The Living Film

THE LIVING FILM

THE ST. ANN’S BAY MULTIPURPOSE CENTRE

Dewayne Webb Caribbean School of Architecture - University of Technology, Jamaica M. Arch II - 2017 - 2018

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ABSTRACT The Living Film, located in the urban core of St. Ann’s Bay, Jamaica along Main Street intends to contribute to an increased awareness, understanding and appreciation of St. Ann’s Bay in order to engender a renewed interest in the town’s development.

The Living Film intends to use the medium of film along with the film concepts of narrative and framing as architectural concepts

in order to emphasise and manipulate the

dialogue and relationship between the urban participant and his/her physical context.This is in order to create within the participant a stronger awareness and understanding of the embedded historical and cultural meanings within the urban fabric and its relationship to the wider geographic, political, cultural and social contexts. Ultimately, highlighting and communicating experience can result in a greater appreciation of the particular context.

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TABLE OF CONTENTS INTRODUCTION

1

BACKGROUND

2

PROBLEM STATEMENT

3

HYPOTHESIS

4

THESIS STATEMENT

5

THEORETICAL FRAMEWORK

7

PARALLELS - DRAWING FROM FILM

8

THE CITY IN FILM

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SPACE IN FILM AND ARCHITECTURE - HAPTIC EXPERIENCE

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THE ARCHITECTURAL PROMENADE AS FILM EXPERIENCE

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CONTEXTUAL FRAMEWORK

19

OVERVIEW

20

HISTORY

20

INTANGIBLE CULTURE & HERITAGE

22

THE WAY FORWARD

25

DIGITAL MEDIA IN ARCHITECTURE

27

OVERVIEW

28

MEDIA FACADES

29

INTERACTIVE FACADES

29

ESTABLISHING THE BRIEF

31

SUMMARY OF IDEAS & CONCEPTS

32

STRATEGIES - INTENTIONS

33

ESTABLISHING A TYPOLOGY

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THE BRIEF - GENERAL REQUIREMENTS

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SCHEDULE OF ACCOMMODATIONS

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PRECEDENT STUDIES

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SITE SELECTION, ANALYSIS & DEVELOPMENT

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SITE CONTEXT

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VALIDATING THE SITE

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SITE DEVELOPMENT

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DESIGN DEVELOPMENT

75

INITIAL IDEAS

76

DESIGN DEVELOPMENT

80

TECHNICAL RESEARCH

87

STRUCTURAL SYSTEM

88

AUDITORIUM DESIGN

92

MECHANICAL SYSTEMS | RAISED FLOOR PANELS

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EXHIBITION DRAWINGS

103

BIBLIOGRAPHY

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INTRODUCTION Background Problem Statement Hypothesis Thesis Statement

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BACKGROUND The establishment, effect and symbolic value of the St.

The fragmented basis of the town proves a somewhat

Ann’s Bay’s heritage and cultural significance — in light

difficult reading, particularly by that of the uninterested

of the question of the town’s future development and

passerby. Despite its unique and thriving existence, the

debates questioning its function as parish capital — serve

development, growth and future of the town and the

as departure points for this dissertation. St. Ann’s Bay, the

role it plays as parish capital has now been the issue of

capital town of the parish of St. Ann, Jamaica, WI exists

debate amongst locals and government officials due to the

as a unique urban phenomenon. The town marks the

rapid rise and development of Ocho Rios as the capital’s

island’s first recorded contact with the western world. It is

booming ‘metropolis’.

home of the first Spanish settlement in Jamaica, Sevilla la Nueva, now called Seville, just to the west of St Ann’s Bay proper — and presently has many significant reminders of the country’s Spanish heritage. The town gradually developed as a fishing port after the English captured the country from the Spanish in 1655. Beyond the town’s historical significance, several prominent cultural figures have emerged from St. Ann’s Bay, most notably Marcus Mosiah Garvey Jr. and Winston ‘Burning Spear’ Rodney.

One of the most striking features of St. Ann’s Bay, is its main artery, Main Street, which acts as the town’s main cultural and commercial hub as well as being the site of several historic artefacts. The image of the town, like many other post colonial towns and cities, represents a layering of varying identities, images, activities and histories.

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PROBLEM STATEMENT The relevance of St. Ann’s Bay as the capital of the Parish

•Can architecture facilitate a more successful dialogue

of St. Ann is argued against the eclipse of the town’s

between user and his/her immediate context?

commercial importance by the town of Ocho Rios. The

•Can architecture serve as agent for awareness and

rapid growth of Ocho Rios is just one factor that has affect

engagement of the town’s importance and relevance?

the decline of St. Ann’s Bay’s relevance and significance as an urban centre. The A.G.R. Byfield Highway, constructed in the 1970’s, created a drastic separation between the town and the sea which was once a key element of the town’s growth and development. The construction of the highway diverted the flow of traffic, which initially went through the town along Main Street, to the outskirts of the town, effectively allowing travellers to bypass the town in its entirety. As such, the town, through a lack of general development, and a migration of the populace to areas with more economic opportunities — has remained in a state akin to being frozen in time.

The challenge therefore is to find a mediating way through which the vibrancy of St. Ann’s Bay can promoted as a means to spur a renewed interest in the town as a significant urban entity; and thus contribute to the town’s future development as an urban centre and defend its position as the parish capital.

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HYPOTHESIS “One lives a film as one lives the space that one inhabits:

between the urban participant and his/her physical context

as an everyday passage—tangibly […] Providing space for

can be emphasised and manipulated, to create within the

living and lodging sites of biography, film and architecture

participant a stronger awareness and understanding of

are constantly reinvented by stories of the flesh.” (Bruno,

the embedded historical and cultural meanings within the

1997)

urban fabric and its relationship to the wider geographic,

Film is able to produce an narrative journey through

political, cultural and social contexts. Ultimately, highlighting

various cultural phenomena — as it can capture different

and communicating experience can result in a greater

moments in space and time — film therefore can act as

appreciation of the particular context.

an archival journey through cultural and historical events.

This narrative journey which film accomplishes has parallels to how architecture is able to create narrative journeys through spatial design. Film is also able to create awareness of phenomena through its framing of events.

Watching (viewing) a film, an intimate experience as film is able to “touch” us — affords us the opportunity to reflect on associated memories, events etc and probe the phenomena represented which results in renewed interest and future projections. In simple terms, film, through its techniques, presents a method for the analysis of phenomena.

Applying the notions of narrative journeys, viewing and being viewed and other film theories using the media of film and architecture — the dialogue and relationship

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THESIS STATEMENT By framing and capturing the events of St. Ann’s Bay, using the media of film and architecture — a stronger awareness and understanding of the embedded historical and cultural meanings within the urban fabric can be created within the urban dweller.

AWARENESS

USER

FILM & ARCHITECTURE

THEORETICAL FRAMEWORK Parallels - Drawing From Film The City in Film Space in Film and Architecture - Narrative and Hapticity The Architectural Promenade as Film Experience

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PARALLELS - DRAWING FROM FILM “Since the end of the nineteenth century, the fortunes

The major emphasis is on drawing parallels rather than

of cinema and the city [and architecture] have been

implying identity between the two art forms. They

inextricably linked on a number of levels” (Shiel,2001).The

are substantially, even radically different in purpose,

relationship between the two disciplines can be explored

scope and practice. Nevertheless, there are significant

on numerous levels, from their practice as spatial arts,

overlaps and resonances worth mapping out and

their methods of production and to even their roles as

investigation for common ground. (Tawa, 2010)

art forms which both deal with the representation and

There are several distinct differences which exit between

reflection of the spaces of everyday life, lived spaces.

the study and creation of filmic space and physical space.

Several notable architects have also observed and supported

Tawa, (2010) sets about establishing these differences as

the relationships that exist between architecture and film.

well as highlighting many of the parallels which exists. It

Architects such as Rem Koolhaas, Jean Nouvel, Bernard

is important to note the usage of the word parallel in

Tshchumi and Elizabeth Diller and Ricardo Scodifio have

identifying points of intersection between the two, rather

attested to this relationship even using explicit references

than identifying these points as similarities and shared

to film and cinema in much of their work, particularly in the

methods of constitution or perception of space.The word

works of Tschumi and Nouvel. Though architecture & city

parallel in Tawa’s writing establishes distance between film

studies are fundamentally different from the space created

and architecture which allows the two practices to maintain

by film, according to Koeck (2013) and Tawa (2010), it is

their differences and separate identities. Both disciplines,

only through an understanding of the inherent differences

through a thorough exploration of their respective limits

or “the margins between both spheres” (Koeck, 2013)

are able to create incredibly rich products.

with which we will be able to appreciate the parallels

This is achieved not by borrowing or mimesis but instead

which exist between the two disciplines.

by a “[…] remaining and working with the foundation and

Tawa illustrates on the importance of establishing the

familiar existential characteristics, elements and processes

differences between film and architecture/urban studies:

of reality in order to convey its unsettling and uncanny

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dimensions.� (Tawa, 2010)Therefore, though this will be a study of the relationships and parallels between architecture/urban studies and film, it is imperative to note that these disciplines are fundamentally different and exist within their own realm of logic and syntax and it is this notion of exclusion which permits the creation of a rich architectural or filmic product; however, by drawing on existing parallels, resonances can be found within each entity’s syntax to produce new methods of constituting, perceiving and understanding film or architecture.

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THE CITY IN FILM The role of architecture in the production of film can be

and reflect changes that happened in the development of

traced back to the very outset of film’s relatively short

the modern post industrial city and today’s contemporary

history, from the early works of the Lumiére brothers

post modern city.

recordings of the streets of Paris to the works produced

According to Clark (1997), “[…] moving pictures of the

by the Italian Neorealists to modern day contemporary

cinema — and indeed, cinema’s introduction of the moving

cinema. The dawn of modernity brought about significant

came — shifted the nature of mobility itself from the sphere

transformations in many aspects of life such as an

of the actual to that of the virtual; from movement […]

increased paced in everyday life. A key aspect of film’s

to the pure circulation of speed.” Virtual movement was

relationship with the city has been its ability to capture

thus a key resultant of modernity.The train, a development

The Lumière Brothers’ First Films, 1996 [Screenshot]

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of modern society, for Mendel (2008) represented the

between reality and fiction and has provided a means

link between modernity and cinema through the idea of

of perceiving phenomena of the modern city — which

movement and abstract space and time.

would’ve been too fast, or too dense or too slow, for

While the train served as a representation of the modern

unassisted human perception. Films relationship with the

city, as discussed earlier, Mennel (2008) states that the

city as a representation of the complex intricacies and

postmodern city, can only be represented in motion .

phenomena ultimately enforces its role as a tool for the

Not only was the notion of motion a key component in

collective understanding of such phenomena. Koeck thus

post-modern films, but the notion of fragmentation and

posits the moving image as a tool for understanding the for

ruptures and a general dystopian outlook was a common

understanding the “multi-layered semiotics of space, place

feature of post-modern films. These films reflected the

and urban memory” (Koeck, 2013). Issues which according

social and political experiences of the post-modern

to film’s ability to “[…] isolate, extend, enlarge and reduce

society, a commonly cited example being Ridley Scott’s

snapshots [of everyday life] provides a new field of analysis

Blade Runner.

and understanding” (Benjamin, 1969). Architecture and

Cinema therefore has had a profound impact on the

urban environments share in this representational nature

way we experience and articulate the modern city, the

of film and the cinema, as lived spaces; which, according

cinematic city (the image of the city in cinema ) exists not

to Pallasmaa (2006) aim to address the questions of our

simply as a representation of the city; instead it “expands

existence.

on the experiential sphere of life. They are lived images.”

(Pallasmaa, 2006) The cinema, according to Pallasmaa has become the “quintessential” (Pallasmaa, 2006) expressive medium of the modern era and has essentially changes the ways in which we experience place and time […] and has contributed to the blurring of the boundaries

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Blade Runner, Ridley Scott, 1982 [Screenshot]

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SPACE IN FILM AND ARCHITECTURE - HAPTIC EXPERIENCE Film, like architecture is an “impure art” (Pallasmaa,

lives, “One lives a film as one lives the space that one

2006), they both operate not in autonomy and in and

inhabits: as an everyday passage—tangibly […] Providing

of themselves such as a painting or a poem but instead

space for living and lodging sites of biography, film and

consist of the merging of several elements. Architecture

architecture are constantly reinvented by stories of the

composes matter, space and light whilst film merges

flesh.” (Bruno, 1997) Bruno’s description of film as a lived

sound, visuals, narratives and other elements to create

spaces further reinforces the Pallasmaa’s notion of film

itself. They are also both spatial art forms, dealing directly

and architecture both being lived space.

with the manipulation of space. Dear (1994) notes on film’s and architecture’s relationship to space that film unlike architecture has no limits. Architecture is film is “aggressively committed to the compression, explosion and even reversal of time-space contexts” unlike architecture which is bound to physical space. Lima (2008) states that their intrinsic link is not only based on their articulation of lived space but also because of their spatial and temporal qualities.

Bruno(1997) develops on Walter Benjamin’s notion of haptic perception in regard to film and the cinema, she states that film, “[…] makes a custom of constructing sites, and building ‘sets’ of dwelling and motion. It has a habit of consuming space.” This observation by Bruno, goes even further to propose that film, whilst consuming space, it itself is a space of consumption. An intimate part of our

Ghost in the Shell, Mamoru Oshii, 1995 [Screenshot]

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Context or setting is thus a key constitutive element of both film and architecture, both are always situated in a context, or according to Tawa (2010), they “always take place in a milieu, in relation to themes and ideas, objects and spaces, times and occasions, people and communities.”

They are therefore always situated in a place, and place becomes a constitutive element of both. The making of place is spatial as well as temporal — space understood through its temporal associations. Tawa (2010) states the constitution of space “takes place in relation to the names, spaces and times that have been enunciated, dwelled-in and lived.” In the contemporary globalised society, the boundaries between physical space and virtual screened space are being slowly dissolved.

Media, and particularly the moving image has become almost become an accepted part of everyday life, which according to Koeck (2013) is paradoxically happening at a time when the role of the cinema or movie house in Persona, Ingmar Bergman, 1966 [Screenshot]

Ingmar Bergman, 1966 [Screenshot]

society is diminishing. The advent of the television and video removed the moving image from its early role as a public spectacle as a fairground attraction, then later housed in the movie theatre, to the privacy of the home — “from a collective to a more individual practice, but also

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the consumption of moving images evolved from a spacespecific to a space-independent act”. Interestingly, the evolution of the moving image to a space-independent act, has in some ways, returned to the moving image — its characteristic role as a public spectacle. “Living in the twenty-first century means that we are now surrounded by digital moving images ‘anytime and everywhere’, and with a frequency and intimacy that is unprecedented in human history.” (Koeck, 2013) The spread of wireless networks and mobile data gives us a constant connection to the media and whether passively or not, we consume moving images on a daily basis. The defining characteristic of the film experience, what was once an intimate experience shared among strangers in a public setting, has, in contemporary society found a resurgence in the walls of the contemporary museum and art gallery. “The cinema imaginatively rejoins the museum as a collection of images that activate ideas and feelings, which are haptically bonded in the recollective [narrative] itinerary of spectatorship” (Bruno,2014)

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THE ARCHITECTURAL PROMENADE AS FILM EXPERIENCE According to Bruno (2014,“The public museum is a product

consumer of […] museum like viewing spaces is the

of modernity and an outcome of modernisation, and as

prototype of the film spectator. In other words, the filmic

such it should be considered not as an isolated space but

journey is a remake of the museum’s own architectural

rather as connective architecture […] it was configured

promenade.” (Bruno,2014)

in its modern form in the same age of visual display that

Auguste Choisy’s investigation into the cinematic aspect of

gave rise to the cinema, the defining art of modernity, and

architecture through the axonometric projection brings to

it shares with film that surface of communication which is

our attention the notion of virtual movement, a similarity

the visual, theatrical architecture of spectatorship. Today,

that was also explored by the work of Sergei Eisenstein.

as moving images become relocated in the museum, we

In Architecture and Montage, Eisenstein (1989) quotes

witness a fundamental renewal of this relationship.” The

Auguste Choisy’s description of the procession through

relationship that exists between film and the museum is

the Greek Acropolis, and how through moving through

not only to be found in its historical connections as a space

the space, one gets the sense of a sort of cinematic

of spectatorship, but also within the methods of perceiving

narrative devised by the Greeks. Eisenstein declares to

and constructing film through narrative.

cinematic aspect of the Acropolis as “an example of one

“The filmic screen is the modern version of the architectural

of the most ancient films.”(Eisenstein, 1989) Therefore,

itinerary, with its own montage of cultural space. Film

as illustrated by Eisenstein, there is an inherent narrative

follows a historical course, that is, a museographic way

embedded in architecture and urban spaces. Film and

of collecting together various fragments of cultural

architecture both operative within a narrative structure,

phenomenon from diverse geohistorical moments that

similar to natural perception; our brain selects specific

are displayed for spectral recollection in space. […] film

pieces information and then stitches it together to create

is linked not only historically but also formally to a specific

an image of the whole. Koeck (2013) posits the city and

kind of architectural promenade: the virtual material

urban experience as a narrative that we mentally construct

exploration that occurs in architectures of display. The

based on images and events experienced within the city.

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This point is important to note because at the core of any spatial narrative, movement is the primary generator of the narrative experience. Film’s narrative expression is reliant on a transformation in the perception of the spectator, similar to how architecture’s narrative is derived from perception based on the movement throughout a particular space.

Diagrams of the Acropolis Eisenstein, S., Bois, Y., & Glenny, M. (1989). Montage and architecture.

CONTEXTUAL FRAMEWORK Overview History St. Ann’s Bay The Way Forward

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OVERVIEW

HISTORY

The St. Ann’s Bay Community is located along the northern

The history of the area predates the arrival of the Spaniards

coast of the island stretching from the town of Windsor

with the Tainos having settled in the St. Ann’s Bay area

in the East to Seville in the West and upwards into the

at Seville and Little River before Christopher Columbus’

foothills of Charles Town in the South. It can be found

landfall in 1504. When Christopher Columbus first came

within the northern of the parish and faces the Caribbean

to Jamaica in 1494, he landed on the shores of St. Ann’s

Sea. It is bordered to the east by Steer Town, to its west

Parish. He returned to Jamaica on his fourth voyage and

is the Priory Community while to the south is Lime Hall.

was eventually marooned for one year at St. Ann’s Bay

As of 2009, the population stands at 13,671. There are

(June 1503 - June 1504), which he called Santa Gloria. Not

four districts in St Ann’s Bay Community, namely St Ann’s

only is there a statue of Christopher Columbus (located

Bay (Proper), Windsor Heights, Charles Town (Marley)

near the town’s main traffic intersection), but Santa Gloria

and Seville. These districts with their unique terrain and

Day is celebrated annually on the first Thursday in May to

resources give the Community a picturesque view which

commemorate the discovery of the Bay.

contributes to the fact that St Ann is called the garden

St. Ann’s Bay was named as the Capital of the Parish of

Parish.

St. Ann, largely because of its large harbour and port for shipping goods ranging from bananas to bauxite. In later years, Ocho Rios has eclipsed St. Ann’s Bay due to its rapid growth in tourism and commerce, but St. Ann’s Bay remains a popular destination for those seeking a more traditional Jamaican experience. The town features a number of well-maintained buildings in the early 20th century Jamaican vernacular tradition. Two of the oldest buildings in town are the St. Ann Parish Church and the St. Ann’s Bay Courthouse. The St. Ann Parish Church is

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located at the corner of Main St. and Church St. and was constructed in 1871. The St. Ann’s Bay Courthouse is located nearby and was constructed in 1860. St. Ann’s Bay is also home to Jamaica’s first prison, and is a reflection of the town’s early importance and position of authority. The Old Jail in St Ann’s Bay was originally built as a fort in 1750 and was converted to a jail in 1795.

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INTANGIBLE CULTURE & HERITAGE St. Ann’s Bay itself could be read as a sort of filmic construct. The mixing and mingling of various structures from various periods of the town’s existence presents itself as a living film. St. Ann’s Bay can be considered as a filmic narrative mapping together various historical artifacts and contemporary cultural activities. Main Street and Market Street are the main cultural hubs of the town, housing most of the town’s activities: cultural, entertainment, public, commercial.

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Main Street serves as the town's primary event space, housing both formal and informal activities.

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It presents an interesting condition, in which both viewer and event are within the same space.

Though a dynamic characteristic, the events and nature of the street are not distanced from the urban occupant, and as such, one is not able to critically view the events of the street. As an edge, Main Street remains impermeable - the street lacks any areas of relief from its activities.

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Source: instagram.com/streetzfestival

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Source: instagram.com/streetzfestival

Source: instagram.com/workitoutdiva

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The formal market and its informal activities stretch the length of an entire block of Market Street. Market Street shares similar characteristics as Main Street, the proliferation of various activities combined with the intense pedestrian and vehicular usage.

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The historical artifact is a key factor that contributes to Main Street's character. These historic buildings, of varying buildings types and character provide a record of the town's physical as well as intangible history. Building on the southern edge of Main Street tend to face directly unto the road whilst to the south, the historic structures tend to be placed higher above the road level. This can be assumed to be partly due to the lack of technological resources at the time of construct, hence rather than cutting into the land, these structures are poised on a metaphorical plinth which is the hillside.

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THE WAY FORWARD As mentioned earlier, St. Ann’s Bay has been eclipsed

by Ocho Rios as the commercial centre of the parish of St. Ann. Coupled with a migrating population, lack of development, and the general disregard for the condition of the town — its function as the parish capital has come under heavy scrutiny is recent times. Interestingly enough, the town is still the administrative capital of the parish, and currently houses much of the parish’s civic infrastructure.

The town’s cultural and historical significance cannot be doubted, and this significance, I believe, can the way forward for the town. Rather than positioning itself as a commercial centre in competition with Ocho Rios, I believe that by taking advantage of the many tangible and intangible facets of the town, there can be a renewed interest in the town’s development.

DIGITAL MEDIA IN ARCHITECTURE Overview

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OVERVIEW “Today, architecture often boasts dynamic lighting that can

What digital media allows for in today’s society, is the

transform physical appearance.The phenomenon is known

opportunity to create CITIES AS INTERFACES. This

as media architecture.” (Wouters, n.d.) In pursuance with

then allows for opportunities for new digital media, to

the theoretical research conducted, the technical research

transpose what was once the role of the cinema (a place

investigates the role and application of digital media in

of public intimacy) unto the screens embedded in cities -

contemporary architecture. Digital media serves as an

from large screens in city squares to the small screens we

integral aspect of modern day communication, and as such,

carry around as personal digital devices.

will play an important role in the exploration of this thesis. “[Contemporary society] is characterised by increasing overlap and integration of digital space and physical

THE DEVELOPMENT OF MEDIA TECHNOLOGY

1980s 1990s 2000s FUTURE processing > access + sensors > mobility > interaction

space. Rather than being a separate realm of their own (labelled by terms like cyberspace, virtual reality, digital domain, and so on), new media technologies – and mobile media in particular – have become an inseparable part of everyday life. Internet-enabled mobile phones, GPS navigation, entry cards with integrated RFID chips, CCTV cameras, media facades, and so on are embedded in the urban fabric.” (Lange, 2009)

Source: thecdm.ca The intervention aims to utilise Urban Screens & Computing to: 1. Encourage alternative kinds of cultural experiences.

2. Encourage new understandings and appreciation for the everyday spaces we inhabit.

Source: in.kompass.com

MEDIA FACADES

Moodwall, Amsterdam

Tentacles, Weimar

INTERACTIVE FACADES

Victory Park, Dallas

In the air tonight, Toronto

ESTABLISHING THE BRIEF Summary of Ideas and Concepts Strategies Establishing the Typology Schedule of Accommodations Precedent Studies

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SUMMARY OF IDEAS & CONCEPTS This sections intends to summarise the conceptual and contextual concepts explored thus far. The summary of these concepts, represented in simple diagrammatic form, become the basis for developing the design intentions and strategies for this thesis.

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STRATEGIES - INTENTIONS “In an age of pressured time, and again at the moment

town’s history and culture from various periods in time.

of film’s obsolescence, the inner, temporal, communal

This proposed architectural intervention intends to build

architecture of film spectatorship is reinvented in

on this feature, using the medium of film and the idea

the art of projection. This is significant because it

of the narrative journey to contribute and emphasise the

addresses the increasing technological privatisation of

town’s narrative through time. As such, this architectural

screen time and space the is occurring today. What is

intervention aims to not be read as a distinct element

exhibited and rematerialised here is an experience of

of the town’s narrative, but to instead exist seamlessly as

the public sphere: the public intimacy of haptic screen

apart of the narrative.

encounters.” (Bruno,2014)

By returning film to its primary function as an urban device in the narrative of the contemporary museum, film’s ability to reflect and refract daily life is crucial to the intent of this thesis. Film here is seen as a method to reinforce the heritage and culture of an urban town, which has almost been left behind by society. Therefore, this thesis aims to create an architectural intervention which uses the medium of film, employed through an architecture of the museum narrative to reinforce, emphasise and bring awareness to the public’s existence within this context. The town of St. Ann’s Bay itself acts almost like a living film. Walking through the town, one is taken on a narrative journey, encountering various fragments of the

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Main Street on display — an interplay between viewing and being viewed, to create enhanced awareness of the user’s context. The framing of everyday activities which transforms these activities from mundane to spectacle. Employing film theories as architectural strategies as a means to enable Public Intimacy in order to create shared meanings and shared understanding of St. Ann’s Bay’s significance amongst users.

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To be integrated into Main Street’s ongoing narrative as the town presents itself as a sort of film narrative. Using the notion of narrative to communicate the essence of the town.

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To employ parallels and strategies between film and architecture in the architectural design to reinforce the users’ awareness of the immediate context.

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To integrate digital media within the architectural intervention in order to encourage new forms of communication and to promote cultural and spatial awareness. Developing a repository of the life of St. Ann’s Bay .

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PUBLIC PERFORMANCE AS SPECTACLE

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ESTABLISHING A TYPOLOGY The program must unify ideas of the theoretical and contextual framework. The notion of viewing and being viewed, and narrative journey. As such, and serve as a platform for the viewing of the activities along Main Street.

Essentially, the intervention aims to distance the user from the events in order to enable public gathering and the notion of public intimacy. In addition to the framing of Main Street’s activities, the intervention also aims to create spaces which can reverse the role of Main Street as the stage to Main Street as the audience.

40

THE BRIEF - GENERAL REQUIREMENTS The intervention will be providing activities to encourage the display of public activities through two primary components: VIEWING of Main Street, VIEWED from Main Street, in addition to SERVICE/SUPPORT. These three components are geared towards the providing a space for the showcasing of the everyday life activities of St. Ann’s Bay through the gathering of people, a renewed interest in the activities of the town, which contribute to the contemporary culture of the town. The architectural programme is therefore devised from both the theoretical and contextual framework investigated.

VIEWING

VIEWED

SERVICE/SUPPORT

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THE BRIEF - DESIGN PROBLEM MEMORY ARCHIVE: Past, Present, Future & Memory

In order to investigate the project’s theoretical hypothesis,

“Providing space for living and lodging sites of biography,

the following spaces were devised:

film and architecture are constantly reinvented by

•

stories of the flesh.” (Bruno, 1997)

Viewing Pods - Public Pods for the viewing and creation of performances

By framing and presenting what would otherwise by

•

Screening Room -Screening of videos prior to display

mundane activities, applying film theory as an architectural

•

Video Manager/Technician

concept can transform these events into spectacles. Urban

•

Film School - For the teaching of film theory, techniques

spectacles.

A key component of this intervention will be the role

and making.

•

Observation Decks to be used to present occupants

digital media serves in providing a repository of these

and users of the space with different ways of viewing

events. An archiving and representation of the events that

the town of St. Ann’s Bay.

take place within the building. Occupants will also be able to contribute to their interpretation of the town and its

Based on interviews conducted in the study area and the

present day culture by uploading their own videos through

interventions proposed throughout the study, the town

digital interfaces, effectively, the building aims to constantly

requires the following spaces:

build up and modify the history and culture of St. Ann’s

•

Outdoor Performance Space/Stage

Bay.

•

Specialty Restaurant

•

Cafe

•

Multipurpose Hall - Multifunction space for the hosting of events.

•

Multipurpose Auditorium

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SCHEDULE OF ACCOMMODATIONS

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PRECEDENT STUDIES NEW ACROPOLIS MUSEUM | BERNARD TSCHUMI+ MICHAEL PHOTIADIS | 2009 Location: Athens, Greece Size: 21,000 sqm Credit: wikiarquitectura.com

The location of the museum carefully selected to allow a dialogue between the museum’s exhibition spaces and buildings of the Acropolis. The top floor of the museum offers a 360 degree view of the Acropolis and the modern Athens. The project is based on three concepts that transformed the potential limitations of the site: natural lighting, motion and tectonic and programmatic concept.

The visitor’s route through the museum is an architectural and historical promenade in the form of a three-dimensional loop. Visitor’s are taken along a narrative journey starting at the archaeological excavations at the entrance gallery which also sets up the museum’s relationship to the nearby Acropolis.

This precedent was selected because of its relationship to the Acropolis, the subject matter of its exhibitions.

The building’s relationship to the Acropolis reflects the intentions of this intervention in regard to its relationship to the historic structures of St. Ann’s Bay.

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GLASS VIDEO GALLERY | BERNARD TSCHUMI | 1990 Location: Groningen, the Netherlands Credit: tschumi.com

“The glass video gallery proposes parallels to urban space, insofar as both contain video objects that are on display as well as objects for displaying them. These parallels extend to both the long monitor walls viewed through television dealership storefronts on the street and the sights visible in the sex-video galleries of urban red-light districts.�

This project was chosen as a precedent because of how it addresses the idea of physical and virtual space merging. A phenomenon that is now very current in contemporary society due to the spread of digital technologies and the Internet.

The structure effectively transforms the spectator into the spectacle. The event of watching television into a film about watching television. In terms of approach, this precedent reflects the aims of the proposed architectural intervention.

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CENTRE GEORGES POMPIDOU | RENZO PIANO + RICHARD ROGERS | 1977 Location: Paris, France Size: 100,000 sqm Credit: archdaily.com

“[The architects’ concept portrayed] the museum itself as movement.The other concept in their design, and perhaps the most obvious, was exposing all of the infrastructure of the building. The skeleton itself engulfs the building from its exterior, showing all of the different mechanical and structure systems not only so that they could be understood but also to maximize the interior space without interruptions. [...] One of the movement elements that the center is most known for is the escalator (painted red on the bottom) on the west facade, a tube that zigzags up to the top of the building providing visitors with an astonishing view of the city of Paris.”

This project was chosen because of the way in which it projects the life of the museum towards the public via its public balconies and pathways which face the adjacent plaza. The building’s plaza also informed the development of the intervention as the Pompidou’s plaza is a space which caters to the presentation of the life and culture of Parisians, essentially framing the activities of the residents.

The building’s structural system which created large open span spaces by placing the structural elements on the building’s exterior, also informed the development of the intervention.

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DEE AND CHARLES WYLY THEATRE | REX + OMA | 2009 Location: Dallas, Texas, United States of America Size: 77,000 sqm Credit: archdaily.com

“Stacking the Wyly Theatre’s ancillary facilities above- and below-house also liberates the performance chamber’s entire perimeter, allowing fantasy and reality to mix when and where desired. Directors can incorporate the Dallas skyline and street-scape into performances at will, as the auditorium is enclosed by an acoustic glass facade with hidden black-out blinds that can be opened or closed.

Panels of the facade can also be opened to allow patrons or performers to enter into the auditorium or stage directly from outside, bypassing the downstairs lobby.”

The Wyly Theatre was initially chosen as a precedent for the project because of how it stacked the theatre’s front of house and back of house programme vertically which freed the walls of the theatre, allowing it to open up towards the street.

This gesture was used to inform the relationship of some spaces to Main Street in order to respond to some of the theoretical underpinnings of the research conducted.

This strategy effectively allowed for the ‘framing’ of the building’s activities from the street.

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SITE SELECTION, ANALYSIS & DEVELOPMENT Site Context Validating the Site Site Analysis Site Development

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SITE CONTEXT St. Ann’s Bay Proper supports 3 other communities. Seville Heights to the east, Clark Town to the south & Windsor Heights to the west.

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58 ST. ANN'S BAY TO OCHO RIOS MAIN ROAD

VALIDATING THE SITE This site was chosen because of its potential to link the activities along Main Street with the activities along Market Street as well as its proximity to the proposed Parking Garage and Taxi Depot. This particular stretch along Main Street also

OW EN S

OU ND

DR IVE

represents one of the busiest sections of Main Street.

STREE T

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OUR

3359 m2 STREET

MA

CR ESC EN T

W IN DS OR

KING ST REET

Potential Connection of Activites

RO AD

KING ST REET

Historic & SigniямБcant Sites CHURC

ROY ES ST REET

BR AVO STRE ET

HIL LR OA D NT SCE CRE

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GOW R OAD

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TRANSPORT CENTRE

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PAID PARKING

HEAVY TRAFFIC 1 WAY

MEDIUM TRAFFIC 1 WAY OFFICES/BUSINESS

LIGHT TRAFFIC 1 WAY

HEAVY TRAFFIC TWO WAY

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LIGHT TRAFFIC TWO WAY

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ROY E S ST REET EDUCATIONAL

B R AVO STRE B R AVO STRE ET ET

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INDUSTRIAL/UTILITY

STREETB R AVO STREET

RC HC

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WHARF W STREET HARF S

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CEMETERY

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BUILDING HEIGHTS

SECTION THROUGH SITE

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SITE ANALYSIS

HARB

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Views from site

Noise affecting site

Water run-off direction Possible points of access

MAIN STREET

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WIND DIRECTION

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SUN PATH

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SITE DEVELOPMENT

Initial sketches addressing the development of the site in response to the surrounding context.

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Initial sketches addressing the development of the site in response to the surrounding context.

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Initial models exploring the development of the site in response to the surrounding context.

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DESIGN DEVELOPMENT Initial Ideas Design Development

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INITIAL IDEAS A reconciliation of the building program, context and theoretical research informed the approach of the building design. The design approach began with the with initial site diagrams and models which organised the site based on existing factors. Afterwards, the notion of the promenade played a significantly important aspect of the building design, and became the key concept to the generation of a building form and organisation - as such, vertical circulation played an important role through the design of the intervention.

Initial models exploring movement through the building programme

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Initial models exploring movement through the building programme

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Diagram illustrating initial ideas of programme distribution along a promenade which also formed a vertical circulatory element

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DESIGN DEVELOPMENT

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TECHNICAL RESEARCH Structural System Auditorium Design Mechanical Systems

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STRUCTURAL SYSTEM The building’s structural system is comprised of two systems, a braced frame structure which contains the main elements of the building’s program, and a masonry structure which houses the building’s service components.

The braced frame structure, similar to the Centre Georges Pompidou, is a long span, one way beam system, spanning 15m in the transverse direction. The span is supported by a custom design flitch plate glulam beam with a 6m spacing between beams. Floors are supported by steel

Source: Ching, 2014

castellated girders spanning the 6m spaced at 1500mm.

The masonry structure is composed of concrete post and beam along with loading bearing shear walls in specific areas.

Source: Ching, 2014

Source: Ching, 2014

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Atelier Brancusi | Renzo Piano | Custom Flitch Plate Beam Source: Buchanan, 2000

Centre Georges Pompidou | Renzo Piano + Richard Rogers | Braced Frame Structure Source: cca9bparch2230.wordpress.com

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House | Ingo Bucher-Beholz | Braced Frame Structure Source: Schulitz, 2004

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Factory | Richard Rogers | Braced Frame Structure Source: Schulitz, 2004

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AUDITORIUM DESIGN Due to the varying intended uses of the main auditorium, several aspects of auditoriums were researched. The projection of film along with the acoustic requirements for multi-purpose auditoriums were two of the main aspects of auditorium design researched.

Gangways As gangways are essential escape routes, their widths are determined by the number of seats served. The minimum is 1100 mm. They can be ramped up to 10 per cent, but only 8.5 per cent if likely to be used by people in wheelchairs.

Travel distance The maximum travel distance from seat to exit within the auditorium is determined by the need to evacuate from each level of the auditorium within 21â „2 minutes. For traditional seating the maximum travel distance is 18 m measured from the gangway, for continental seating 15 m from any seat.

Exits From each level of the auditorium two separate exits must be provided for the first 500 seats with an additional exit for each further 250 seats.

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Cinema

Seating

“Cinema projection is traditionally film based but is

1.Seat centres are generally at least 550 mm.

increasingly being supplemented or completely replaced

2. Seat tiers should be at least 1100 mm wide, with tip-up

by high definition digital projection technologies. Film

seats 1000 mm can be acceptable.

projection in cinemas normally uses 35 mm film but can

3. Comfortable fixed cinema seats or small sofa style seats

also use 70 mm (mainly for larger cinemas with wide

may require increases in the width of the tiers to 1200

screens) or 16 mm (generally for smaller or specialised

mm.

cine- mas). Large formats such as IMAX use special film

4. In multi-use auditoria with a flat floor regularly used

projection systems to produce very wide and tall screen

for cinema screenings, retractable seating systems with

images. Digital projection systems are capable of replicating

straight and curved rows and comfortable cinema style

a similar range of screen formats to film projection at

seats are available.

comparable or superior quality levels. Both film and digital projection systems can be adapted to produce 3D images�

Projection There are three methods of film projection: 1. Direct projection from the rear of the auditorium onto the screen.

2. Indirect projection.

3. Rear projection.

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MULTI-PURPOSE AUDITORIA

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MECHANICAL SYSTEMS | RAISED FLOOR PANELS Raised access floor systems consist of modular floor

Underfloor air distribution (UFAD) is a method of

panels typically 600 mm square, mounted on pedestals

delivering space conditioning buildings that uses the

secured to the structural slab.

open space (underfloor plenum) between the structural

•

Installations which are solely for cable distribution

concrete slab and the underside of a raised access floor

could be as low as 75 mm.

system to deliver conditioned air directly into the occupied

Installations incorporating air distribution systems,

zone of the building.

•

typical plenum depths range from 200 mm – 460 mm.

ADVANTAGES •

Cables can be run in any direction within the plenum, either freely or contained within flexible conduits (according to fire code requirements).

•

Raised access floor systems provide a multi-functional floor plane with access to the telecommunications and HVAC connections.

•

Traditional Air Distribution Source: cbe.berkeley.edu/underfloorair/techoverview.htm

Raised access floor systems offer the perfect opportunity for integration by providing an unrestricted plenum zone capable of accommodating a variety of building services and components.

•

Underfloor air distribution (UFAD) systems make use of raised floors to provide an accessible and adjustable HVAC network that shares its distribution space with a cable management network.

Under Floor Air Distribution Source: cbe.berkeley.edu/underfloorair/techoverview.htm

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THERMAL STRATIFICATION

UFAD TECHNOLOGY BENEFITS

Thermal stratification is a concept in which several layers

•

of air at a range of heights have different temperatures.

In UFAD systems, temperature stratification in the

Improved thermal comfort through local control of thermal environment.

•

conditioned space will result in higher temperatures at the

Improved ventilation efficiency and indoor air quality through thermal stratification.

ceiling which will change the heat transfer dynamics in a

•

Reduced energy use.

room effectively creating a convective current within the

•

Reduced life cycle building costs by providing maximum

space. A noted benefit of this thermal stratification is that

flexibility along with significantly lower costs associated

as the warm air rises to the higher levels, it carries with

with reconfiguring building services.

it pollutants and stale air. Therefore, the air at the level

•

Reduced floor-to-floor height in new construction.

of the occupants remain as fresh, pollutant free air while

•

Improved occupant satisfaction and productivity

pollutants are trapped above.

by giving individuals greater control over their local environment.

The plenum space can use partitions to divide the underfloor plenum into separate zones similarly to the conventional approach to zoning with overhead air distribution systems or can be designed as an open-plan plenum which operates as a pressurized or zero-pressure plenum space. The following images demonstrate typical plenum layouts based on a open concept and partitioned plenum spaces.

Thermal Stratification Source: trane.com

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Source: cbe.berkeley.edu/underfloorair/techoverview.htm

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Source: cbe.berkeley.edu/underfloorair/techoverview.htm

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Source: cbe.berkeley.edu/underfloorair/techoverview.htm

101 Air delivered to northern

Photovoltaic panels

wing via ducts beneath service passageway

HVAC

SUSTAINABILITY

Solar equipment room

Grey water distribution

UFAD system

to landscaping

Cooling tower Air Handlers to deliver

Rain water collection at

air directly to oor

roof

Compressor

plenum

Grey water storage

Chilled Water Pipes from compressor distributed vertically through chase

Waste water to public

Electrical Room:

main

Generator, Transformer, Fuel, Switchboard

WASTE WATER

ELECTRICAL Vertical distribution through vertical chase

Bathroom stack

Horizontal distribution in oor plenum Grey Water Storage Connection to underground main power line

Treated grey water

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EXHIBITION DRAWINGS Exhibition Drawings Bibliography

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MARKET STREET

SITE PLAN

MAIN STREET 0

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LEVEL -2

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STREET 10 M

1. Scene Dock 2. Storage 3. Stage 4. Multipurpose Theatre 5. Changing Room 6. Green Room 7a. Potable Water Storage 7b. Grey Water Treatment 7c. Grey Water Storage 7d. Treated Grey Water 8. Ticket Booth 9. Cafe Kitchen 10. Video Space 11. Video Space 12. Display Hall 13. Information Desk 14. Terrace 15. Storage 16. Mech Room 17. Air Handler 18. Generator 19. Pump Room 20. Solar 21. Building Manager 22. Building Management 23. Refuse Store 24. Loading Bay 25. Restaurant 26. Restaurant Kitchen 27. Mech Room 28. Loading 29. Mech Room 30. Multipurpose Hall 31. Observation Deck 32. Video Space 33. Conference Room 34. OfďŹ ce 35. Director 36. Technology Manager 37. Lounge 38. Mech Room 39. Loading 40. Private Screening 41. Classroom 42. Private Production Studio 43. Editing Studio

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LEVEL -1

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1. Scene Dock 2. Storage 3. Stage 4. Multipurpose Theatre 5. Changing Room 6. Green Room 7a. Potable Water Storage 7b. Grey Water Treatment 7c. Grey Water Storage 7d. Treated Grey Water 8. Ticket Booth 9. Cafe Kitchen 10. Video Space 11. Video Space 12. Display Hall 13. Information Desk 14. Terrace 15. Storage 16. Mech Room 17. Air Handler 18. Generator 19. Pump Room 20. Solar 21. Building Manager 22. Building Management 23. Refuse Store 24. Loading Bay 25. Restaurant 26. Restaurant Kitchen 27. Mech Room 28. Loading 29. Mech Room 30. Multipurpose Hall 31. Observation Deck 32. Video Space 33. Conference Room 34. OfďŹ ce 35. Director 36. Technology Manager 37. Lounge 38. Mech Room 39. Loading 40. Private Screening 41. Classroom 42. Private Production Studio 43. Editing Studio

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1. Scene Dock 2. Storage 3. Stage 4. Multipurpose Theatre 5. Changing Room 6. Green Room 7a. Potable Water Storage 7b. Grey Water Treatment 7c. Grey Water Storage 7d. Treated Grey Water 8. Ticket Booth 9. Cafe Kitchen 10. Video Space 11. Video Space 12. Display Hall 13. Information Desk 14. Terrace 15. Storage 16. Mech Room 17. Air Handler 18. Generator 19. Pump Room 20. Solar 21. Building Manager 22. Building Management 23. Refuse Store 24. Loading Bay 25. Restaurant 26. Restaurant Kitchen 27. Mech Room 28. Loading 29. Mech Room 30. Multipurpose Hall 31. Observation Deck 32. Video Space 33. Conference Room 34. OfďŹ ce 35. Director 36. Technology Manager 37. Lounge 38. Mech Room 39. Loading 40. Private Screening 41. Classroom 42. Private Production Studio 43. Editing Studio

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1. Scene Dock 2. Storage 3. Stage 4. Multipurpose Theatre 5. Changing Room 6. Green Room 7a. Potable Water Storage 7b. Grey Water Treatment 7c. Grey Water Storage 7d. Treated Grey Water 8. Ticket Booth 9. Cafe Kitchen 10. Video Space 11. Video Space 12. Display Hall 13. Information Desk 14. Terrace 15. Storage 16. Mech Room 17. Air Handler 18. Generator 19. Pump Room 20. Solar 21. Building Manager 22. Building Management 23. Refuse Store 24. Loading Bay 25. Restaurant 26. Restaurant Kitchen 27. Mech Room 28. Loading 29. Mech Room 30. Multipurpose Hall 31. Observation Deck 32. Video Space 33. Conference Room 34. OfďŹ ce 35. Director 36. Technology Manager 37. Lounge 38. Mech Room 39. Loading 40. Private Screening 41. Classroom 42. Private Production Studio 43. Editing Studio

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1. Scene Dock 2. Storage 3. Stage 4. Multipurpose Theatre 5. Changing Room 6. Green Room 7a. Potable Water Storage 7b. Grey Water Treatment 7c. Grey Water Storage 7d. Treated Grey Water 8. Ticket Booth 9. Cafe Kitchen 10. Video Space 11. Video Space 12. Display Hall 13. Information Desk 14. Terrace 15. Storage 16. Mech Room 17. Air Handler 18. Generator 19. Pump Room 20. Solar 21. Building Manager 22. Building Management 23. Refuse Store 24. Loading Bay 25. Restaurant 26. Restaurant Kitchen 27. Mech Room 28. Loading 29. Mech Room 30. Multipurpose Hall 31. Observation Deck 32. Video Space 33. Conference Room 34. OfďŹ ce 35. Director 36. Technology Manager 37. Lounge 38. Mech Room 39. Loading 40. Private Screening 41. Classroom 42. Private Production Studio 43. Editing Studio

MARKET

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program organisation

internal service circulation

ďŹ lm narrative & promenade

external public circulation

internal public circulation

terraces & open spaces

SECTION A

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WESTERN ELEVATION

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DETAILED SECTION 1

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Photovoltaic panel fixed to roof

4

Gypsum board bulkhead fixed to underside of RHS roof frame

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Hardwood floorboards fixed to WPP laths on non flammable floor panel Non flammable floor panel supported by raised floor pedestal

2

Gypsum board fixed to underside of RHS roof frame

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Custom flitch plate beam: #2 600mm deep glulam beams fixed to 550mm deep custom steel T-beam

8

Steel floor decking with concrete fill on 300mm deep castellated steel beams @ 1200mm O/C

3

Aluminium flashing formed to form box gutter to direct storm water to chase.

6

EPDM roofing membrane on single ply roof sheeting fixed to 18 gauge steel deck on RHS roof frame

9

Acoustic Panel Absorber with grey elm veneer

0 1 10

Raised floor system on 500mm deep precast concrete double tee slab

2

3M

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BIBLIOGRAPHY Abbas, A. (2003). Cinema, city, and the cinematic. In Krause, L., & Petro, P. (Eds.). Global cities: Cinema, architecture, and urbanism in a digital age (pp. 142-156). New Brunswick, NJ: Rutgers University Press.

Andrew, J. D. (1984). Concepts in film theory. Oxford: Oxford University Press.

Benjamin, W. (1969 [1935]). The work of art in the age of mechanical reproduction. (Zohn, H. Trans.). In Arendt, H (Ed.). Illuminations. New York, NY: Schiceknt Books.

BĂśhme, G. (2003). Atmosphere as the subject matter of architecture. In P. Ursprung (Ed.), Herzog de meuron: natural history (pp. 398 - 406). Baden, Switzerland: Lars MĂźller Publishers.

Bruno, G. (1997). Site-seeing: Architecture and the Moving Image. Wide Angle 19,4 (pp.18-24)

Buchanan, P. (2000). Renzo Piano building workshop complete works: Volume 4. London: Phaidon.

Buxton, P. (Ed.). (2015). METRIC HANDBOOK: Planning and design data (5th ed.). S.l.: ROUTLEDGE.

Cairns, G. (2008) The city, the car and filmic perception: the commonalities between Robert Venturi and Michelangelo Antonioni. In Hallam, J., Koeck, R., Kronenburg, R., & Roberts, L. (Eds.). Cities in film: Architecture, urban space and the moving image (pp.64-69). Liverpool: University of Liverpool.

Ching, F. D. (2014). Building construction illustrated. Hoboken, NJ: John Wiley & Sons.

Clarke, D. (Ed.). (1997). The cinematic city. London, UK: Routledge.

Dear, M. (1994). Between architecture and film. Architectural Design 64(6). pp. 8-15.

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DeLanda, M. (2005). Space: Extensive and intensive, actual and virtual. In Buchanan, I., & Lambert, G. Deleuze and space (pp. 80-87). Edinburgh: Edinburgh University Press.

Deleuze, G. (1986 [1983]). The movement image. (Tomlinson, H., & Habberjam, B. Trans.). Minneapolis, United States of America: University of Minnesota Press.

Drummond, P. (2008) Space, narrative and iconicity in cinematic representations of london’s east end. In Hallam, J., Koeck, R., Kronenburg, R., & Roberts, L. (Eds.). Cities in film: Architecture, urban space and the moving image (pp.89-94). Liverpool: University of Liverpool.

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