CINEMA ARCHITECTURE BRIEF AD1 2012

YEAR 1 – TERM 2CINEMA ARCHITECTURE

INTRODUCTION

DR CRISTIAN SUAU – TERM CHAIR SAM CLARK – TERM TUTORJULIET ODGERS – TUTOR (MONDAYS)

WELSH SCHOOL OF ARCHITECTURE – CARDIFF UNIVERSITY – JANUARY 2012

Framing Dubrovnik

Some Rules for Students and Teachers by John Cage

RULE ONE: Find a place you trust, and then try trusting it for a while.

RULE TWO: General duties of a student - pull everything out of your teacher; pull everything out of your fellow students.

RULE THREE: General duties of a teacher - pull everything out of your students.

RULE FOUR: Consider everything an experiment.

RULE FIVE: Be self-disciplined - this means fi nding someone wise or smart and choosing to fol-low them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.

RULE SIX: Nothing is a mistake. Th ere is no win and no fail, there is only make.

RULE SEVEN: Th e only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.

RULE EIGHT: Don’t try to create and analyse at the same time. Th ey’re diff erent processes.

RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.

RULE TEN: “We’re breaking all the rules. Even our own rules. And how do we do that? By leav-ing plenty of room for X quantities.” (John Cage)

HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, oft en. Save everything - it might come in handy later.

TERM 2CINEMA ARCHITECTURE

Code No Title Methods of AssessmentAR1006 Architectural Design 1 (AD1) 100% CourseworkLevel 1 Credits 70 Compulsory for BSc Architectural StudiesCourse Co-ordinators Dr Cristian Suau (Chair Winter term)

Sam Clark (Chair Autumn term)

Contributing Staff

The following internal staff is going to support winter term:Juliet Odgers (regularly only Mondays), Prof Peter Salter (tectonic week), Dr Wassim Jabi (7 digital sessions), Sergio Pineda (6 digital sessions) and Nick Humes (6 digital sessions).

The following external tutors have been appointed only for winter term (only Fridays):Maria Kramer, Catherine Pease, John Carter, Peter Feldmann, Marc Sustr and Andrew Faulkner

Aims and Rationale

Note the AD1 Module runs over two semesters. This preview should be read in conjunction with the annual AD1 preview, which consists of term 1, term 2 (inclusive fi eldwork) and 3 (Vertical Studio).

AD1 term 2 builds upon the design principles and methods previously introduced through the Design Studio (term 1) and DPM1 module. The winter term of AD1 is comprised of one design project called ‘Cinema Architecture: Cinémathèque Dubrovnik’, split into the following component parts: 1. Concept and Place2. Spatial Sequencing 3. Framing4. Story Boarding5. Implementation

Design Programme

The module aims to explore parallel approaches to the conceptualisation and composition of place, space, time, materiality and narrative in cinematographic and architectural practices. Beyond drawing useful implications for design, fi lms and buildings can be read and designed as ‘assemblages’ not directed to the formal expression of meaning, but to the framing of strategic and enabling conditions of emergent sense, realised within the tectonic and material conditions of the cinematic and the architectural as such.

The Cinémathèque is a compact cinema club situated in the old city of Dubrovnik. It is an intimate and low-tech space restricted to one main staircase. In order to respond properly to the immediate surroundings, the fi lm house is going to have up to 3 storeys. Student will design this building under the principles of simplicity, fl exibility a playful game of double and triple heights. It is all about cubic meters rather that square meters. The height of the Cinémathèque’s front has to response harmoniously according to the cultural, urban and architectural streetscape. No car park and services are required. Up to 70% of the plot might be covered. The fi lm house’s design has to consider an inner patio for cross ventilation and natural lighting and outdoor activities. The essential programme consists of:- Indoor Cinema w/ 36 seats (double or triple height)- Courtyard- Foyer (double or triple height)- Cafe bar (double height)- Archive centre (double height)- Toilets - Roof terraces- Central vertical circulation (one staircase)Review 2 (30.03.2012)


Term 2 Structure

The AD1 term 2 module consists of 12 weeks:

Part 1: Idea and Place

WEEK 1 Cinema Architecture: Introduction & Precedent Study (Teamwork) WEEK 2 Cinema Architecture: The Mediterranean Context (Teamwork) WEEK 3 Cinema Architecture: Dubrovnik Fieldwork, 29 Jan – 03 Feb 2012 (Teamwork)

Part 2: Spatial Sequencing

WEEK 4 Cinema Architecture: Preliminary Design: Massing Models & Diagrams (Teamwork/Individual) WEEK 5 Cinema Architecture: Study Models & Advanced Drawing (Teamwork/Individual) External Review (17.02.2012)

Part 3: Framing

WEEK 6 Cinema Architecture: Plan & Section 1.50 (Individual)WEEK 7 Cinema Architecture: Kinetic Tectonic 27 Feb – 2 March 2012:Tectonic Strategies in Cinema and ArchitectureModule leader: Prof Peter Salter (Group/Individual)

Part 4: Story Boarding

WEEK 8 Cinema Architecture: Study Models & Storyboard (Individual)Interim Review (09.03.2012)

Part 5: Implementation

WEEK 9 Cinema Architecture: Presentation Model 1:50 & Photography (Individual)Tutorials only with external tutors (due to RIBA visit on 16.03.2012)WEEK 10 Cinema Architecture: Detail Model (key space) 1:20 & Photography (Individual)WEEK 11 Cinema Architecture: Editing Boards and ModelsCinema Architecture - Editing boards and models (Individual)Review 2 (30.03.2012)WEEK 12 Cinema Architecture: Portfolio PreparationCinema Architecture - Editing boards and models (Individual)

Learning Outcomes

At the end of the Term 1 students should have:

Understand and be able to use correctly the conventions of Plan, Section and Elevation. An initial understanding and some ability in more refi ned use of these orthographic projections in

relation to the intention of a drawing. Design-oriented understanding of architectural articulation of hierarchy of space in terms of human

inhabitation, with specifi c emphasis on the relationship between public, transitional and private realms.

Develop an understanding of the potential of three dimensional spatial drawing as a design tool at various stages of the development of a design.

Understanding of the poetic, structural and constructional potential of a simple constructional system and an ability to use it in simple architectural design.

To present an architectural design to an audience verbally with reference to images. Be able to participate in a discussion concerning architectural ideas, and specifi c issues of design.


By the end of Term 2 (inclusive vertical studio) we expect students to:

Develop a range of representational and investigative conceptualisation, drawing and modelling skills.

Understanding of the poetic potential of ‘place’ in relation to the formation of architectural intentions. Knowledge, understanding and skills in relevant basic IT visualisation and drawing packages Ability to uncover, explore and present such potential through drawn, modelled and photographic

investigations (analogic or digitally). Ability to design a contemporary compact building, well contextualised and spatially rich, to resolve

the design to an appropriate level in terms of conceptualisation, function, poetics of light and space, inhabitation and assemblage.

Dubrovnik Fieldwork: Study buildings in situ as a way of developing architectural understanding. Specifi c emphasis on developing photographic, constructional and drawing skills through the use of

on-site recording, measuring and sketching.

Composition of Module

Autumn Term: ‘Coastal Dwelling’ project located in Barry, Wales

Winter Term: Major design project called Cinema Architecture: Cinémathèque Dubrovnik’; incorporating Dubrovnik Fieldwork (site visit and workshops).

Spring Term: Vertical Studio.

Programme

During the winter term, AD1 is going to be supported by the following taught modules: Architectural History and Architectural Technology (AT1) - see attached timetable for specifi c details. Student portfolio reviews are undertaken at the end of each semester. Formal, summative assessment occurs at the end of semester two.

‘Cinema: Man with a camera

Recommended Reading:

Film and Architecture:Lampster, M. ‘Architecture and Film’, Princeton Architectural Press, New York, 2000Ito, Toyo. ‘Tarzans in the Media Forest’, AA Publications, London, 2011Van Uffelen, C. ‘Cinema Architecture’, Braun Publishing, Berlin, 2009Neumann, D. ‘Film Architecture: From Metropolis to Blade Runner’, Prestel, 2000Neumann, D. & Marcus, A. ‘Visualizing the City’, Routledge, 2008Tawa, M. ‘Agencies of the Frame: Tectonic Strategies in Cinema and Architecture’, Cambridge Scholars Publishing, 2010Arnheim, R. ‘Film as Art’, UCLA Press, Berkeley, 1957Kling, V. ‘The Architect as a Filmmaker’, AIA Journal, February 1971, pp. 23-25

Space and Architecture:Bachelard, G., ‘The Poetics of Space’. Boston: Beacon Press, 1969Hertzberger, H., ‘Space and Architecture’, Rotterdam, 010 Publishers, 2000Pallasmaa, J., ‘The Eyes of the Skin’, London, Academy, 1996Unwin, Simon, ‘Analysing Architecture’, Routledge, 2003 Zumthor, P., ‘Thinking Architecture’, Birkhauser Verlag AG, 2010Lynch, K., ‘Site Planning’. MIT press, Cambridge, 1984Deplazes, A., ‘Constructing Architecture: Materials, Processes, Structures; a Handbook’, Birkhauser Verlag AG, 2008Zell, Mo, ‘The Architectural Drawing Course’, Thames 7 Hudson, London, 2008Neufert, E., ‘Architects’ Data’, Wiley-Blackwell, 2002

Place:Mimica, V., ‘Croatian Archipelago - New Lighthouses’, Berlage Institute, Rotterdam, 2009Several authors, ‘Contemporary Croatian Architecture: Testing Reality’, Berlage Institute, Rotterdam, 2007Margolin V. & Vuki, F., ‘Croatian Design Now’, 2010Ivanisin, K. & Ibelings, H. ‘Landscapes of Transition: An Optimistic Decade of Croatian Architectural Culture’, Sun Publisher, 2010Norwich, J., ‘Croatia: Aspects of Art, Architecture, and Cultural’, London, Frances Lincoln, 2009Stewart, J., ‘Croatia’, Northhampton, Mass. : Cadogan Guides, 2009Stiller, Grimmer, Glaar, Mrdulja and Rusan, ‘Continuity of Modernity: Fragments of Croatian Architecture from Modernism to 2010’, 2010 Mohorovič ić , A., ‘Architecture in Croatia: Architecture and Town Planning’, Croatian Academy of Sciences and Arts, Skolska Knjiga, 1994

Architecture on Films (DVDs):‘Cinema Paradiso’ directed by Giuseppe Tornatore‘Man with a Movie Camera’ directed by Dziga Vertov‘Be Kind Rewind’ directed by Michel Gondry‘The Rear Window’ directed by Alfred Hitchcock‘One Week’ directed by Buster Keaton‘Blade Runner’ directed by Ridley Scott‘Paris Texas’ directed by Win Wenders‘Metropolis’ directed by Fritz Lang‘The Third Man’ directed by Carol Reed‘The Fountainhead’ by King Vidor (novel by Ayn Rand)‘Brazil’ directed by Terry Gilliam ‘Tron’ by Steven Lisberger ‘Fitzcarraldo’ by Werner Herzog ‘Sin City’ by Frank Muller ‘The Cube’ directed by Vincenzo Natali‘Day for Night’ (La Nuit Americaine) directed by Truffault‘Delicatessen’ directed by Jean-Pierre Jeunet & Marc Caro ‘Dune’ by David Lynch

CINEMA ARCHITECTUREWeekly Timetable – Term 2

“Cinema should make you forget you are si ng in a theatre” by Roman Polanski

Core:BSc1 chair (term two): Dr Cristian Suau (CS) – [email protected] BSc1 tutor (term two): Sam Clark (SC)BSc1 tutor (only Mondays): Juliet Odgers (JO)Research Week: Prof Peter Salter (PS)

External design tutors:Catherine Pease (CP)Maria Kramer (MK)Peter Feldmann (PF)John Carter (JC)Marc Sustr (MS)Andrew Faulkner (AF)

Digital design team:Dr Wassim Jabi (WJ)Sergio Pineda (SP)Nick Humes (NH)

AD1 term 2 builds upon the design principles and methods previously introduced through the Design Studio (term 1) and DPM1 module. The winter term of AD1 is comprised of one design project called ‘Cinema Architecture: Cinémathèque Dubrovnik’, split into the following component parts: 1. Concept and Place2. Spatial Sequencing 3. Framing4. Story Boarding5. Implementation

‘Cinema Paradiso’ directed by Giuseppe Tornatore (1988)

CINEMA ARCHITECTUREWeekly Timetable – Term 2

Part 1: Idea and Place

WEEK 1 Cinema Architecture: Introduction & Precedent Study Teamwork

Monday 16 January

Morning – WSA: Bute room 1.50 at 09.00 by CS, SC & JOSession 1 - Cinema Architecture: Precedent Study Year meeting: Monday 16 February at 09.00, room 1.50

- Term description & activities, 09.00-10.00 CS- Introduction design brief, 10.00-10.30 CS- Exercise 1: Precedent Studies (teamwork); sign up 11 groups, 10.30-12.00

Timber workshop induction (morning) by Dan TilburyTimber workshop induction 12.00-12.45 (12 students, sign-up sheet)

Afternoon - WSATimber workshop induction (afternoon) by Dan TilburyTimber workshop induction 14.15-15.00, workshop (12 students, sign-up sheet)Timber workshop induction 15.15-16.00, workshop (12 students, sign-up sheet)

Digital Design Support – Intro 3D Max (afternoon) by Dr Wassim Jabi3D Max session 14.00-17.00, room 1.50 (54 students with laptops, sign-up sheet)

Y1 Studio support (14.00-18.00) by SC & JO – WSA Y1 workshopStudents meet groups and organise initial tasks with tutors’ support

Tuesday 17 January

Morning – WSA: Bute room TBC by KathHistory 09.30-12.30, all term (refer to module allocation in Y1 noticeboard)

Afternoon - WSADigital Design Support – Intro 3D Max (afternoon) by Dr Wassim Jabi3D Max session 14.00-17.00, room DML (21 students, sign-up sheet)

Y1 Studio support (14.00-17.00) by SC & CS – WSA Y1 workshopStudents meet groups and organise initial tasks with tutors’ support

Film 1: ‘Cinema Paradiso’ (17.00-19.00) – Room Bute 0.53Compulsory

Wednesday 18 January

Morning – WSA: Bute room 0.53 TBC by SpyrosArchitectural Technology 10.00-13.00, all term (refer to Y1 noticeboard)

Afternoon - Free

Thursday 19 January

Morning - WSA Studio support (10.00-13.00) by Umberto Napolitano (LAN) & SCStudents meet groups and organise research with tutors’ support

Afternoon - WSADigital Design Support – Intro 3D Max (afternoon) by Dr Wassim Jabi3D Max session 14.00-15.30, room 1.50 (54 students with laptops, sign-up sheet)3D Max session 15.30-17.00, room DML (21 students, sign-up sheet)

Studio support (14.00-17.00) by Umberto Napolitano (LAN) & CS Students meet groups and organise research with tutors’ support

SAWSA Lecture at 17.30 by Umberto Napolitano (LAN)Note: Compulsory for Y1 students

Friday 20 January

Morning – Y1 workshop: 7 tutorsSession 1 - Cinema Architecture: Precedent StudyMeet tutors at 10.00, long table, WSA8 tutors (inclusive SC/CS)19 groups (groups of 3-4 students)19 precedentsGroup tutorials (3 groups per tutor; 40 min each), 10.30-13.00

Afternoon – Y1 workshop: 7 tutorsSession 1 - Cinema Architecture: Precedent StudyCharrette (3 group meet tutors; 40 min each), 14.00-16.00Poster presentation A1 – North Corridor and Crit room, 16.30-18.00

‘Be Kind Rewind’ directed by Michel Gondry

Cinémathèque Dubrovnik Precedents StudyTeamworkEvery group have to choose one of the following case studies.

You have to analyse the follwoing:- Functions (servant and served spaces)- Circulation (fl ows and access)- Layout (form and geometry)- Envelope- Structure (structural frame)- Materials: Structural, walls and roofs- Abstract model of the chosen case (undefi ned scale)

You have to submit your analysis in 2 A1 portrait or landscape formats by Friday 20/01 (afternoon)

Modern Cases Group

Colosseum, by Jacob Hanssen & Gerhard Iversen, Oslo (1921)

Cine Dore (Filmoteca Espanola) by Crispulo Moro Cabezas, Madrid (1922)

Skandia Cinema by Gunnar Asplund, Stockholm, 1923

Constructivist Cinema Architecture (Rusakov Club by Mielnikov, 1927)

Cinema ‘Suomen Biografi ’ by Alvar Aalto (unrealised, 1928)

The Film Guild Cinema by Frederick Kiesler, NY (1929)

Universum Cinema by Erich Mendelsohn, Berlin, 1931

Cineac Handelsblad by Duiker, Amsterdam (1934)

Plaza Cinema, Port Talbot, Wales (1939, now closed)http://www.britonferry.net/port-talbot-video/plaza-cinema-port-talbot/

Philips Pavilion by Iannis Xenakis and Le Corbusier, Brussels Expo, 1958

The Carpenter Center for the Visual Arts by Le Corbusier, Massachusetts, 1963

Prince Charles Cinema by Carl Fischer and Assoc., London (1962)

The Filmhouse and The Cameo, Edinburgh (current buildings)

Cinémathèque Dubrovnik Precedents Study

Contemporary Cases Group

Filmoteca de Catalunya by Josep Lluis Mateo, Barcelona (2011)

Cinema Hackney Picture House by Fletcher Priest Architects, London (2011)

Busan Cinema Center by Coop Himmelb(l)au Architects, Busan, South Korea (2011)

Th e Mareel - Lerwick Cinema Venue by Gareth Hoskins Architects, Shetland, (2011)

Hollywood Palladium Restoration by COE, Los Angeles, (2009)

Lighthouse Cinema by DTA Architects, Smithfi eld, Dublin, Ireland (2008)

Cinémathèque de Tanger, Tangier (1938; refurbished in 2006 by Jean-Marc Lalo)

Sean Connery Filmhouse by Richard Murphy, Edinburgh (unrealised, 2004)

Luxor Th eatre Rotterdam by Peter Wilson Architects, Rotterdam (2000)

BFI IMAX by Avery Associates Architects, London (1999)

UFA Cinema Centre by Coop Himmelb(l)au Architects, Dresden (1998)

Cinema (Pathe) Schouwburg Plein by Koen van Velsen (& West 8), Rotterdam (1996)

Kronverk Cinema, Lefortovo, Moscow, Russia, 2011

BFI IMAX, London, UK, Avery Associates Architects

Busan Cinema Center, Korea, Coop Himmelb(l)au Architects

Th e Mareel - Lerwick Cinema Venue, Shetland, Scotland, Gareth Hoskins Architects

Hollywood Palladium Restoration, Los Angeles, USA, COE Architecture International

Websites (Cinema Design)http://www.youtube.com/watch?v=J_PznrRlYHk student projecthttp://www.e-architect.co.uk/cinema_buildings.htm cinema buildings

Key book (if you need more samples of Contemporary cinemas)Van Uffelen, C. ‘Cinema Architecture’, Braun Publishing, Berlin, 2009

Cinémathèque Dubrovnik Precedents Study

Additional Case Studies1. Dublin Screening Room, Denzille Lane, by Grafton Architects (a private club, of modest scale)http://www.graftonarchitects.ie/work/projects/project.php?resource_id=349&image_id=356 2. McCullough Mulvin Architects’ City Art Project (A club integrated within historic ‘dwelling’ fabric. It has a ground fl oor meeting space used for screenings - see images 2&3 for section and photo!)http://www.mcculloughmulvin.com/projects/cityarts.html 3. Floating Cinema (small by neccessity. and defi nietly too small for our purposes!)http://www.studioweave.com/projects/the-fl oating-cinema/

Websites (Cinema Design)Cases (w/ links) of existing initiatives around cinema/fi lm making to animate and help the students visualize possible uses/events in the design development:

A centre for community fi lm clubshttp://blog.reelstreets.com/2008/05/tate-modern-community-fi lm-club.html Amateur fi lm documentary ArchiveDocumenting history through amateur fi lm reels. Maybe collate and repair amateur fi lm and use venue to showcase fi lms or tour in mobile fi lm bus:http://www.youtube.com/watch?v=-Xq1v6DqaAYhttp://www.bbc.co.uk/tv/features/reelhistory/aps/reelhistorybus.shtml A Community fi lm making/outreach resource http://www.diversityfi lms.org.uk/documents/DiversityFilmsAnnualReportMay08-May09web.pdf http://www.community-fi lm-maker.org.uk/ http://www.peoples-story.co.uk/ http://chocolatefi lms.com/about-us Venue for local/national festivals relating to fi lmhttp://www.nationalschoolsfi lmweek.org/ http://www.bfi .org.uk/lff / Other links/topics that may be useful:

Essay by Francessco Cassetti - Th e Filmic Experiencehttp://francescocasetti.fi les.wordpress.com/2011/03/fi lmicexperience1.pdf

It explores activities involved in the consumption of a fi lm. Talks about environment, Th e image, sound, the observer, collective or individual experince. It also talks about development of cinema and multimedia and how this has changed the experience. Passive or active relationship with cinema, etc. Diff erent forms of cin-ema. Storytelling, etc. Traditional black box experience versus other forms of media/fi lm consumption.

Websites (Cinema Design)Tacita Dean installation in the Turbine HallHomage to analogue fi lm and death of celluloid: http://www.telegraph.co.uk/culture/culturevideo/artvideo/8818226/Tacita-Dean-transforms-Tate-Modern-Tur-bine-Hall-into-giant-cinema.html Film by Tacita Deanhttp://www.tate.org.uk/shop/do/Books/Film-Tacita-Dean/product/48694 Pop-up cinemahttp://www.timeout.com/london/around-town/event/5151/rooft op-fi lm-clubhttp://www.chanceprojects.com/node/37 Post Cinema by Peter Greenaway - Cinema is Deadhttp://www.youtube.com/watch?v=-t-9qxqdVm4

Building PrecedentMacreaner LavingtonCinema, Gallery, workshops for the British Film Institutehttp://www.maccreanorlavington.com/website/en/project_219.htmlhttp://www.vertigomagazine.co.uk/showarticle.php?sel=bac&siz=0&id=92 Richard Murphy- Film House Edinburghhttp://adesignideas2.blogspot.com/2009/10/sean-connery-fi lmhouse-edinburgh.html

WEEK 2 Cinema Architecture: The Mediterranean Context Teamwork

Monday 23 January

Morning – WSA Bute room 1.50 at 09.00 by CS, SC & JOSession 1 - Cinema Architecture: The Mediterranean Year meeting: Monday 16 February at 09.00, room 1.50

- Intro on ‘How to Make Your Booklets’, 09.00-09.30 CS- Short-Lecture on the ‘Mediterranean Architecture’, 09.30-10.00 Sylvia Harris- Lecture on the ‘The Old City of Dubrovnik’, 10.00-11.00 CS- Distribute Dubrovnik booklets (TBC)


Digital Design Support – Intro 3D Max (afternoon) by Dr Wassim Jabi3D Max session 14.00-17.00, room 2.32 (54 students with laptop, sign-up sheet)

Y1 Studio support (14.00-18.00) by SC & JO – WSA Y1 workshopStudents works in editing booklet on precedents (A3) with tutors’ support

Tuesday 24 January

Morning – WSA Bute room TBC by KHHistory 09.30-12.30, all term (refer to module allocation in Y1 noticeboard)


WSA Y1 Studio supportStudio support (14.00-16.00) by SC & CS – WSA Y1 workshopStudents meet groups and organise new tasks with tutors’ support

Film 2: ‘Man with a Movie Camera’ (16.00-18.00) – Room Bute 0.53Compulsory

Wednesday 25 January

Morning – WSA Bute room 0.53 TBC by SpyrosArchitectural Technology 10.00-13.00, all term (refer to module allocation in Y1 noticeboard)

Afternoon – Free (School Open Day)

Thursday 26 January

Note 1: Last date to distribute Dubrovnik booklets (TBC)Note 2: AT1 group work assignment before 16.00 pm, reception

Morning – WSA:Y1 Studio support (10.00 -13.00) by SCStudents meet groups and organise research with tutors’ support

Afternoon – WSA:Digital Design Support – Intro 3D Max (afternoon) by Dr Wassim Jabi3D Max session 14.00-17.00, room DML (21 students, sign-up sheet)

Y1 Studio support (14.00 -18.00) by CSStudents meet groups and organise research with tutors’ support

Friday 27 January

Morning – Afternoon: Free day - No tutorial (all day)

WEEK 3 Cinema Architecture: Dubrovnik Fieldwork, 29 Jan – 03 Feb 2012Teamwork

Team UKDr Cristian Suau (CS)Sam Clark (SC)Juliet Odgers (JO)Catherine Pease (CP)Maria Kramer (MK)Peter Feldmann (PF)John Carter (JC)Marc Sustr (MS)Andrew Faulkner (AF)

CroatiaIva, Nikolina and Morana

Themes: Urban History, Croatian Architecture, Building Systems

This trip to Dubrovnik is a splendid opportunity to make short fi lms about the city. Students, in groups (9), would need to think about sequencing, framing, story boarding and implementation. Everyone has fi lming ‘latent’ capacities on their mobile phones and cameras, so no special technology is required. This process will help them to view the city in a different way.

Sunday 29 JanuaryArrival in Dubrovnik – Check in Hostels (afternoon)

Monday 30 January0830-0900 Breakfast0900-1000 ‘Intro Fieldwork Brief’ at Student Hostel + make 11 groups1015 Students and tutors meet at ‘Gate of Pila’, Western side of the Old Town1015-1300 Visit Dubrovnik and the Walls in groups (11)1300-1400 Lunch break1400-1700 Teamwork on ‘Urban History’ Each group consists of 8 students per tutor1900-2030 10-min digital presentation (9 groups) plus plenary2100 Movie 1 at Youth Hostel (TBC)

Note: Book 3 coaches (capacity of 28 persons each)!

Tuesday 30 January0830-0900 Breakfast0915-1000 ‘Introduction & Tips’ at Student Hostel1015 All students meet at ‘Gate of Pila’, Western side of the Old Town1015-1300 Visit Dubrovnik Sites: ‘Site Analysis’ and ‘Cinemas in Dubrovnik’ (9 groups)1300-1400 Lunch break1400-1700 Teamwork on ‘Croatian Architecture’ Each group consists of 8 students per tutor1900-2030 10-min digital presentation (9 groups) plus plenary2100 Movie 2 at Youth Hostel (TBC)

Wednesday 1 February0830-0900 Breakfast0915-1000 ‘Introduction & Tips’ at Student Hostal1015 All students meet at ‘Gate of Pila’, Western side of the Old Town1015-1300 Visit Dubrovnik Sites: ‘Plot Measurement’ (9 groups)1300-1400 Lunch break1400-1700 Teamwork on ‘Building Systems’ Each group consists of 8 students per tutor1900-2030 10-min digital presentation (9 groups) plus plenary2100 Movie 3 at Youth Hostel (TBC)

Thursday 2 February0600-0630 Breakfast0630 Departure 2 coaches from at Youth Hostel - Vinka Sagrestana 3- to: - Split/Trogir (via coach) - (Tristeno), Ston, Orebic & Korcula (via coach or ferry)1200-1300 Lunch break (optional)1700 All coaches return to Dubrovnik2100 Dinner TBC

Sunday 29 JanuaryLeave Dubrovnik – Check out Hostels before noon (12.00)

HOSTEL FOR STUDENTS

Youth Hostel DubrovnikVinka Sagrestana 320000 DubrovnikTel. +385 20 423241 Fax. +385 20 412592 E-mail: [email protected]: http://www.hostelworld.com/hosteldetails.php/Youth-Hostel-Dubrovnik/Dubrovnik/20752

HOSTEL FOR TUTORS

DORMITORIJ d.o.o.Vlaho BruerManagerDormitorij d.o.o.University of ZagrebDon Frana Bulica 420000 DubrovnikTel./Fax. +385 20 326 320E-mail: [email protected]: http://www.iuc.hr/dormitory.php

CINEMAS IN DUBROVNIK

Visia Dubrovnik 5D Theatrumhttp://www.visiadubrovnik.com/

Kino Jadran http://www.kinematografi .org/Open-air cinema (closed in wintertime). The programme, of course, depends on the weather, but you can count on regular showings Croatian and international fi lms. The setting is atmospheric, and quaint to the point of antiquated, from the projecting equipment to the 300 seats. Screenings take place in the early evening, allowing fi lmgoers to take advantage of the city-centre location after the show.

Kino Slobodahttp://www.kinematografi .org/Luza 6620000 Dubrovnik+385 20 20 41 71 07+385 20 20 42 57 03

CINEMA IN SPLIT

Kino Klub Splithttp://www.kinoklubsplit.hr/Savska bb21 000 SplitHrvatskaE-mail: [email protected].: +385 (0)21 542 425

WEEK 4 Cinema Architecture: Preliminary Design: Massing Models & DiagramsTeamwork/Individual

Monday 6 February

Morning – WSA Bute room 1.50 by Dr Cristian Suau, SC & JOSession 1 - Cinema Architecture: Concept, Massing Models & Diagrams (teamwork)Year meeting: Monday 16 February at 09.00, room 1.50

- Intro on ‘Concept, Massing Model & Diagrams’, 09.00-10.00 CS- Distribute exercise week 4- Installation and exhibit opening (11.00-15.00)- Release use of timber workshop!

Note 1: Students and tutors bring key sketches of Dubrovnik (*)

Digital Design Support – CAD drafting (morning) by Sergio PinedaCAD drafting session 10.00-11.30, room DML (up to 21 students, sign-up sheet) CAD session 11.30-13.00, room 1.61 (up to 54 students with laptop, sign-up sheet)

WSA Y1 Studio (morning)Studio support (10.00-13.00) by SC & JO – WSA Y1 workshop- Students group work in conceptual and mass models with tutors’ support

Afternoon – WSA Y1 StudioStudio support (14.00-16.00) by SC & JO – WSA Y1 workshop- Students group work in conceptual and mass models with tutors’ support

Installation & opening (11.00-15.00) by CS, SC & JO – WSA: Exhibition & Crit room- Students and tutors will display sketches of Dubrovnik

Note: Set up exhibition Monday 06/02 afternoon (to run until Thursday 09/02)

Dubrovnik SketchbookIntroduction Tuesday 23 Jan. 2012Opening Monday 6 Feb at 16:00, exhibit/crit roomExhibition Monday 6 to Thursday 9 Feb. 2012

‘I prefer drawing to talking. Drawing is faster, and leaves less room for lies’. Le Corbusier

Preliminary sketch of Istanbul’s silhouette from the sea by Le Corbusier

Towards a critical and essential drawing:The point is not to draw pleasing looking perspective sketches, but to use your drawing to interrogate architectural and urban spaces.

Finding a topic:Concentrate on using your sketch book to observe things which are relevant to your current studio project: Light, material, scale, material, and inhabitation. How do people occupy public and domestic spaces? The key fi gure interrogates the city from the seascape, the congested city of Istanbul offer a perfect amalgam between its topography and buildings. As result Le Corbusier fused the primal features of this cityscape: the fabric follows the geomorphological contour of Istanbul. Certainly it would be impossible to draw this outstanding sketch without a synchronised eye-to-hand coordination. Architectural sketchers do capture the space in motion, they are non-stationary observers.

Use drawing to analyse light and shadows; forms; depth and spatial sequences; scales (urban and domestic ones); landscapes and greenery; fl ows and circulation; connections; and frames.

Apart from your sketches, you will work in teams to investigate different facets of the city through streets, laneways, squares, pergolas, and so on. You have to study and measure a study are and a compound (plot) as well. Draw accurate plans and sections and details. Partial plans and sections can focus a study on one aspect. Use appropriate detail to the scale of the drawing. We do not expect hardline drawings. Nonetheless it is important to scan and represent the physical realm as complete as possible, so you can better understand the cognitive and sensorial experience holistically. Thus it is important to get proportions and ratios precise. Make ideograms to explore and represent concepts.

Essential reading:

‘Voyage D’Orient Carnets’ by Le Corbusier. Phaidon Press; English Ed edition (June 24, 2002)

Year meetingMeet on Monday 6 February at 09.00am, room 0.50

Exhibition:Montage: Monday 6 February from 11.00-15.00 at Y1 studio Pin-up: Monday 6 February before 15.00 (takes 20-30 min)Pin-down: Thursday 9 February from 14.00 to 15.00 (each student has to remove each clipboard)Jury: Monday 6 February from 15.00 to 16.00Opening: Monday 6 February at 16.00

Every student’s work is going to be displayed, inclusive tutor’s work. We will provide one frame per students. Group work will be freely displayed in A1 foam board; you have to select high quality pieces.

The Sketchbook exercise consists on an individual and group event. It will culminate in an exhibition curated and erected by the students on Monday 06 February. The montage will commence at 11.00 and fi nalise at 15.00 (inclusive pin-up). You will have few hour to proceed, select, edit and frame your individual sketch work and also compose your on-site group work. The offi cial launch will occur at 16.00

Mounting the exhibition Regarding the individual work, we have at our disposal 160 A4 clip frames: two for each student and tutors. You will have to scan or photocopy from your sketch book. Regarding your group work, select yourselves key plans, sections and various schemes or diagrams that refer to the study area and immediate site. You can also incorporate images in motion.

Choose with the help of fellow students two illustrations from your sketch book that represent something that you wish to take forward into your design work this term. These chosen images might not be the ‘best’ but contain the essential element of your potential design. These reveal the primal aspects of your ‘proto-design’. It means ‘best’ as most interesting and relevant. You could select yourselves plans, sections and any diagrams.

Judgement and awardsFrom 15.00 to 16.00 Juliet, Sam, Cristian and our guest Prof Simon Unwin will judge exemplary student works. We will nominee the best individual and group drawings. About our guest, please refer to: http://simonunwin.com/

PreparationEach member of the group should cover the following roles:

1. Event planning Collect £2.0 from each of your fellow students for purchase of drinks and snacks; arranging of glasses, furniture, etc. Do not forget clearing afterwards

2. Hanging Presiding over the hang, setting up the rules and drawing the level.

3. Clearing the spaceHammer and nails when needed. .

4. Distributing clip frames Distributing clip frames and packing them away at the end of the show.

5. Materials for exhibitionScanning, printing/plotting and framing images (Clip frames are the only material provided by us, but each student to fi nance their own printing, plotting, scanning and group editing (in foam boards).

Tuesday 7 February


Afternoon - WSAWSA Y1 StudioStudio support (14.00-17.00) by SC & CS – WSA Y1 workshopStudents meet groups and organise new tasks with tutors’ support

Film 3: ‘The Rear Window’ (17.00-18.00) – Room Bute 0.53Compulsory

Wednesday 8 February

Morning – WSA Bute room TBC by SpyrosArchitectural Technology 10.00-13.00, all term (refer to module allocation in Y1 noticeboard)

Afternoon - Free

Thursday 9 February

Morning – WSA:Y1 Studio support (10.00 -13.00) by SCStudents meet groups and organise research with tutors’ support

Afternoon – WSA:Y1 Studio support (14.00 -18.00) by CSStudents meet groups and organise research with tutors’ support

Film 4: ‘Be Kind Rewind’ (14.00-16.00) – Room Bute 0.53Compulsory

Friday 10 February

Note 1: Digital support Photoshop by Sergio Pineda (10.00-13.00)Note 2: AT1 review assignment (group) before 16.00 pm, receptionNote 3: groups bring A3 precedents & study trip’ booklets

Digital Design Support – Photoshop (morning) by Sergio PinedaPhotoshop session 10.00-11.30, room DML (up to 21 students, sign-up sheet) Photoshop session 11.30-13.00, room 2.32 (up to 54 students with laptop, sign-up sheet)

Morning – Y1 workshop: CS/SC + 6 external tutorsSession 1 - Cinema Architecture: Concept, Massing Models & Diagrams (teamwork)Meet tutors at 10.00, long table, WSA7 tutors (inclusive SC/CS)21 groups (groups of 3-4 students)21 modelsGroup tutorials (3 groups per tutor; 40 min each), 10.30-13.00

Afternoon – Y1 workshop: CS, SC + 6 external tutorsSession 1I - Cinema Architecture: Concept, Massing Models & Diagrams (teamwork)Charrette (3 group meet tutors; 40 min each), 14.00-16.00Poster presentation A1 with models – North Corridor or Exhibit/Crit room 16.30-18.00

Th e Tyneside Newcastle upon Tyne

Th e original 1930s newsreel screen still functions in the magnifi cent art deco auditorium, and you can bring in a cocktail from the circle bar for company and watch main-stream and arthouse fi lms from leather sofas. Th e Digital Lounge masquerades as a private living ¬room with sofas drawn up round the big screen; for snugness there’s the Roxy, while the Elektra does stadium-like magnitude. Th e 1930s tea room remains intact. You can buy your tick-ets along with your wine at the bar to save on queuing. Courses on cinematic themes, including fi lmmaking, are ¬ongoing in the on-site studios.

10 Pilgrim St, Newcastle upon Tyne ¬(tynesidecinema.co.uk, 0845 217 9909) http://www.fl etcherpriest.com/tyneside-cinema1/architecture/leisure/

Th e Electric Birmingham Th is is one of the oldest working cinemas in the UK. It focuses on art fi lms and the more intelligent block-bust-ers and if your concentration needs a prod you can text a waiter to bring a glass of absinthe (one of the nation’s only absinthe fountains survives here) to your sofa seat. Feed off olives, scones and handmade chocolates from the art deco bar. You can hire a room to show a fi lm of your choice, and the in-house orchestra plays along live to a screening a handful of times a year.

Station Street, Birmingham (theelectric.co.uk, 0121-643 7879)

Key Independent Cinemas in the UKUseful link: http://www.cinema-theatre.org.uk/listed.htm

Th e Broadway Nottingham

A startling, glass-fronted palace with a programme of old and new, quirky and mainstream across its four screens. Cinema professionals are occasionally brought in to in-troduce a fi lm, and there are special screenings for older people, people with autism and parents with infants. Paul Smith designed one of the revamped auditoriums, adding funky striped sofa seats where you can down the in-house beer (Broadway Reel Ale) and delicacies imported from the cafe.

Broad Street, Nottingham (broadway.org.uk, 0115 952 6611)

Saturday 11 February (Optional)

Visit Film houses in Bristol and London: Bristol (SC) 35 students TBCLondon (CS) 35 students TBC

Th e Cornerhouse Manchester

As much a cultural forum as a cinema, the Cornerhouse shows what artistic audacity can do to an old furniture shop. With Helen Mirren and Damien Hirst among the patrons, it was established as a charitable trust in 1985 and houses three art galleries, three cinemas, a cafe and bookshop bar. Th e idea is to mingle fi lmmakers, artists and audiences to -debate ideas. Th e focus is on independ-ent fi lms, but you’re as likely to taste culture in the cafe, which is beloved of pop groupies and emerging bands.

Oxford Street, Manchester (cornerhouse.org, 0161-200 1500

Th e Cameo Edinburgh

Th e stately opulence is more opera house than cinema – the interior was restored to its original 1914 glory in the 1980s, while the bar is defi antly 21st century, with leather sofas and a lengthy cocktail menu (you can take your glass into the auditorium with you). Programmes, spread over three screens, tend to be a tour through ¬cinematic history, from vintage classics, through foreign-language fi lms, documentaries, arty stuff and current hits.

Home Street, Edinburgh (www.picturehouses.co.uk, 0871 704 2052)

Cube Microplex Bristol Film

It is only part of the Cube’s -function. Founded as a not-for-profi t co-operative in 1998 by a couple of stilt walkers and two colleagues, it is an experiment in wild music, cult and mainstream fi lm screenings, off -the-wall exhibitions, festivals and -burlesque. “A pig bag” is how it -describes its programmes. Th e building began as theatre for ama-teur dramatics and the old stage is still well trodden, oft en with the big screen being used as a back drop.

Princes Row, Bristol (cubecinema.com, 0117 907 4190) E-mail: [email protected]

WEEK 5 Cinema Architecture: Study Models & Advanced DrawingTeamwork/Individual

Monday 13 February

Morning – WSA Bute room 1.50 by Dr Cristian Suau, SC & JOSession 1 - Cinema Architecture: Study Models & Preliminary Drawing (individual/group)Year meeting: Monday 16 February at 09.00, room 1.50

- Intro on ‘Site Models & Diagrams’, 09.00-10.00 CS- Distribute exercise week 5:

Site study 1:200 (group) and model 1:100 (individual)- Release use of timber workshop!

Lecture on ‘Cinema Architecture’ + Charrette, 11.00-12.30 (TBC)

Digital Design Support – Illustrator (morning) by Sergio PinedaIllustrator session 10.00-11.30, room DML (up to 21 students, sign-up sheet) Illustrator session 11.30-13.00, room 1.61 (up to 55 students with laptop, sign-up sheet)

WSA Y1 Studio (morning)Studio support (10.00-13.00) by SC & JO – WSA Y1 workshop- Students group work in Site Models & Diagrams with tutors’ support

Afternoon – WSA Y1 StudioStudio support (14.00-18.00) by SC & JO – WSA Y1 workshop- Students group work in Site Models & Diagrams with tutors’ support

Tuesday 14 February


Afternoon - WSAWSA Y1 StudioStudio support (14.00-16.00 & 17.00-18.00) by SC & CS – WSA Y1 workshopStudents meet groups and organise new tasks with tutors’ support

Film 5: ‘Metropolis’ (16.00-17.00) – Room Bute 0.14Compulsory



Afternoon - Free

Afternoon – WSA:Y1 Studio support (15.00-18.00) by CSStudents meet groups and organise review 1

Film 6: ‘One Week’ (14.00-15.00) – Room Bute 0.53Compulsory

Friday 17 February

Review 1 - all day (teamwork/individual)Cinema Architecture: Precedents and Site Analysis + Concepts & Models

Note 1: CS, SC & JO + 6 external tutors + 6 reviewersNote 2: Poster presentations 3 A1 with models Note 3: Book North Corridor, Gallery, Exhibit/Crit room

Meeting with reviewers10.00 Meet reviewers, long table, WSA (30 min)

CS, SC & JO + 6 external tutors + 6 reviewers

Session 1 (morning) - Cinema Architecture: Precedents and Site Analysis

Group reviews - Precedents and Site Analysis (teamwork)3 groups per 2 reviewers; 40 min each, 10.30-13.00

21 groups (groups of 3-4 students)21 presentations

Lunchtime 13.00-14.00

Session 2 (afternoon) - Cinema Architecture: Concepts & Models

Group reviews - Concepts & Models (teamwork)3 groups per 2 reviewers; 40 min each, 14.00-17.30

21 groups (groups of 3-4 students)21 presentations

Collect feedbacks at 18.00

Part 3: Framing

WEEK 6 Cinema Architecture: Plan & Section 1.50Individual

Monday 20 February

Morning – WSA Bute room 1.50 by Dr Cristian Suau, SC & JOSession 1 - Cinema Architecture: Plan & Sections (individual)Year meeting: Monday 16 February at 10.00, room 1.50

- Intro on ‘Plan and Section’, 10.00-11.00 CS- Distribute exercise week 6:

Plan & section; also model at similar scale (individual)- Release use of timber workshop!

Lecture on ‘Cinema Hackney Picture House’ at 11.30-12.30, Tower Block, Lecture Room 3 Phil Henshaw & Mareike Langkitsch (Fletcher Priest Architects). Tower Block, Lecture Room 3

Afternoon – WSA Y1 Studio: CharretteCharrette (14.00-18.00) by SC & JO PH & ML – WSA Y1 workshop- Students work individually in Plan and Section’s exercise

Tuesday 21 February


Afternoon - WSAWSA Y1 StudioStudio support (14.00-18.00) by SC & CS – WSA Y1 workshopStudents meet groups and organise exercise on Plan and Section

Film 7: ‘Paris Texas’ (15.00-17.00) – Room Bute 0.14Compulsory



Afternoon - Free

Thursday 23 February

Morning – WSA:Y1 Studio support (10.00-13.00) by SCStudents meet groups and organise exercise on Plan and Section

Afternoon – WSA:Y1 Studio support (16.00-18.00) by CSStudents meet groups and organise exercise on Plan and Section

Film 8: ‘Bagdad Cafe’ (14.00-16.00) – Room Bute 0.53Compulsory

Friday 24 February

Tutorial - all day (individual)Cinema Architecture: Plan and Section

Note 1: CS, SC + 6 external tutors Note 2: Plan and Section in A1 (with models) Note 3: Book North Corridor, Gallery, Exhibit/Crit room

Meeting with tutors10.00 Meet reviewers, long table, WSA (30 min)

CS, SC + 6 external tutors

Session 1 (morning) - Cinema Architecture: Plan and Section5 students per tutor; 30 min each, 10.30-13.00

Lunchtime 13.00-14.00

Session 2 (afternoon) - Cinema Architecture: Concepts & Models7 students per tutor; 30 min each, 14.00-17.30

Collect feedbacks at 18.00

WEEK 7 Cinema Architecture: Kinetic TectonicGroup & Individual

27 Feb – 2 March 2012Module leader: Prof. Peter Salter

Module leader: Prof. Peter Salter (PS)BSc1 tutor (term two): Sam Clark (SC), studio support Monday, Thursday and Friday

Film and Architecture

“Cinema should make you forget you are sitting in a theatre” by Roman Polanski

Something I fi nd very interesting is how closely the process of making a fi lm relates to designing and making buildings. How similar are the two disciplines both in terms of concept and realisation? Film is usually a shorter process (but you can’t edit a building): We can redo but never undo buildings whilst in movies can always ‘rewind’?

We can identify similar aspects in Film and Architecture:1. Sequencing: The order in which a fi lm/ story is conveyed to its audience. In architecture this can be seen as the experiential movement of a person through a building and how they might perceive a building as a result of this ‘journey’.

2. Framing: Many cinematographic techniques have been developed on how the scene is shot: long frame, close up, bird’s eye view, worm’s view. All these techniques can be applied in the same way to views inside and outside a building.

3. Story Boarding: This is about mapping out how a sequence of events will take place. You may not shoot the story sequentially in the way it will be viewed once it has been edited, but story boarding will allow the director to plan and to direct the fi lm. In the same way designing a building is not always a linear sequence but something that has to be planned, chopped and changed before becoming a coherent fi nal product.

4. Implementation: Having done the story boarding/ planning, the director will then have to ‘direct’ the crew and actors. This is in many ways like an architect managing a team of consultants and contractor. Good communication through drawings is essential to the smooth co-ordination of a project and successful teamwork.

Period

Monday 27 Introduction: All day design studioTuesday 28 All day design studio (No History)Wednesday 29 studio half-day & sports (free afternoon): No TechnologyThursday 01 All day design studioFriday 02 Final Presentation

Note: do not forget to book extra rooms!

BriefNote: Peter is going to prepare the fi nal brief workshop!

Part 4: Story Boarding

WEEK 8 Cinema Architecture: Study Models & Storyboard (Individual)Interim Review (09.03.2012)

Part 5: Implementation

WEEK 9 Cinema Architecture: Presentation Model 1:50 & Photography (Individual)Tutorials only with external tutors (due to RIBA visit on 16.03.2012)

WEEK 10 Cinema Architecture: Detail Model (key space) 1:20 & Photography (Individual)

WEEK 11 Cinema Architecture: Editing Boards and ModelsCinema Architecture - Editing boards and models (Individual)Review 2 (30.03.2012)

WEEK 12 Cinema Architecture: Post-Review & CommunicationCinema Architecture - Editing boards and models (Individual)

Cinema Architecture - Cinémathèque DubrovnikArchitectural ProgrammeThe module aims to explore parallel approaches to the conceptualisation and composition of place, space, time, materiality and narrative in cin-ematographic and architectural practices.

Beyond drawing useful implications for design, fi lms and buildings can be read and designed as ‘assemblages’ not directed to the formal expres-sion of meaning, but to the framing of strategic and enabling conditions of emergent sense, realised within the tectonic and material conditions of the cinematic and the architectural as such.

The Cinémathèque is a compact cinema club situated in the old city of Dubrovnik. It is an intimate and low-tech space restricted to one main staircase. In order to respond properly to the immediate surroundings, the fi lm house is going to have up to 3 storeys.

Student will design this building under the principles of simplicity, fl ex-ibility a playful game of double and triple heights. It is all about cubic meters rather that square meters. The height of the Cinémathèque’s front has to response harmoniously according to the cultural, urban and archi-tectural streetscape. No car park and services are required. Up to 70% of the plot might be covered. The fi lm house’s design has to consider an in-ner patio for cross ventilation and natural lighting and outdoor activities.

The essential programme consists of:- Indoor Cinema w/ 36 seats (double or triple height)- Courtyard- Foyer (double or triple height)- Cafe bar (double height)- Archive centre (double height)- Toilets - Roof terraces- Central vertical circulation (one staircase)

A. Essential Spaces

Indoor Cinema The main cinema room will have a seated capacity of around 100 with space for wheelchairs, and will feature digital projectors and surround sound (double or triple height). The cinema will also act as a multimedia performance area.

CourtyardDue to the climatic and cultural conditions of the building, the building has to have an uncovered space. Despite it should provide natural venti-lation and lighting to educational and social rooms, it might be occupied as an open air cinema or exhibition at night, preferably during summer-time.

FoyerThe foyer has to contain the ticketing and info box. It is connected with the café bar. It performs as the main spatial distributor (double or triple height).

Cafe barThe cafe bar will offer a range of food and drink, with free Internet ac-cess and Wi Fi (double height).

Archive centreThe centre is part of the Cinémathèque building and have one offi ce, one store and one fi ling rooms. It contains the largest archives of fi lms, movie documents and fi lm-related objects of Dubrovnik city and the region of Dalmatia. (double height).

ToiletsThe allocation of public toilets (2) should be located close to the cafe bar, foyer and cinema room (single height).

Roof terracesThe Cinémathèque Dubrovnik should offer the occupancy of some roofs to contemplate the roofscape and seascape of Dubrovnik and also offer open air visual projections for a reduced audience.

CirculationThe vertical circulation consists of one staircase.

B. Additional Spaces

Apart from the basic programme, your Cinémathèque should include one of the following supplementary facilities in the design development: 1. Recording studioThe recording studio will include live rooms (2) suitable for recording a variety of groups and bands, and a control room kitted out with the lat-est digital recording equipment (single or double height).

2. Rehearsal areasThe Cinémathèque Dubrovnik will have 3 areas for a range of rehearsal uses including bands, DJs and drama groups. These rooms will make it suitable for dance groups too (single or double height).

3. Multimedia production suiteA well specifi ed multimedia production suite will be provided for fi lm, TV, web design, animation, digital arts and music production (single or double height).

4. Education facilitiesThe Cinémathèque Dubrovnik has been designed with education in mind: the cinema can be used as a lecture theatre, the recording studio has a large control room to accommodate music technology students. The multimedia suite is suitable for training and there is a dedicated 20 seat teaching room - 2nd cinema screen (double height).

Y1 YEAR 1 TERM 2 WEEKLY TIMETABLE 2012: check noticeboard regularly for changes

Term chair: Dr. Cristian SuauTerm tutor: Sam Clark

TIME MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY

9 10 Y2 MEETING ARCHITECTURAL10 11 CS room 1.50 @ 9:00 HISTORY ARCHITECTURAL STUDIO SUPPORT TUTORIALS -11 12 STUDIO SUPPORT KW (09.30-12.30), room TECHNOLOGY SC AD1 studio REVIEWS 12 13 JO - SC AD1 studio 2.60c Redwood Building SS (10.00-13.00), room 0.53 (10.30-13.00)13 14 LUNCH BREAK14 15 STUDIO SUPPORT STUDIO SUPPORT SPORTS STUDIO SUPPORT TUTORIALS -15 16 JO - SC AD1 studio JO - SC AD1 studio all afternoon CS AD1 studio REVIEWS 17 18 (14.00-18.00)

Cinema Architecture - Cinémathèque DubrovnikWeekly Timetable

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TUD

IO T

UTO

RS

F3

CH

ECK

OU

T YH

Hos

tal b

efor

e 12

00C

HEC

K O

UT

YH H

osta

l bef

ore

1200

S4

S5

16M

6YE

AR

MEE

TIN

G: C

inem

a A

rchi

tect

ure:

Mas

sing

Mod

els

& D

iagr

ams

(CS/

JO/S

C):

0900

-110

0 R

1.5

0C

AD

mor

ning

(SP)

DM

L : 1

000-

1130

& B

ute1

.61

1130

-130

0P

R0J

EC

T TE

RM

2Pi

n-up

Dub

rovn

ik E

xhib

ition

+ o

peni

ng a

t 18.

0016

4T

7H

ISTO

RY

KW

LEC

TUR

E 3

STU

DIO

SU

PP

OR

T (S

C/C

S)

FILM

3 @

1700

-190

0 R

0.5

3C

INEM

A A

RC

HIT

ECTU

RE

BSc

BoE

141

5 (C

S)

4W

8A

T1 S

S LE

CTU

RE

3 or

AT1

CR

ITS

(mor

ning

)SP

OR

TSB

ook

nort

h, s

outh

cor

ridor

s +

Exhi

bit/C

rit ro

omN

ON

EN

ON

EM

assi

ng M

odel

s &

Dia

gram

sT

9S

TUD

IO S

UP

PO

RT

(SC

)S

TUD

IO S

UP

PO

RT

(CS

) FI

LM 4

@14

00-1

600

R 0

.53

NH

CA

D la

rge

room

140

0-16

00 a

nd D

ML

1600

-180

0 ?

GR

OU

P W

OR

K +

IND

IVID

UA

LFI

LM 4

@14

00-1

600

R 0

.53

F10

TUTO

RIA

L C

S/S

C +

MS

-CP

-MK

-PF-

AF-

JCTU

TOR

IAL

CS

/SC

+ M

S-C

P-M

K-P

F-A

F-JC

AT

REV

IEW

ASS

IGM

ENT

1 (G

RO

UP)

PHO

TOSH

OP

mor

ning

(SP)

D

ML:

100

0-11

300

& B

ute

2.32

113

0-13

00S

11EX

CU

RSI

ON

TO

BR

ISTO

L &

LO

ND

ON

(CS/

SC) T

BC

S12

17M

13YE

AR

MEE

TIN

G: C

inem

a A

rchi

tect

ure:

Stu

dy M

odel

s &

Adv

ance

d D

raw

ing

(CS/

JO/S

C):

: 090

0-11

00 R

1.5

0IL

LUST

RA

TOR

mor

ning

(SP)

D

ML

: 100

0-11

300

& B

ute1

.61

1130

-130

0P

R0J

EC

T TE

RM

217

5T

14H

ISTO

RY

KW

LEC

TUR

E 4

STU

DIO

SU

PP

OR

T (S

C/C

S)

FILM

5 @

1500

-170

0 R

0.1

4C

INEM

A A

RC

HIT

ECTU

RE

FILM

5 @

1500

-170

0 R

0.1

45

W15

AT1

SS

LEC

TUR

E 4

SPO

RTS

NO

NE

NO

NE

Stud

y M

odel

s &

Adv

ance

d D

raw

ing

BoS

- ST

UD

ENTS

MA

TTER

S 14

15 (C

S)T

16S

TUD

IO S

UP

PO

RT

(SC

)S

TUD

IO S

UP

PO

RT

(CS

) FI

LM 6

@14

00-1

600

R 0

.53

NH

CA

D la

rge

room

140

0-16

00 a

nd D

ML

1600

-180

0 ?

GR

OU

P W

OR

K +

IND

IVID

UA

LFI

LM 6

@14

00-1

600

R 0

.53

F17

EXTE

RN

AL

REV

IEW

1 C

S/S

C +

MS

-CP

-MK

-PF-

AF-

JC +

Phi

l Hen

shaw

, Ste

phen

Kite

, Sha

nkar

i Raj

, Sar

ah F

eath

erst

one,

Gon

zalo

Coe

llo, R

uth

Cue

nca

& S

am A

ustin

S18

S19

18M

20YE

AR

MEE

TIN

G: C

inem

a A

rchi

tect

ure:

Pla

n &

Sec

tion

1.50

(CS/

JO/S

C):

0900

-110

0 R

1.5

0P

R0J

EC

T TE

RM

218

6T

21H

ISTO

RY

KW

LEC

TUR

E 5

STU

DIO

SU

PP

OR

T (S

C)

FILM

7 @

1500

-170

0 R

0.1

4N

ON

EN

ON

EC

INEM

A A

RC

HIT

ECTU

RE

FILM

7 @

1500

-170

0 R

0.1

46

W22

AT1

SS

LEC

TUR

E 5

SPO

RTS

Plan

& S

ectio

n 1.

50

T23

STU

DIO

SU

PP

OR

T (S

C)

STU

DIO

SU

PP

OR

T (C

S)

FILM

8 @

1400

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0 R

0.5

3N

HC

AD

larg

e ro

om 1

400-

1600

and

DM

L 16

00 -1

800

?IN

DIV

IDU

AL

FILM

8 @

1400

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0 R

0.5

3F

24TU

TOR

IAL

CS

/SC

+ M

S-C

P-M

K-P

F-A

F-JC

TUTO

RIA

L C

S/S

C +

MS

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AF-

JCS

25S

26

19M

27In

trod

uctio

n: K

inet

ic T

ecto

nic

(des

ign

stud

io)

Des

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stud

io

Boo

k le

ctur

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Run

by

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er S

alte

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CP

R0J

EC

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OT

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END

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(No

His

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FILM

9 @

1500

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0 R

0.1

4R

un b

y P

eter

Sal

ter +

SC

CIN

EMA

AR

CH

ITEC

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700

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7

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Des

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o Te

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logy

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OR

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cor

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s +

Exhi

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un b

y P

eter

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SC

KIN

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as to

con

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MA

RT

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esig

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FILM

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600

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Run

by

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ter &

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FILM

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MA

R

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Fina

l Pre

sent

atio

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nal P

rese

ntat

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Boo

k le

ctur

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Run

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alte

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gues

ts ?

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RO

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+ IN

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IDU

AL

No

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420

M5

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EETI

NG

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ema

Arc

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208

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ON

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RC

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PO

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LM 1

2 @

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0 R

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IDU

AL

FILM

12

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F9

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IEW

1 C

S/S

C (

Julie

t Odg

ers?

) + M

S-C

P-M

K-P

F-A

F-JC

S10

S11

21M

12YE

AR

MEE

TIN

G: C

inem

a A

rchi

tect

ure:

Pre

sent

atio

n M

odel

1:5

0 &

Pho

togr

aphy

(CS/

JO/S

C):

0900

-110

0 R

1.5

0P

R0J

EC

T TE

RM

221

9T

13H

ISTO

RY

KW

LEC

TUR

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STU

DIO

SU

PP

OR

T (S

C)

FILM

13

@15

00-1

700

R 0

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NO

NE

NO

NE

CIN

EMA

AR

CH

ITEC

TUR

EFI

LM 1

3 @

1500

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0 R

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49

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SS

LEC

TUR

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SPO

RTS

Pre

sent

atio

n M

odel

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IT

ALL

STA

FF IN

RIB

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TOR

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ON

LY M

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UB

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T 2

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IVID

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TAFF

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LL S

TAFF

IN R

IBA

VIS

ITS

17S

1822

M19

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EETI

NG

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ema

Arc

hite

ctur

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etai

l Mod

el 1

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& P

hoto

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hy (

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0 R

1.5

0P

R0J

EC

T TE

RM

222

10T

20H

ISTO

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KW

LEC

TUR

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STU

DIO

SU

PP

OR

T (S

C)

NO

NE

NO

NE

NO

NE

CIN

EMA

AR

CH

ITEC

TUR

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W21

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SS

LEC

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odel

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0 &

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TUD

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UP

PO

RT

(CS

) IN

DIV

IDU

AL

F23

TUTO

RIA

L C

S/S

C +

MS

-CP

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AF-

JCTU

TOR

IAL

CS

/SC

+ M

S-C

P-M

K-P

F-A

F-JC

S24

S25

23M

26YE

AR

MEE

TIN

G: C

inem

a A

rchi

tect

ure:

Edi

ting

Boa

rds

and

Mod

els

(CS/

JO/S

C):

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0 R

1.5

0P

R0J

EC

T TE

RM

223

11T

27H

ISTO

RY

KW

LEC

TUR

E 9

STU

DIO

SU

PP

OR

T (S

C)

NO

NE

NO

NE

NO

NE

CIN

EMA

AR

CH

ITEC

TUR

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SS

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RTS

Editi

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s an

d M

odel

sT

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UP

PO

RT

(SC

)S

TUD

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UP

PO

RT

(CS

) IN

DIV

IDU

AL

F30

EXTE

RN

AL

REV

IEW

2 C

S/S

C +

MS

-CP

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AF-

JC +

Phi

l Hen

shaw

, Jes

sica

Rey

nold

s, S

hank

ari R

aj, S

arah

Fea

ther

ston

e, R

uth

Cue

nca,

Gon

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Coe

llo &

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1920

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CINEMA ARCHITECTURE BRIEF AD1 2012