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Star guitar: the chemical brotherS

introduction

The music video sTar GuiTar, produced by michel Gondry, is creaTed in a virTual environmenT in such a way as To mimic The realism of a Train journey. however, The scene is manipulaTed in order To synchronise The visuals wiTh The beaT and rhyThm of The music.

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introduction

Site: docklands liGhT railway

The docklands liGhT railway (dlr) is parT of The vasT london public TransporT neTwork, locaTed in easT london, and oriGinaTinG in The docklands area.

This drawinG maps The movemenT of The body on a journey from bank To cuTTy sark on 8Th ocTober 2012 aT 17:54.

dlr Study Filmcarrage modelling

A F T E R E F F E C T S C O M P O S I T I O N

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S i t e P h o t o S : b a n K

The first site is located at a major road junction in the City of London, the historic and financial centre of London, at which nine streets converge.

Bank is also the location of one of London’s busiest tube stations, Bank – named after the Bank of England. Built in 1900, the busy interchange station is served by the Central, Northern and Waterloo & City lines, as well as the Docklands Light Railway. The station is inter-connected with Monument station, served by the Circle and District lines – together the two stations form one of the world’s most com-plex underground train stations.

S i t e P h o t o S : S h a d W e l l

Shadwell is a district in East London, Eng-land, in the London Borough of Tower Ham-lets, and located on the north bank of the Thames between Wapping and Ratcliff.

The area is dominated by the enclosed for-mer dock, Shadwell Basin, whose construc-tion destroyed much of the earlier settlement – by this time degenerated into slums. The basin once formed the eastern entrance to the then London Docks, with a channel lead-ing west to St Katharine Docks.

S i t e P h o to S : l i m e h o u S e

Limehouse Basin opened in 1820 as the Regent’s Canal Dock. This was an important connection be-tween the Thames and the canal system, where cargoes could be transferred from larger ships to the shallow-draught canal boats. This mix of vessels can still be seen in the Basin: canal narrowboats rubbing shoulders with seagoing yachts.

The use of Limehouse Basin as a major distribution hub declined with the growth of the railways, although the revival of canal traffic during World War I and World War II gave it a brief revival.

S i t e P h o t o S : W e S t F e r r y

Westferry DLR station is a station on the Docklands Light Railway (DLR), in the Lime-house district of east London. The station is located in Travelcard Zone 2. To the west is Limehouse station, whilst to the east the DLR splits, with one branch going to Poplar sta-tion and the other to West India Quay station.

The DLR station was built midway between the site of the old Limehouse and West India Docks stations on the disused London and Blackwall Railway. Limehouse Police Station is nearby, as is St Anne’s Church, built by Nicholas Hawksmoor and boasting London’s tallest church clock tower.

Site PhotoS: canary WharF

Canary Wharf is a major business district located in Tower Hamlets, London, United Kingdom. It is one of London’s two main financial centres – along with the traditional City of Lon-don – and contains many of the UK’s tallest buildings.

Canary Wharf contains around 1,300,000 m2 of office and retail space, of which around 730,000 m2 is owned by Canary Wharf Group. Around 90,000 people work in Canary Wharf and it is home to the world or European headquarters of numerous major banks, professional services firms and media organisations.

Once forming part of the busiest port in the world, the former docks were closed in 1980. Michael von Clemm, former chairman of Credit Suisse First Boston (CSFB), came up with the idea to convert Canary Wharf into a back office, which turned the area into a banking centre. Construction began in 1988 and hasn’t stopped since.

the blitZ bombing maP/ dlr hiStoric timeline

the blitz - destruction of architec-ture through chance (though not pure) via rational planning.

Project - creating architecture through a rationalised process of chance.

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P r e c e d e n c e 1 : Pa r c d e l a V i l l e t t e b e r n a r d t S c h u m i

TSCHUMI’S FOLLIES AT PARC DE LA VILLETTE IN paris acT as archiTecTural represenTaTions of deconsTrucTion. ThirTy-five follies are placed on a Grid and offer a disTincT or-GANIZATION TO THE PARK. ARCHITECTURALLy, The follies are meanT To acT as poinTs of reference ThaT help visiTors Gain a sense of direcTion and naviGaTe ThrouGhouT The space. while The follies are meanT To exisT in a deconsTrucTive vacuum wiThouT hisTor-ical relaTion, many have found connecTions beTween The sTeel sTrucTures and The pre-vious buildinGs ThaT were parT of The old indusTrial fabric of The area.

i have chosen parc de la villeTTe as a prece-dence due To iTs archiTecTural folly Type, HOWEVER, IN CONTRAST TO TSCHUMI’S DESIGNS, my approach will be much more focused on The desiGn process in relaTion To The irraTional and subconscious human inTu-iTion - TranslaTinG or disTorTinG siTe daTa ThrouGh a series of meThods ThaT are fo-cused on providinG opporTuniTies for The subconscious To prevail.

P r e c e d e n c e 2 : c o o P h i m m e ( l ) b l a u P S y c h o g r a m

coop himmelb(l)au developed The idea of The “psychoGram” as a meThod To capTure The pure, subconscious desire of The archiTecT in an aTTempT To “shorTen The acTual process of desiGn, To condense iT. […] we Try To define The feelinG, The emoTion ThaT The space is laTer To radiaTe. and The suddenly we have a drawinG, someTimes on a sheeT of paper, someTimes on The Table.” coop himmelblau believe ThaT THE QUICKER A PSyCHOGRAM SKETCH OR MODEL is creaTed The beTTer, likeninG iT To “cominG close To The cenTre of an explosion.” This implies a GreaT siGnificance and imporTance on a momenT of creaTiviTy and suGGesTs ThaT pure creaTiviTy occurs as an evenT, a momenT in Time when The mind and hand join wiTh The spiriT.

Precedence 3: SKyScraPer i loVe youKarl hyde & John WarWicKer

a TypoGraphic journey ThrouGh The sTreeTs of new york CITy CREATED By TOMATO’S KARL HyDE AND JOHN WARWICKER.

PRECEDENCE 4: MéMOIRES 1959asGer jorn and Guy debord

mémoires is a work of psychoGeoGraphy. The work conTains Two separaTe layers. The firsT is prinTed wiTh black ink, reproducinG found TexT and GRAPHICS TAKEN FROM NEWSPAPERS AND MAGAZINES. The second layer is prinTed usinG coloured inks, splashed onTo The prinTinG plaTes from a heiGhT. These inks someTimes connecT imaGes and TexT, someTimes cover Them, and someTimes are seeminGly unconnecTed.

THE SITUATIONIST CONCEPT OF ‘THE SPECTACLE’ RUNS ThrouGh The book; represenTed by The newspapers AND MAGAZINE COLLAGE ELEMENTS, THE COLLAGE and ink (déTournemenT) used To disrupT The TexT represenTs a sTraTeGy To see The ciTy as iT really is, raTher Than as charTed in maps and siGnposTs.

The déTournemenT also deTermines The inTerpreTaTion of The informaTion - relyinG on The chance posiTion of The ink in relaTion To The TexT/imaGes, and The relaTionship of The TexT clippinGs and imaGes To each oTher.

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Joy dance concert Song

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S E C T I O N 5 : P R O J E C T A N I M A T I O N

See SePerate SheetS For large chronogram draWing

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banK Scene

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banK model animation StillS

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