+
+
+
1.
+ +
ACT 4 - The prequel
-Ackn owl ed gem en t of Coun tr y.
+
In t h e s p irit of recon cilia tion -We a ckn owl ed ge th e Tra d i ti on al Custod i an s of coun tr y th rough out Au s t ra l ia a n d th eir conn ec tions to la n d, sea an d commun i ty. We pay our resp ec ts to th ei r El d ers
2.
Acknowledgement of country
pa st a n d present a n d exten d th at resp ec t to al l Fi rst N ati on s p eop l es tod ay.
+ +
CONTENTS
5. Why Cinema 6 . Proposed Strategy +
7. Typology Strategy 12 . Morpholgy Strategy 22 . Experience Strategy 024 . Lighting Strategy 032. EDI + Sustainability 0 3 6 . Pro c e s s Wo r k 038. Branding
Contents
3.
+ +
ACT 4 - The prequel
4.
+
CM P S U M M A RI SE D “Retain full height view of Number 1 Boiler by retaining void of Number 2 Boiler.� (CMP V2, pg. 126)
The proposed staircase addition to the Boiler 2 void does not take away f rom the extent of Boiler 1, instead the vertical circulation enhances it
New structures inside this building should have a sense and aesthetic of being a machine-like structure. (CMP V2, pg. 127)
Imitating the industrial era aesthetic will only make the existing structures seem insignif icant. By opposing the aesthetic, the existing stuctrues become more prominent.
Potential to remove redundant concrete plinths and f ixings on floors but retain evidence for location by marking out patch with incised line.. (CMP V2, pg. 127)
Removed concrete plinths will be covered with new flooring.
Their conf iguration, form, texture and, if possible, their rusting steel surfaces, should all be conserved. [In refernce to the exterior and interior coal handling conveyour] They cannot, and must not, be adapted for a new function .(CMP V2, pg 118)
Not adapting a new use for existing machinery will not showcase its highly technological advancements of its time. In reference to the coal conveyor, it can be made into a living spectacle rather than a stagnant and dead one. The repurposing of this unit can see the WBPS becoming a national monument.
+
The Death of Cinema = The Death of Film CINEMA ATTENDANCE + FREQUENCY BY AGE 18 16
Frequency
14 12 10 8 6 4 2
14 - 24
25 - 34
35 - 44
2018
1974
0
50 + years
+
FREQUENCY OF CINEMA VISITS IN SYDNEY
Frequency
100%
2018
1974
0
+
CINEMA TICKETING PRICES 30
20 15 10
2018
5 1974
Dollars ($)
25
Source: Val Morgan & Co (Aust) Pty Ltd/Roy Morgan Research Centre, © Val Morgan & Co (Aust) Pty Ltd.
5.
+
ACT 4 - The prequel
FILMS INTENDED FOR AN INTERNATIONAL AUDIENCE
+
TO P AU STR A LI AN M OVIE S IN AU ST RA L I A
1 2 3 4 5 6 7 8 9 10
C rocod ile Du n dee Au s tralia Bab e Hap py Fe e t Lion Mou lin R ou ge Th e Great Gat s by Pe te r Rab b it C rocod ile Du n dee II S t ric tly Ballroom
H oy ts 1986 Fox 2008 UIP ,1995 Roa dsh ow, 20 0 6 Transm ission , 201 7 Fox, 2001 Roa dsh ow, 201 3 Sony, 2018 Hoy ts, 1988 Ronin, 1992
O f t h e top gros s in g Australian m ovies of all tim e, only 2 were w i t hin th e las t f ive years. T h e m ovies that do well often encap s u late t h e s te reoypical nature of bein g ‘Australian’. I f we we re to look at th e top g rossin g Australian m ovi es i n t h e fore ign marke t , we would see T h e Stor y of th e Kel l y G a n g, C rocod ile Du n dee an d M a d M ax. All of which are in d e p en d e n t (S om ewh at l ow-budget) m ovies, n ot subsidised by th e g overnm ent . S o why are t h e Au s t ralian m ovies with a larg er budg et n o t d oin g as well in th e box of f ice?
+
WHO I S CRE ATI NG O UR R ECEN T MOVI E S?
c ul tura l crin g e
Aq ua ri us Fi l m s , Red fern S uns ta r Ente r ta i nm e nt, B ro o kval e Al t h o ug h oversha d owed by t h e Wei nste i n Co m pa ny Fox S tud i os , Mo o re Park
+
to o m a ny com petitors
I N CO MPA RI SO N TO O UR P O PUL A R MOVI E S
+ l a ck of recog nition of t h e f uture g en era tion
AUSTRA LIA + MOULIN ROUG E B a z m a rk Fi l m s, Ki n g s c ro ss CROCODILE DUNDEE Ri m f i re Fi l m s , na
THE CO NCLUSI O N
6.
Thi s d at a sh ows t hat t h ere i s a st ro n g co rre l a ti o n b etween i nternat i o nal + nat i o nal f i l m su cce s s a n d reco g ni sab l e Aust ral i an a c to rs. W hi ch i s n o t a n i d ea l st an ce i n a g l o bal i sed H o l l ywo o d so c i ety.
+
B ri e f Sy n o p s i s o f a p p roa ch
CAUSE D e p e n d a n cy o n fo re i g n m e d i a m eans l e ss o f a n e mp hasi s o n i n d i v i d ual sto r y
+
ACTION To e m p h a si se se l f, i s to hi g hl i g ht th e n a rra t ive o f o n e s uni q ue se l f
+
O UTCOME B ri d g e t h e g ap to awake ni n g p e o p l e s ow m uni q ue i d e nti te s,
7.
+ proposed
ACT 4 - The prequel
-proposed strategy.
+
TO AMPLIFY THE STORIES UNTOLD THROUGH THE REVIVAL OF CINEMA
Ac t 4 is a cen tre for th e rev i val of c i n ema w h ere th e arch i tec ture p erp etuates a f i l mic na rra tive an d gui d es th e v i si tors on th ei r ow n journ ey as th e p rota gon i st . I t a c ts as a predic tion of wh at th e future worl d woul d b e w h ere Holl ywood an d soc i al m ed i a b ecom es th e epitom e of con sump ti on , an d p eop l e b e g in to l ose th ei r sen se of sel f. Th e senso r y journ ey wh i ch ACT 4 p rov i d es, is to hig h l i gh t th e un i q ue n arrati ves th at ea ch in divi d ual own s an d to stren gth en i t by a llow in g th em to c reate an d sp ec tate f i l ms.
8.
strategy
+
B y doin g so, th e b ri d ge to our true c ul ture i s restored .
+ typology
-typology study.
+
f i l m p rodu c t i on stages
st ra tegy for t h e rev i va l of ci n em a
p re - p ro d u c t i o n -
ed uc ate
+
+
p ro d u c t i o n p o s t- p ro d u c t i o n -
ena c t
+
res tore
Film + Cul t ure
strategy
9.
+ +
typology
ACT 4 - The prequel
10.
strategy
+
e duc a te
ena c t
res tore
+ ypology
TYPOLOGICAL STRATEGY
STAG E S O F MA KIN G FILM
0 01 . PR E - PR ODUCTI O N
TYPOLOGY
Movi e exh i b ti on i mm ersi ve c i n ema
Ed uc ate
f i l m arch i ves
+
i d ea l ab s 0 02 . PR O D UCT I O N
m em or y ban k f i l mi n g rooms wri ter spa ce
+
En a c t
0 03. P O ST- PRO DUCTI O N
c i n ema an d restauran t
strategy
R estore
11.
+ morphology
ACT 4 - The prequel
-morphology study. Fi l m s e e ms to follow th e sa m e str uc ture ea ch a n d eve r y tim e. W ha t def in es this is t h e a ge o l d recipe for crea tin g suspense a n d c u ri o u s i ty for a n a udien ce. B elow is th e s t a n d a rd f i l m prog ression, followed by va ria n t p ro gre s s i on s.
+
CROSS-CULTURAL NARRATIVE SIMILARITIES
S PAT I A L TYPE S
S PAT I A L N A R R AT IVE
ACTIVE
ACT 1 - th e setup
+
I N - BETWEEN
ACT 3 - c ri si s
ACT 2 - conf ronta ti on
+
PASSIVE
ACT 4 - cl i max ACT 4 . 5 - d en oum e nt a c t 4 .5 varia nt
+
ACT 4 . 5 - cl i ffh an g e r Ac t 4 . 5 i s a va
ki
ten
ketsu
sh Ĺ?
fa bula
sy uzh et
12.
strategy
Final t h oug ht s T h e pa tte rn o f m ovi e p ro gre s s i o n i s ve r y s i mi l a r a c ross all co untri e s a n d c ul ture s . W hy thi s i s co ul d b e d ue to a low n e e d fo r a ud i e n ce a tte nti o na l fo c us . H avi n g a ea sy to und e rs ta n d s to r yl i n e c a n h e l p ea s i l y tri gge r d yna mi c ch an g es i n p hys i o l o gi c a l s ta te s - i e . m o ti o n + e m o ti o n, music + em o ti o n, c uts + a tte nti o n, l umi na n ce + p o l a ri ty e tc .
+
PATERSON (2016)
RAGNAROK (2017)
HOWLS MOVING CASTLE (2004)
D ra ma + Com edy
Ac tion + Sci-f i
Sc i - f i + Fan tasy
morphology
ANALYSIS OF MOVIE STRUCTURE
ACT 1
+
ACT 2
ACT 3
+
ACT 4
strategy
13.
+ morphology
ACT 4 - The prequel
MORPHOLOGICAL STRATEGY
ACT 1 - Ord er
+
Reality
ACT 2 - bri n gi n g ch a os
d i s to r t i o n o f
d i stor ti on o f
fo rms
forms
+
ACT 3 - Ch a os
ACT 4 a ttem p ts to re - ord er ch a os a n d esta blish n ew ord er, h owever tha t order w ill n ever b e th e sam e.
strategy
14.
ACT 1
ACT 4 =
- d i stor ti on
Eth ereal
+ morphology
DIAGRAM OF PROPOSED MORPHOLOGICAL STRATEGY IN WBPS
Eth ereal
Conveyor
Mezzan i n e
+
Level 1
+
Level G
Reality
strategy
Through doing this, the architecture becomes the set for a movie so that the protagonist (the user) is able to truly f ind the beauty of their own narrative.
15.
+ +
Research
ACT 4 - The prequel
+
La rge s ca le i n teri o r is a tra d em a rk el em ent of WBP S , th erefo re mus t b e h i ghlighte d .
16.
EXIST I N G CON D I T I ON S
Col umn s is o n e of th e m o s t recogn i sab le fea tures o f WBPS , mus t b e i n cl ud e d in i n teri or.
+ Research I n sp i red by th e s t ud y of f i l m n a rra t ive a n d d i stor ti on . T h e fo rm i tsel f i s refl ec t ive of a Wormh ole , ie . tra n sp or ti n g s e l f into a n a l tern a te re a lity.
+
-Ve r t ica l s igh t lin e s d ra ws eye u pwa rd
+ Morp h ol o gy o f col umn s i ns p ire d by th e exi s t in g ch i mn ey s ta cks th a t a re t h e ta lle s t p oi n t of WBP S
T h e Vo i d
PRO P OSE D CO ND I T I ON S
Prop osed con d i ti on , a ccen tua tes th e h ei gh t vi a ver ti ca l si gh t l i n es.
17.
+
+
Research
+ 18.
ACT 4 - The prequel
+
Th e com bin ation of th ese m ajor desig n ch oices ca n be sim plif ied to:
+ Sta i rca se a d d s a n el em en t of s p ira llin g i n to your n arra t ive .
+ 19.
ACT 4 - The prequel
+
Style of Architecture
+
In the way Zaha Hadid's style is unable to be identif ied as a solid art style, the architecture of this building is also the same. Although Influence was drawn f rom multiple sources.
Futurism
+
brutalism
Blade Runner
20.
Black Panther Af rofuturism
experience
+
-Experience study. The Experiential Strategy is based of the emotions associated with each act.
c u ri o u s i ty
Won de r
ACT 1
ACT 2 R eal i ty
+ +
Eth ereal
C l i ma x
ACT 3
Cri si s
strategy
ACT 4
21.
ACT 4 - The prequel
+ +
experience
EXPERIENTIAL STRATEGY
won der
c ri s i s
+
c urio usity
strategy
22.
cl i ma x
+ + +
-lighting study.
23.
ACT 4 - The prequel
+
“ To p l a n a buildin g as a total m ass of sh a d ow a n d p ut i n l i gh t a fter wa rd s. To p ut i n l i gh t a s yo u were h ollow in g out th e darkn ess, a s i f th e l i gh t were a n ew m a ss seep i n g i n”
+ Peter Zu m thor, Think ing A rchitectu re
CR E AT IN G A H ET EROTO PIA
Li gh ti n g strategy m eth o d-
+
ol ogy com es f rom setti n g an exp eri en ce. L i ght i n g s t ra te gy m eth odo l o gy co m e s f rom settin g a n ex p e ri en ce.
-lighting strategy.
+
I N - BETWEEN
+
PASSIVE
+
ACTIVE
ACT 1 - th e setup
ACT 3 - c ri si s
ACT 4 - cl i max
ACT 2 - conf ronta tion
DARK
LI GH T
Glim pses of na tura l lig ht in isola ted a rea s
Comb i n ati on of ar ti f i c i al l i gh t i mi tati n g n atural l i gh t . Lea d s i n to th e d i stor-
24.
ti on of real i ty
Th e lig htin g strategy b ecom es d ep en d an t on
+
EDI + Sustainability based off the concept of AFROFUTURISM + DIGITISED SOCIETY E D I ba s e d on sensoria l experien ce
VI SUAL
TACTIL E
AUD I TORY
+
FI R ST N AT I ON S SYMBOLI SM
BR AI LLE
ACT 4 - DE TAILS
AUD I O PR OMPTS
PH YSI CAL TACT I LE VI BR AT I ON S
ADJU STABLE COLOUR CONT R AST I N LEN S
WH AT H A S THE PANDE MIC TAUGHT US?
+
" T h e v i r u s is forcin g a societa l shif t f rom p hysi c al i n tera c ti on s to i n c rea s in g ly dig ita l intera c tions." Says Med i um wri ter D oug Ant i n. I t ' s ta ug ht us tha t a ny thin g tha t can b e d i gi ti sed wi l l b e d i gi t i s e d . So th e buil t form becom es som ep l a ce wh ere th e cons u mp t i o n of inform a tion is a t a n a ll tim e h i gh . Mean i n g th at as a s o c i e ty becom es depen da nt on sea rch en gi n es i e. Googl e, th e b u i l t e nv ironm ent becom es a slow pla ce of l i ttl e i n formati on . By i nte gra tin g th e quick consum ption of th e d i gi tal a ge i n to th e b u i l t fo rm , we beg in to edg e our way clo ser toward s a futuri sti c s o c i e ty."
25.
ACT 4 - The prequel
+
Es s e n t ially th e pan dem ic has taug ht u s t h at a dig itised soc iety is entirely a ch e ivab le
+
Th e evolu tion of AR techn ology
2007
2016
2016
EYE TOY Playstation
Pokemon Go
Snapchat f ilters
202 1?
+
With the release of Apple Glasses expected to be in 2021, it means the future of a digital society is very near
26.
by creating a building which is in response to the changing social climate
+
Keiichi Matsuda “ We can b rin g our laptop or our ph on e in to a s pa ce an d m ake that spa ce wh ateve r we want ,” h e arg ues. “ So h ow can you d e s ign a form aroun d a f un ct ion that is n ot set? ”
+ +
Merger (2019) by Keichii Matsuda.
By integrating AR into the real world, spaces become def ined by the people, as they already are. AR enhances the effect of the built world. Keiichi Matsuda Explores the way in which AR could become an integral part of our lives. Could this be something in our near future?
27.
ACT 4 - The prequel
+
CREATING INCLUSIVE IMMERSIVE ENVIRONMENTS THROUGH MATERIALITY CONSTRUCTION
Preced en t 01.
+
Ha ptic feed ba ck i n gami n g con sol es
DUALS H O CK® 4 co n tro l l e r
+ [Fi rst p erson gam es] - Bei n g h i t i n gam e vi b rates con trol l er. Sti mul ates feel i n g of b ei n g un stab l e i n th e real worl d .
+ [Ra c i n g Gam es] - Con trol l er vib rates to i n d i c ate d i fferi n g surfa ces, i e. sm ooth rumb l e for a sp h a l t a n d rough rumb l e for off- tra ck
+
gra ss.
App l i c ati on of p reced en t 01.
+ F l oori n g sti mul ates sn ow, grass, gravel etc . th rough waves of v ib rati on s on i n d i v i d ual h ap ti c fl oor pan el s + R eal l i fe con struc ti on i n cl ud e (A Sc al ab l e H ap ti c F l oor Spa ce D ed ic ated to L arge I mm ersi ve Spa ces,
28.
2019 )
+
VIBROTACTILE APPLICATIONS In a study com pa rin g th e effec ts of vi b rota c ti l e effec ts i n i mm ersive environm ents, T h e real ti m e soc i al p resen ce of a v i r tual bein g wa s hig h er. So to trul y c reate i mm ersi ve envi ron m en ts, i t is n ot m erely th e use of v i sual s, b ut th e oth er sen ses.
+ +
Referen ces In: L inux Audio Conferen ce. 2019. A Sc al ab l e H ap ti c Fl oor Spa ce Dedica ted to L arge I mm ersi ve Spa ces. [on l i n e] Cal i fornia , pp.1 - 4 . Ava ila ble at: < h ttp s: //l a c . l i n uxaud i o.org/2019/d oc / bouillot2 .pdf > [Acces sed 10 Jul y 2020]. M. Lee, G . B r uder a n d G . F. Wel ch , "Exp l ori n g th e effec t of v ibrota c tile feedba ck th rough th e fl oor on soc i al p resen ce i n an im m ersive vir tua l env i ron m en t ," 2017 I EEE Vi r tual R eal i ty (VR ), Los An g eles, CA , 201 7, p p. 105-111, d oi : 10.1109/ VR . 2017.7892237.
29.
ACT 4 - The prequel
+
PRO C E S S WO R K - e a rl y i te rati o ns o f spa ce
+
Mean d erin g s pa ce t hroug h c ur ved form s
+
L ayered a cces s for d ynam is m of s pa ce
t h e lob by as a form to fa c ilit ate convers at ion
30.
Cent ral s pa ce revolves aroun d a c ur ved s t r uc t ure, t his later b e c am e t h e bas is for t h e s t airc as e.
+ +
EN TRA N CE SECT I O N I T ER AT I O NS
Th e “ p in chin g ” of form to chara c teris e t h e b eg innin g o f an a c t . I t res em b les n ew b eg innin g s .
+ 31.
ACT 4 - The prequel
+ +
P ROC E S S WO R K - sk e tc he s
32.
+
T h e c afe marks th e b egi n n i n g of th e journ ey an d it i s attri b uted to our stron g coffee c ul ture i n todays soc i ety. I t p l ays i n to ACT 1 of m ovem en t th roug ht th e WBPS , so i ts sen se of d rama - i n compari son to th e restauran t - i s l ess.