ACT 4 - The Prequel

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1.

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ACT 4 - The prequel

-Ackn owl ed gem en t of Coun tr y.

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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.

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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.

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ACT 4 - The prequel

4.

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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.

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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

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FREQUENCY OF CINEMA VISITS IN SYDNEY

Frequency

100%

2018

1974

0

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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.

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ACT 4 - The prequel

FILMS INTENDED FOR AN INTERNATIONAL AUDIENCE

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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?

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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

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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.

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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

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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

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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.

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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

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B y doin g so, th e b ri d ge to our true c ul ture i s restored .

+ typology

-typology study.

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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

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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

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res tore

Film + Cul t ure

strategy

9.

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typology

ACT 4 - The prequel

10.

strategy

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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

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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

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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.

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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

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I N - BETWEEN

ACT 3 - c ri si s

ACT 2 - conf ronta ti on

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PASSIVE

ACT 4 - cl i max ACT 4 . 5 - d en oum e nt a c t 4 .5 varia nt

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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 .

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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

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ACT 2

ACT 3

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ACT 4

strategy

13.

+ morphology

ACT 4 - The prequel

MORPHOLOGICAL STRATEGY

ACT 1 - Ord er

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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

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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

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Level 1

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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.

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Research

ACT 4 - The prequel

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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.

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-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.

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Research

+ 18.

ACT 4 - The prequel

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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

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Style of Architecture

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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

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brutalism

Blade Runner

20.

Black Panther Af rofuturism

experience

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-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

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Eth ereal

C l i ma x

ACT 3

Cri si s

strategy

ACT 4

21.

ACT 4 - The prequel

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experience

EXPERIENTIAL STRATEGY

won der

c ri s i s

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c urio usity

strategy

22.

cl i ma x

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-lighting study.

23.

ACT 4 - The prequel

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“ 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-

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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.

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I N - BETWEEN

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PASSIVE

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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

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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

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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?

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" 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

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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

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Th e evolu tion of AR techn ology

2007

2016

2016

EYE TOY Playstation

Pokemon Go

Snapchat f ilters

202 1?

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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

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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? ”

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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

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CREATING INCLUSIVE IMMERSIVE ENVIRONMENTS THROUGH MATERIALITY CONSTRUCTION

Preced en t 01.

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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

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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 )

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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.

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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

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PRO C E S S WO R K - e a rl y i te rati o ns o f spa ce

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Mean d erin g s pa ce t hroug h c ur ved form s

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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.

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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

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P ROC E S S WO R K - sk e tc he s

32.

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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.