- Production

As far as the architecture of a Film studio is concerned these three stages are the most important

4- Post-production 5- Distribution

Underwater Sound Stage Green Screen

Sound Stage C

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The sound stage is often used for the production of theatrical film-making and television production, usually located on a secure film studio property. The term soundstage refers to the depth and richness of an audio recording and usually relates to the playback process. It aims to allow great flexibility and adaptability, to support the film-making process and the different professionals at work in the stage Characteristic: - Hangar-like structures, warehouses, factories and large rooms are ideal - No windows - Soundproofed

007 Sound Stage


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// Concern B

Agents & Stakeholders


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13 // Live Project Methodology

The live project as a methodology creates a cross over between architectural education and the real world in process, collaboration and the introduction of the client. The type of projects chosen for live project use have to be ethically suitable in order that the mutually beneficial and yet still ‘free labor’ of the students are prevented from being used for commercial gains, instead somehow having a moral contribution towards society, or those who are most vulnerable. Thought has to be given to the architectural industry also as to not de-value the architectural profession with the introduction of free labor into the market.

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Participation can have long term positive effects for the end building product, as the users have a sense of ownership over their built environment as well as creating a platform to air the feelings and desires of the occupants. The act of participation goes some way to resolving the ‘god’ complex of the architect, but often fails in practice as the public consultation becomes a token gesture. In the ‘live’ student project the crux of the situation is how the outcome of the participation translates into design.


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14 // London Visit

Prior to the collaboration workshops we planned a visit to London, we organised meetings with practices and people who we believed may be able to provide some useful information regarding the development of the Film School project.

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Ash Sakula Architects

Nicholas Hare Architects

The Frame Store

Objective: Ash Sakula have vast experience in participatory architectural design, we aimed to develop ideas in-relation to how architecture can develop through participation activities at the design stage.

Objective: Nicholas Hare Architects recently won the competition for the design of the London Film School. The primary aim was to understand aspects which effect the design of a film school.

Objective: The Frame Store are a film studio in London predominantly working in visual effects and work on big names in film industry mainly computer based working. The aim of the meeting was to gain an understanding of the spaces required by the film industry and how they work.

Conclusion: The architecture needs to be displayed in a clear and commutative manor which can be easily understood. Participation events need to be carefully planned and activity's should have a clear objective, making the best use of time. The information received from participants needs to be analysed and used to influence the design, often this information is lost within the design.

Conclusion: There are much more technical restrictions than first anticipated. Linking the school with its surrounding context is important. An emphasis on the students will provide an appreciation of the space they use. Share and community space is equally important as private space.

Conclusion: They had a desire for open plan and emphasised how power intensive their work is in terms of electricity, their converted historic building in London was incapable of electricity requirement they had. "The way we work - one open plan space integrate all departments� There were more than 300 people working on one films at a time.

Future Cities & Renie Mackintosh Exhibitions. Objective: Future cities exhibition intended to develop our understanding of cities and how they are developing. The Renie Mackintosh Exhibition showcased some of that architects drawings, which communicate his ideas in a detailed and understandable way. Conclusion: The Future Cities exhibition provided background into how our cities are developing and what we can do to make them more sustainable. Highlighting the need for Intensifying our existing city's with a predicted population increase of 25% to 80.5million in 2065.

AA School - Group Presentations Objective: Disseminate our research to the group at one of the UK’s leading Architecture Schools. Conclusion: Each of us researched different topics which were presented to the group, each topic presented provided background information for the project. Live projects was a key topic throughout the presentations and participatory design.

Roco Gallery - The Creating Change: Pioneering Women in Architecture Objective: Develop understanding of architects in practice and highlight equality in architecture. Visit a world famous architect designed building. Conclusion: Our studio group shows the growing quality in the architecture profession, been Almost half and half male and female. Its important that Architecture does not become something for a Individual demographic but for a wider audience.


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15 // The Stakeholders

The project stakeholders are all the people/organisations with some interest in the design of a new Film School. We have identified three key stakeholders for the Film School project, they consist of Enterprise, Student and the Educators. Identifying these stakeholders allows us to understand who we need to work with in order to collaborate successfully.

Paul Ratcliff Head of International & Overseas Partnerships

Steve Parker Head of Research

EDUCATORS

ENTERPRISE

Carl Flattery Head of Student Experience

Oliver Bray Academic Lead for Performing Arts

Martin Brigss Academic Lead of Music

Jenny Granville Head of Enterprise

MY

CY

CMY

K

Andrew Raby Business Development Manager

Melissa Howard NTI Membership Co-Ordinator

Teresa Brayshaw Head of Cultural Partnerships

Leeds Beckett University New Film School / Media Village Project

Sarah Roe Head of Learning, Teaching & Enhancement

Simon Baldwin Head of Enterprise

Andrew Fryer Head of School of Film, Music & Performing Arts

Dance BA (Hons)

TS

Y

CM

Larra Anderson Academic Lead of Film

Frances Parkinson Innovation Hub Manager

UD EN

M

Katie Rigarsford Head of Enterprise & Innovation Academy

Key

ST

C

Andrew Slade DVC For Research and Enterprise

Performance BA (Hons) Filmaking MA

Filmmaking BA (Hons)

Music Technology BSC (Hons)

Music Technology MSc Audio Engineering MSc

Sound Design MSc

Audio Engineering BSC (Hons)

Music Production BA (Hons)

Music Production MA

Music Production & Performance BA (Hons)

10=

1=

10=

1=

10=

Performance MA

Music For the Moving Image MA

Sound & Music For Interactive Games MSc

1=

Information obtained via the Freedom of Infromation Request 15/04/15


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16 // The Collaborators

Who are the collaborators? The collaborators are the stakeholders that we worked directly with to help co-design the new Film School. Through a number of different strategies including workshops and meetings we were able to work with them, so we best understand there concerns regrading the design of a new film school.

C

Andrew Raby Business Development Manager

Larra Anderson Director of the Northern Film School

Jenny Granville Principle Lecture & Head of Enterprise

Dan Weldon Senior Lecturer

Chris Clarkson Senior Lecturer

Enterprise

Educator

Educator

Educator

Educator

Martin John Harris Senior Lecturer Manager

Anna Zaluczkowska Senior Lecturer Course Leader for BA (Hons) Filmmaking

Geoff Barnett BA Film Student

Cameron Haigh BA Film Student

Gondemo N BA Film Student

Educator

Educator

Student

M

Y

CM

MY

CY

CMY

K

Still from Interview with Larra Anderson and Jenny Granville . Electric Press Student Student


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17 // Enterprise

As a potential stakeholder the CITYzen Agents arranged a meeting with Andrew Raby from Enterprise. Leeds Beckett University’s ‘Enterprise’ represents the commercial element of the stakeholder group with a perspective into viability and potential revenue for a new Film School/ media village. Enterprise is also concerned with student professional development and a driver for the project focuses around the potential benefits that any new facilities which provide interest from film industry businesses would create opportunities for greater integration between film studio and film students. It was discussed that a proposed new building could be part of a bigger commercial picture, an all encompassing media village building upon Leeds already strong connections with media, it was discussed that there was a desire for a media powerhouse in the North.

C

M

Y

A number of potential sites were discussed namely within the City of Leeds on Kirkstal Road, as part of a regeneration project in Holbeck/Beaston area but also an option outside of the City between Leeds and York.

CM

MY

CY

CMY

K

// Desire for a mutually beneficial relationship between students and industry. // It was identified that despite the department covering performance and music, the real need for new facilities lay with the Film School. Image from Interview with Andrew Raby . Enterprise


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18 // Educators

As a significant stakeholder the CITYZEN Agents arranged a meeting with the tutors Larra Anderson (director) and Jenny Granville (principal lecturer) of the Northern Film School. The session explored predetermined questions put forward with a single representative from the three devolved CITYzen Agency teams. Discussions centered around their current provision and their aspirations for a new film school. The devil was seemingly in the detail in spaces which they considered currently unsuitable for their needs.

C

M

Y

CM

MY

CY

CMY

// Desire for architects with previous knowledge/experience of film school design was considered essential.

K

// Positivity towards being in the Centre however there are current issues with loading/goods lifts and vehicular access.

Still from Interview with Larra Anderson and Jenny Granville . Electric Press


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19 // Pedagogy

Shadowing In order to better understand the student culture and pedagogy of the Northern Film School CITYZEN agents spent a small amount of time shadowing students. In order to facilitate the essential screening of the first year BA Film student’s group work the students had to leave their host building at the Electric Press as there are currently no seminar spaces large enough for the whole cohort to occupy. Other than this blatant demonstration that the School’s current accommodation is not adequate, the other prominent observation was the varying group sizes in which students forms for the film work, in the small snap shot the group sizes varied from at little as 1no. student, to 9no. students. C

M

Y

CM

MY

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CMY

K

// Students work in varying group sizes. // Need for large seminar spaces for 300 students.


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C

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Y

CM

MY

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CMY

K

// Collaboration Workshop


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20 // Participation Workshop

As a group the CITYzen Agents created a division of labor for the participation event, with each member contributing an individual task, and each group of three contributing an activity for the attendees to take part in. The CITYZEN Agents organised the venue and contacted the identified stakeholder groups of Enterprise, tutors and students to invite to attend the workshop.

1 - Meet and greet

6

2 - Day in the life of film student & 8 stages of a film project

C

3 - The Ugly Truth

1

M

Y

4 - The Seven Basic Plots

CM

2

MY

CY

5 - Space Invaders

4

CMY

6 - Concern A, power point presentation

K

7 - Free lunch!

5

3

7


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21 // The Ugly Truth

Aim: To understand the participants perception of their current provision. The Good: Apart from the good location of the school, the results of the workshop also showed that in the opinion of the students and staff members present in the workshop; the sense of community in the school is very strong and positive, as well as the fact that the tutors’ doors always being open for the students. What is more, the links to the industry and the opportunities for work experience that comes with it were also highlighted by the student as a positive. However, a student complained about the apparent lack of networking opportunities for students. C

M

Y

CM

MY

CY

CMY

K

The Bad & The Ugly: As far as the negatives are concerned, the staff members were very keen to express: the need for better and more storage spaces, whether it is for archival or prop storage, the inadequacy of the teaching spaces, the lack of good soundproofed studio environments, the inability to open most of the windows in the first floor of the school building and in other areas. Even so, the biggest complaint was in the lack of a common environment and social areas with catering services were staff and students would be able meet and socialise within the school facility. Task Reflection: Overall a successful activity, could have benefited from colour coded notes so the positivity or negativity was easier to read.


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22 // The Seven Basic Plots

Aim: To build a narrative of the participants views using the 7 basic film plots. Findings:

C

M

Y

CM

MY

CY

CMY

K

- wary of corporate/commercial interests, they want a film school not an office block! - current facilities not up to standard - apprehensive about estates/enterprise being able to deliver the building they want - emphasis on community and social spaces - need to work together to deliver the film school they need, all pulling in the same direction. - concerned about the universities emphasis on money and not learning! - better networking, collaboration with international film schools. - General dislike to Aristotle? Task Reflection: Was a little over complicated, took some explaining for the kind of thing which could be expected as an outcome before participants put pen to paper.


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MY

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CMY

K

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23 // Space Invaders

Aim: To better understand the accommodation and organisational requirements of a film school, through the use of physical and visual props. Findings: Social spaces to be included in the design school and should be ideally located within the main activity of the film school accommodation. Specalists spaces including editing suites need to offer greater capacity. They would like the film school to operate 24 hours. C

M

Y

CM

MY

CY

CMY

K

Enterprise keen on the integration of the commercial studio community with students. Task Reflection: The task was limited by the rigidity of the predetermined space sizes and shapes.


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18

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24 // Data Collection

Day in the life of a film student: The aim of this task was gain a better understanding of the daily routine of a film student in order to familiarize the agents with student life in the existing film school. The plan was for this data to be collected via the students simply filling out a formatted sheet. In the sample of data we received we discovered that the start of the working day for a student is not a typical 9-5 routine, university work can stretch into the late hours. The data also suggested that much of the students time is spent working within the university, as oppose to working at home or on location.

C

M

A day in the life of a film student

Y

This task had limited success as the template did not ensure that students elaborated on their activity within university time, instead this tended to be bundled up under the generic description of ‘uni�. 8 stages of a film project:

CM

MY

As we have a limited understanding of the film making process, we needed to find out from the students the general process set in motion to complete a film project. We felt this was important as understanding the processes of film production could heavily impact the prospective design for the Film School.

CY

CMY

K

The information we received proved to be incredibly useful in planning the schedule of accommodation, this information will be elaborated more on in concern C.

8 stages of a film project


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25 // Open Discussion

After the three participatory activities we had a chance to discuss anything further which the stakeholders wanted to talk about. The idea was that after the activities there would have been thoughts still present and developing in their minds. An open discussion was a more informal way of extracting their thoughts using a large sheet of paper to write or draw on. The activity kick-started conversations between enterprise, tutors and students which wouldn’t usually of happened, allowing not only us to understand each of the stakeholder but for them to understand each other. Much of what was picked up in this discussion was covered in the earlier activity’s, the main points were:

C

M

Y

CM

MY

CY

CMY

K

- Social Space would be very important including bars and cafés. - There was a strong dislike to having big brand named companies within the university and a importance of having student run enterprises. - Private space was highlighted to be just as important to the Public and social spaces. - Space for industry was highlighted and its relation ship to the film school, there was an importance to be on the communal space between education and Professional.


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26 // Film School Visit

Further to discussions with the tutors and students of the film school, we knew very little about the condition of the existing spaces available in the film school. To enable us to have a more informed conversation at the next meeting with the stakeholders, a visit to the existing film school was made. The visit developed our understanding of the spaces used at the film school, which are used a lot or a little. The building was described as a rat run of little spaces, interior spaces have very little natural light while spaces which required to be dark had a lot of natural light with black out curtains. Our conclusion was that the building was clearly not designed for use as a film school, however it is a beautiful old building.

C

M

Y

CM

MY

CY

CMY

K

“a rat run of little spaces�


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27 // Schedule of Accommodation

The existing and proposed schedule of accommodation and wish lists have been arranged into proportional diagrams which illustrates how the order of priority in terms of floor space for each context as well as allowing a direct comparison in terms of scale and ambition between the three.

C

M

Y

CM

MY

CY

CMY

K


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28 // The Expanded Brief

Using the information we have received from our collaborative experiences, we have formulated an expanded brief, which now accommodates all the feedback we received from the collaborators. This new expanded brief will now form the basis for our work into concern C.

C

M

Y

CM

MY

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CMY

K


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29 // Concern B Reflection

Collaborative design was something that was new to us all, even the ones of us who work in practice. There needs to be a mind set taken prior to collaborating with anyone of the stakeholders on a project, acceptance that you as the architect are not always right and an understanding of individuals opinions. It’s important to remember that although collaborative design is a process which should involve as many stakeholders in a project as possible, it is still not easy to solve all requests when some may conflicts with others. At this point stakeholders should be brought together to hopefully resolve with a happy medium.

C

M

Y

CM

MY

CY

CMY

K

One of the collaboration activities which worked particularly well were the interviews with both Andrew Raby from Enterprise and separately Tutors Jenny Granville and Larra Anderson front he film school. We were able the ask questions on specific elements of the brief or design. The informality of these interview’s helped allowing a conversation to develop. Out of the three participation activities the one which gave the best response was space invaders, by giving the stakeholders an opportunity to arrange spaces and show how they would link them provided a hierarchical strategy for the arrangement of functions. The collaboration event could have worked better if more stakeholders were there, it could have been due to the location or not advertising early enough to ensure more people were there on the day. However we received some valuable thinking points from the stakeholders who were available.


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// Concern C

Architectural Proposition


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30 // Introduction to Concern C

The final part of this design guide suggests possible sites, site strategies and visualizes the proposed architectural concept. The final design concept has been developed as a direct response to the analysis of participation activities undertaken by ourselves and Cityzen Agency. The initial brief was developed further to include desires of the stakeholders, this helped us to define the architectural response with a clear strategy. Stakeholders were presented with the architectural concept at a later stage of the design to provide feedback and develop further our understanding of their wants and needs.

C

M

Y

CM

MY

CY

CMY

K

This is where you will see the project come to life, through visualization, sketching and diagrammatic drawings. Although we have suggested a architectural proposal the end user of this design guide would interrupt the provided research and analysis in a different way, resulting in an individual and informed building design. The schematics of our design is something which is transferable and could also form the basis of a architectural language for the Northern Film School. Collaboration continued to be essential to the further development of the architecture, initially between the group but also through presentation to the stakeholders.


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31 // Potential Sites 1. Existing Site Pros - Central location - Closely linked with university campus - Cutural quarter of Leeds - Infrastructure in place

2. Kirkstall Road Pros - Close proximity to city centre - Cultural quarter of Leeds - Infrastructure in place - Large site for development - Adjacent to Leeds Film Studios

3. Train Station Pros - In development area of Leeds - Large site for development

Cons - Lack of space for development - Poor access for deliveries

Cons - Not linked with university campus

Cons - Not linked with university campus - Feels distant from city centre

4. Holbeck & Temple Works Pros - Close proximity to city centre - In development area of Leeds - Large site for development Cons - Not linked with university campus

5. Hunslet MIll & Vicotria Works Pros - Large site for development - Grade II existing buildings Cons - Not linked with university campus - Not linked with city centre

7 7 C

M

1

Y

CM

MY

CY

CMY

2

K

3

6

4

5

6. Former Tetley Site Pros - Close proximity to city centre - In development area of Leeds - Large site for development Cons - Not linked with university campus

7. Out of City Village Pros - Large site for development - Links to other cities - Would be come city centre campus - Could have better links with Headingly campus and airport Cons - Not linked with university campus - Not linked with city centre


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32 // Discussing Site Options

Do either of you two know why we are moving the film school ?

C

M

Y

CM

MY

CY

CMY

K

Enterprise and the Film School are looking to expand, providing more space for students and rent-able spaces and access is poor for when large sets or equipment is delivered. Not a clue Chris, I would love to go to a university over looking Millennium Square and right in the city centre.


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The location is perfect, it could be expanded. But there’s no space to extend the building out.

C

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Y

CM

MY

CY

CMY

K

We don’t need land where we’re going!


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33 // The Electric Press

The Northern Film School at Leeds Beckett University is based at The Electric Press in the heart of Leeds. With millennium square and Leeds Civic Hall to the north and Leeds Town hall and art galleries to the south. The Film Schools location means it has great links in the city center and existing infrastructure implemented in Leeds. It has the advantage of been a few minuets away from the Leeds Beckett city campus and contained within the cultural quarter of Leeds. In 2005, the school moved into a new facility in the Electric Press building on Millennium Square in Leeds. The building holds two studios fitted for shooting on student built sets. It also has film-making equipment ranging from 16mm film, Digital Video and High Definition Digital Video. C

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CM

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Being situated in Leeds, it is also close to ProVision Equipment Hire and the Leeds Studios. Past student productions have made use of these companies, as well as the surrounding landscape of the Yorkshire countryside.


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34 // History of the Electric Press

1815 Rural site as shown on map by N.F Giles 1847 Street layout becomes more complex as shown on 1847 OD map 1848 Coach manufacture owned by John Clark & Sons

1848 Carriage Works John Clark & Sons

1848 Stansfeld Chambers present (western part of Electric Press Group) 1867 Structures present on Electric Press site 1890 Printing works established on Cookridge Street C

M

1891 Site occupied by West Riding Carriage Works with Electric Press building shown as a warehouse

1892 Steel Fabricators Stansfeld J

Y

CM

MY

CY

CMY

K

1892 Electric Press site now owned by Stansfeld J iron and steel fabricators 1923 Buildings adapted to house variety of companies mainly offices

1951 Print Works Chorley & Pickersgill printers and book binders

1951 Building owned by Chorley and Pickersgill printers and book binders 1970 Printworks ceases Nearby clearance of terraces and public baths (now millennium square) cleared to make way for carpark 2000 Major renovations and alterations to incorporate Carriageworks Theatre Present Day Home to Leeds Beckett Film School The Carriageworks Theatre Offices Bars and restaurants

Present Day Northern Film School Leeds Beckett University


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35 // The Existing Condition

C

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K

A number of the main issues with the film school were highlighted in this visit however there were some good points, the main points are: - Lack of delivery access - Lack of communal space - Building has been retro fitted and does not provide adequate space. - Long lifeless corridors. - Circulation space lacks in experience. - Spaces which need no light, have light. - Beautiful entrance staircase and beams to the old building. - Location has no faults other than delivery access.


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36 // Electric Press Connections - Leeds Beckett University Buildings - Other Educational Institutions - Public Spaces - Performance Spaces - Theatre Spaces - Hotels - Student Accommodation - Cinema - Cultural Institutions - Film Studios

Millennium Square

Electric Press / Carriage Works

Airport 13.1 km

Bus Station Bus Stops around the site Train Station

C

M

Y

CM

MY

CY

CMY

K

M62 (M621)

M1 (M621)

Existing Film School Location

- Main Routes


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Headingley Campus 2800m

37 // Electric Press Travelling Distances 700m

600m

500m

rs i et

tU ni

ve

400m

ty

Broadcasting Place

s

Be

ck

300m

Headingley 2600m

Le

ed

City Campus

200m

Broadcasting Tower Opal 3

Rose Bowl

100m

Alexander Court

C

M

CM

Film Studios

Y

Electric Press

City Library

MY

City Museum

CY

K

Student Accommodation Leeds Art Gallery

Henry Moore Institute

Almost Famous

CMY

The Plaza

Grand Theatre

The Light O2 Academy

Bradley.TV

Merrion Centre Leeds Arena

Prime Studios 1200m

Shopping District

Trinity Leeds

C tu ul

Studio 81 1200m

l

ra

Train Station

Tr a rt

ns po

Leisure

Leeds/Bradford Airport 10,000m

Bus Station


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38 // Electric Press Transport Connections

The benefits of using the Electric Press site in the city center is that their is already established transport connections. Access to the city centre ringroad is less than 1km away, and Leeds train station is less than 600m away. Leeds train station is part of the East Coast Mainline, which has direct links to London.

Electric Press Inner City Ring Road C

M

A64 East towards Harehills

Y

CM

MY

Rail Line East towards Crossgates

CY

CMY

K

Rail Line North towards Horsforth A58 to Headingley / M62 / M1

Rail Line South towards Beeston

Train Station

Rail Line South towards Rothwell


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39 // The Compact City

The Compact City has become a popular research point throughout urban planning, with Architects, Planners and Government Officials supporting the theories which build up the structure and framework of the concept. The urban form is considered to contain urban sprawl and promote the development of more sustainable cities, taking into account not only ecological factors but intertwining social and economic factors. ‘Compact City’ - a dense and socially diverse city where economic and social activities overlap and where communities are focused around neighbourhoods providing more opportunities for social interaction. The basis of a compact city is built upon an efficient public transport system and an effective urban layout, which encourages walking and cycling with low energy consumption and reduced co2 emissions. C

M

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The idea aims to produce not only a efficient environment but to increase the cities inhabitants health and quality of life. With fewer cars there is a reduced need for expansive road networks clogging up our urban land which can be utilized for public or green space. Inhabitants of the compact city should have a good connection with local services such as stores, cultural and public institutions as well as neighbourhood jobs.

K

Intensify inner city areas through high density development.

Contain urban sprawl, with an almost clear boundary between city and countryside.

Develop brown field sites rather than green field.

A public transport system which supports dense neighbourhoods and increases connectivity, reducing dependence on automotive transport.

Mixture of land uses reducing the division of city functions and including a mixture of dwelling size, Socially and privately rent homes. To Provide a socially inclusive and diverse city.


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40 // The Icon During a the first meeting with Andrew Raby of Enterprise, he expressed his desire for the building to be an Icon, an Icon of the Northern Film School and of Leeds. So how can a building become and icon and what can it do. When designing a building which could be seen as in icon it must be considered what comes after the icon, will it encourage people to come to Leeds or push people away. It could become the first thing that comes to mind when Leeds is thought about. The life span of the icon must also be considered, it wont be long until another bigger or more iconic building is constructed.

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Frank Gery’s Bilbao, Guggenheim Museum has become one of the most wrote about iconic buildings, having created something called the Bilbao effect. Whereby cities such as Bilbao who lack culture or are in an economic down turn, look towards starchitecture as a method of kick starting revitalization.


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41 // Leeds Film Connections Film Societies

For over ten years, Screen Yorkshire has been at the forefront of championing the film, TV, games and digital industries in Yorkshire and the Humber. Its aim has always been to secure and support the very best projects, companies and individuals, helping to make Yorkshire and the Humber one of the most sought after destinations for production in the UK

Leeds Trinity University

Leeds University

Screen Yorkshire

Film School Leeds Beckett

www.screenyorkshire.co.uk/

Bradford Film Festival

n

od Pr

Indus

try

Armley Mills Cinema The Base Black Film Club at Seven Arts Castle Galleries Cherry Kino Microcinema and Lab Cottage Road Cinema Crowd of Favours Everyman Leeds First Direct Arena Hyde Park Picture House ICS Cinema Leeds City Art Gallery Millennium Square Vue at the Light / Vue Kirkstall

Bradford National Media Museum

Festiv als

K

Facilities Post & Production

m

CMY

Leeds Film Connections

ris

Prom o

tion

ation Educ

MY

CY

Bradford Film Festival Media Exhibitions Bollywood Film Showings

Screening Spaces Leeds Film Festival Film Investment

Prime Studios Studio81 Heslington Studios North Light Film Studios Litestructures Live Studios

Louis Le Prince was an inventor who shot the first moving picture on paper film using a single lens camera by the Leeds bridge in 1841.

u To

Y

CM

ProVision The Other Planet VTR North MEZZO Darkhorse Media Elite Television Exit Studios Motus Bradley Media ADBS

io

M

First Motion picture taken in Leeds

t uc

C

Emmerdale Billy Liar The Damned United Mischief Night The Kings Speech

Filming Locations

Film Studios

Triangle 2014 The List Yorkshire Content Fund


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42 // Possible Site Strategy's

Once the site had been identified site strategy were used to identify how the existing building could be expanded to create space for the functions desired by the stakeholders.

public space raised above new structure.

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Dispersed extensions to the existing building.

Directly above the film school.

Raised connection to existing

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new building in millennium square

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UNDER THE EXISTING

Above the carriage works.

Above the electric press as a connection to all the buildings below from the atrium

Inhabiting underutilised space within the existing buildings


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43 // Development Sketch

We developed the design through sketches, this allowed us express our ideas between the group.

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44 // Development Sketch

The sketches to the left show the idea of dividing commercial and film school space but with shared and public spaces in-between. This idea of public and private was highlighted as important through the participation activities earlier on in the design process. We wanted to raise the public space from Millennium Square and allow the building to give back the Leeds, while it was still important to maintain the private spaces needed by both commercial and educations stakeholders.

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45 // Development Montage

We wanted to quickly show how a building would appear above the existing Electric Press, to do this we created a montage from existing photos. Grass was added to Millennium Square, this idea arose after a warm day in Leeds. When one of the group members walked through Millennium Square and another past the grass opposite university. Millennium Square was empty as it is primarily a dynamic space, where as the small section of grass was full of life and activity.

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46 // The Film Making Process

As architecture students we knew very little about the film making process and how this could influence the design. The diagram below shows the process of creating a film and highlights the associated spaces.

DEVELOPMENT ANIMATION LAB SEMINAR ROOMS

PRODUCTION

FILMING

BRIEF

SMALL SCREENING ROOM

GREEN ROOM

TEACHING SPACES

3 - 4 MINUTES OF FOOTAGE PER DAY

EQUIPMENT LIST

IDEA WORKSHOP

FILM ARCHIVE

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GOODS LIFT

SCREENPLAY

FILMING LOCATIONS

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TEAM MEMBERS

CASTING

PRODUCER

DRESSING ROOMS

REFLECTION

QUIET SPACES

EDITING SUITES

RELEASE

SCREENING CRITICAL REVIEW

SCREENING ROOM

SERVER ROOM

STORYBOARD

PARTNERS AND INVESTORS

SOCIAL SPACES DRAWING ROOM

PRE-PRODUCTION ADMINISTRATION OFFICES

EDITING

TEACHING SPACES

DIRECTOR

OFFICES

BUDGET

SPECIAL FX FILM SCORE SOUND EDITING COLOUR CORRECTION

AUDITON ROOMS

SOUND STAGE

PITCH

SCREENING

ROUGH CUT

FOLEY

SHOOTING PLAN

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EQUIPMENT STORAGE

SMALL FILM STUDIO

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POST - PRODUCTION

FILM FESTIVAL

BAR


BAR

SOCIAL SPACES

SCREENING ROOM

TEACHING SPACES

QUIET SPACES

SMALL SCREENING ROOM

SERVER ROOM

EDITING SUITES

FOLEY

TEACHING SPACES

QUIET SPACES

SMALL SCREENING ROOM

EQUIPMENT STORAGE

ANIMATION LAB

GREEN ROOM

GOODS LIFT

WORKSHOP

SMALL FILM STUDIO

SOUND STAGE

DRESSING ROOMS

AUDITON ROOMS

DRAWING ROOM

ADMINISTRATION OFFICES

OFFICES

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SEMINAR ROOMS

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47 // The Film Making Process

The spaces associated with the film process were organised to show at which stage of the film production process they were used.

We found that some of the spaces were used at more than one stage in the film production process, these are show by the dashed blue line.

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48 // Schematic Diagrams

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Existing Condition

Building Heights

1 - Electric Press 2 - Atrium 3 - Carriage-works 4 - Bar 5 - Restaurant & Offices

The existing condition presents a mixture of buildings, with no consistency of form or scale.

The New Condition Continuation of the dislocated form, through three distinct forms


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The New Form The graduation in height, between the new elements create a new more coherent overall form.

Raising the New Condition

Urban Parkland

Raising the new structure above the roof level of the existing condition, creates a usable space underneath the new structure.

Freed up from the new construction the roof level of the existing condition can be turned into an public park, giving something back to the city.


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Separation

Schedule - Electric Press

Separating the key elements within the new structure defines the different uses for each building. It also add a security element Separating public and private spaces.

The existing Electric Press building, will now accommodate commercial media offices, aimed at recent graduates.

Schedule - Film School The largest of the new structures, will accommodate the new film school. This building will be private and access for students and staff only.


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Schedule - The Core

Schedule - Film Studios

Programming - Development

The core which begins in the atrium at ground level of the existing building provides access to both the public and private. A separate core enables the private spaces to remain private.

Larger film studios and green rooms are accommodate in this building. Primarily for the use of the film school, but can also be rented out to commercial operations.

Administration Offices Offices Meeting Spaces Seminar Rooms Teaching Spaces Film Archive


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Programming - Pre-Production

Programming - Production

Programming - Post-Production

Drawing Rooms Offices Storage Meeting Spaces

Film Studios Workshops Green Room Animation Lab Changing Rooms Storage

Small Screening Room Foley Editing Suites Sound Studio Server Room Teaching Spaces Meeting Spaces


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Programming - Screening

Programming - Outdoor Communal Spaces

Loading/Unloading

Screening Room Bar Meeting Spaces Social Spaces

Outdoor Private and Public communal spaces within the Film School enable students to relax without having to go down to the ground-floor to get outside.

One of the key issues with the current site it that there was a lack of facilities for transporting large items in and out of the film school. The new proposal has considered this, there is now direct access from the large film studio to Millennium Square so large items can be directly loaded into the Film Studio. There is also a service lift running from the atrium on the ground floor to the top floor of the film school. This can be accessed by vehicle from both the Millennium Square on one side and Great George St on the other side.


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49 // Proposal

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Film Studios 1. Studio 81 2. Illusion Visual Effects Ltd. 3.Motiv Digital 4. Prime Studios 5. ITV

No Space For A Sound Stage Lack of space is a major issue at the Films Schools existing location and only so much of the brief for the new film school can be built above the exiting site conditions.

Walking from Film School Driving from Film School Film School Site

The sound stage is 3000m2 building, it became clear to us in the early stages of the project that this could not be included at the current location.

Sound Stage Site

Sound Stage Proposed Location The Sound stage would be built further out of the city centre in a much more suitable location. Adjacent to the site there are a number of film studios which would benefit both the film school students who use the sound stage and the film studios who would be able to rent this space out.

Sound Stage Potential Investors or Lease The Sound stage could be partnered with another company on Kirkstall Road in terms of investment in the project. These same companies would have the opportunity to use these spaces at a cost, increasing the likelihood of revenue streams from local film companies.


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50 // Sound Stage Strategy

The below image shows that the sound stage could be built in a similar modular construction as the film school, using a similar architectural language to provide a link between the school and sound stage.

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// Exploded Axonometric

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51 // Architectural Drawings

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Ground Floor

First Floor

Second Floor


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Roof terrace - Fifth Floor

Restaurant connecting with roof terrace


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Sixth Floor C

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Seventh Floor


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Eighth Floor

Elevation from Millennium Square


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Ninth Floor

Elevation from Calverley Street


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Thirteenth Floor

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Tenth Floor

Fourteenth Floor

Eleventh Floor

Fifteenth Floor

Twelfth Floor

Sixteenth Floor


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52 // Investment Strategy

Pinewood as one of the biggest film production companies in the UK and the world, would be a investor that could not alone bring capital as investment but experience and professional expertises. Pinewood could either become a partner in the film school or be the sole owner with a contribution coming from Leeds Beckett. A link with Pinewood Studios would provide a global connection throughout the film industry.

The Electric Press and Carriage Works when initially constructed was an investment by a company called ASDA St James, a company formed by the merger of a Leeds investment firm and ASDA. This company has since been dissolved but ADSA now owned by Leeds based investment firm Corinth Investments Limited which its self is subsidiary of WalMart. Leeds Beckett would then lease the building back.

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Downing is a development investor with its own in house construction and building management team, the same company have previously invested in Leeds Beckett project such as Broadcasting Place and Student Accommodation. Downing would be the sole owner of the building with Leeds Becket Leasing back the space for their use.

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Prime Studios could become a sponsor of the Leeds Film School, this sponsor could grant Prime Studios use of the facilities when not needed by the students. This link with a local film studio could help to provide students with real life experience.

The Film School and counter parts could be completely owned by Leeds Beckett University. Either by way of investment of existing funds or an external investor who would loan the capital to construct in new buildings, however the university would retain ownership. Fund raised from the rental off spaces to industry professionals would raise the capital to eventually write off the debt.


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53 // Funding Opportunities

The proposals has been specifically designed to divide the accommodation into three parts with a view that one will remain private while the other two will have a cross over for public access allowing for the spaces to be a financial asset as well as an asset for their facilities. Starter Enterprise

RESTAURANT

The starter enterprise section of the proposal is located to the old Electric Press building, a series of pods which sit within the double height space of the existing building. The spaces are designed for former students and start-up professionals looking for small scale professional facilities to let. Accommodation includes: 4no. Small editing / meeting spaces @ 20m2 6no. Medium early screening / editing / meeting spaces @ 40m2 Cinema Hub

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The large specialist facilities to Cinema hub are then publicly available for use by all.

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Accommodation includes:

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300 seat cinema Foley Studio @30m2 2no. Green Rooms @20m2 Studio 1 @ 200m2 2no. Studios @100m2 Toilets & changing facilities

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Restaurant @350m2 The transformation of the roof top into the new public space creates an environment for food retail to flourish, the restaurant could be sold or be leased as an enabling asset of the development.

CINEMA HUB STARTER ENTERPRISE


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54 // Expansion Strategy Modular design allows for expansion and contraction in the Film School, floors can be added to existing towers or new towers can be constructed throughout the development of the Film School. By using standard parts in modular design costs will be reduced due to Increased speed in construction time, lower material wastage and costs. Modular construction is a particularly good method of dealing with inner city construction, with restricted space delivery will arrive with components at stages of construction.

Each tower would connect to the central core through bridges.

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The modular construction of the new film school would allow for further floors to be added as required.

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A Student accommodation tower could form part of the development at a later stage.

As the film Schools expands further towers could be Constructed, providing more space at the same schematic of the proposed film school.

The central core would need to be extended up with modules as required.


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55 // Design Guide Legacy What is the intended use of this ‘design guide’? The legacy of this, ‘design guide’ is in the collation of data in one document to voice the avenues of pursuit which the CITYZEN Agents carried out in investigating the potential of a new films school for Leeds Beckett University. The aspirational designs presented within this guide are not to be viewed as a set in stone proposal, they are instead to be considered as a manifestation of a potential idea, to be critiqued by all stakeholders, to provoke a reaction, and to aid in the development of the ‘vision’. The designs are presented as a catalyst for a new film school development. The proposals could be used as a catalyst for investment in the materialisation and visualisation of the film school idea to be presented to future stakeholders/investors also.

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The importance of participation has been emphasised within this design guide, an architectural methodology which particularly resonates with this project given the Film School’s current inadequate purpose designed accommodation, involvement of the stakeholders in the design is crucial for both the occupants to have a sense of ownership and in ensuring the provision is to their specialist needs, it is important to emphasis that this close relationship with the occupants continue throughout the later phases of the project as it moves forward beyond this design guide.

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The design guide itself is a working document with a section at the back for the stakeholders to add to the document as the project continues beyond the CITYZEN Agents involvement. Distribution Careful consideration has been given to the pertinent stakeholders for the project, a digital copy of the document will be released to each of these stakeholders as well as posted on the CITYZEN Agency website for any member of the public to view.


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56 // Client Presentation The final interaction that we had with the stakeholders was the final pin up of the proposals. This point was a manifestation of all of the ground work thus far in the fast paced project. In terms of the design the stakeholders seemed generally pleased with the aspiration of the building albeit a little concerned over their current loading issue and how this would be overcome. The group presented key architectural drawings, sections elevations and plans of the proposals in a very architectural presentation, this unfortunately had an impact on the legibility of the drawings by the stakeholders. A long running theme of the project is the exploration of the interaction the building project can have with its users, to this end an architectural proposal must translate into drawings which are legible to those interested parties whom may not have the prior experience of reading standard architectural plans, elevation and sections. It was concluded that moving forward the way in which the project was drawn was key, this was noted in the resolution of the drawings as the design guide concludes, but this must also be a key consideration as the film school project continues beyond the lifetime of this design guide.

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57 // Reflection Rachel Berry Group work allows the project to propel into a stage of development not possible through individual work in the time-scale allowing a wider scope for the project. The previous group work in the year has prepared for a resolved execution also, with regular meetings on and evening and weekend to accommodate myself and one other member as part-time MArch students also working in architectural practice. We executed a division of labour through to-do lists we formulated in our meetings, and communicated daily on social media through a facebook group that we set up specifically for this project. This has proved an invaluable line of communication as it is both immediate and very visual with a mix of wall posts and conversations through facebook messenger. I have thoroughly enjoyed being a member of my team, I feel it has been a successful grouping and that we have all contributed our individual skill-sets, and I know I have learned a lot through the process by working with such a strong team. If we would have had more time I would have like to have pursued the creation of an online platform for all of the research we carried out in order to disseminate the design guide and other workings to a wider public group. C

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Chris Paraskos Although I work in practice I haven’t worked on a project of this scale or including this sort of collaborative and participatory design, I have grown to appreciate the potential input collaboration can produce. Without the participation activities there would have been no background interns of what are the requirements of the stakeholders or end users, this is something which would usually be amused or predicted in a typical studio project.

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I think we have produced a clear and developed design guide and I would like to think it will influence the future of the Northern Film School at Leeds Beckett. I truly do believe in our proposal, having been developed as a direct response to the participation activities and input form stakeholder although it is just the start of a project needing much realisation. One of my favourite comments we have received about the project was “ It’s Bonkers” from Jenny a tutor from the film school who we presented the project to. We knew this had to be something different and a bit out of the box, something Leeds had never seen before. We were creating an icon.

Chris Newbold Working in a team always presents challenges, however after working with each other for almost a year now, we understand each others skill sets and as result we was able distribute task which best suited each team members skill. This enabled us to produce a substantial amount of work in a short amount of time. The live project methodology was an interesting a new process for me. I think our inexperience showed at the first workshop. However I felt the best output from the collaborators came from just speaking to them. Our design strategy is an exciting one which differs from the traditional university building typologies, although I believe we have offered a solution which answers all of the collaborators key issues we discovered in concern B.


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Profile for Chris Newbold

Leeds Film School - Live Architecture Project  

Leeds School of Architecture Leeds Beckett University

Leeds Film School - Live Architecture Project  

Leeds School of Architecture Leeds Beckett University

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