Retailising Space: Architecture, Retail and the Territorialisation of Public Space

Over the past few years there has been a proliferation of new kinds of retail space, such as in libraries, workplaces, churches and museums. This book describes how the retailisation of public domains affects our everyday life and our use of the built environment. Taking an architectural and territorial perspective on this issue, it looks at how retail and consumption spaces have changed and territorialised urban life in different ways. It then develops a methodology and a set of concepts to describe and understand the role of architecture in these territorial transformations.

Ref -
http://books.google.co.uk/books?id=fmtDvSIsCmMC&pg=PA120&lpg=PA120&dq=interstitial+space+books&source=bl&ots=cSdbb-ajTT&sig=KI_Qu9s1wQpoSGZ1BWjVj8CL61E&hl=en&sa=X&ei=rqWvUYKGOYeFOPD1gdgP&ved=0CCwQ6AEwADgK#v=onepage&q=interstitial%20space%20books&f=false

The Parallax View and The Pervert's Guide to Cinema - Slavoj Zizek

Overview

The Parallax View is Slavoj Zizek's most substantial theoretical work to appear in many years; Zizek himself describes it as his magnum opus. Parallax can be defined as the apparent displacement of an object, caused by a change in observational position. Zizek is interested in the "parallax gap" separating two points between which no synthesis or mediation is possible, linked by an "impossible short circuit" of levels that can never meet. From this consideration of parallax, Zizek begins a rehabilitation of dialectical materialism.

Modes of parallax can be seen in different domains of today's theory, from the wave-particle duality in quantum physics to the parallax of the unconscious in Freudian psychoanalysis between interpretations of the formation of the unconscious and theories of drives. In The Parallax View, Zizek, with his usual astonishing erudition, focuses on three main modes of parallax: the ontological difference, the ultimate parallax that conditions our very access to reality; the scientific parallax, the irreducible gap between the phenomenal experience of reality and its scientific explanation, which reaches its apogee in today's brain sciences (according to which "nobody is home" in the skull, just stacks of brain meat—a condition Zizek calls "the unbearable lightness of being no one"); and the political parallax, the social antagonism that allows for no common ground. Between his discussions of these three modes, Zizek offers interludes that deal with more specific topics—including an ethical act in a novel by Henry James and anti-anti-Semitism.

The Parallax View not only expands Zizek's Lacanian-Hegelian approach to new domains (notably cognitive brain sciences) but also provides the systematic exposition of the conceptual framework that underlies his entire work. Philosophical and theological analysis, detailed readings of literature, cinema, and music coexist with lively anecdotes and obscene jokes.

Source - https://mitpress.mit.edu/books/parallax-view

The Pervert's Guide to Cinema- 

Ref: http://vimeo.com/34768645
           http://vimeo.com/35104283
        http://vimeo.com/35100202

Interstitial Space-

Ref: http://webcache.googleusercontent.com/search?q=cache:mr1Cu24SLHYJ:zizekstudies.org/index.php/ijzs/article/download/185/299+&cd=4&hl=en&ct=clnk&gl=uk#19

Where the thinking stops, time Crystallises - Jane Rendell : Urban Futures

Urban Futures brings together commentaries from a wide range of contemporary disciplines and fields relevant to urban culture, form and society. The book concerns cities in the broadest sense, not just as buildings and spaces, but also as processes and events or sites of occupation, in which meanings are constructed in many ways. The contributors draw on their specialist areas of research to inform current debate, but they also speculate as to how cities will be shaped in the 21st century.
Specific areas of research include homeless people's organisations and restoration ecology in brownfield sites in the USA, post-industrial urban landscapes, post-industrial economics, tourism and cultural planning. The book allows each writer to state their own conclusions, but together they suggest that tomorrow's cities will, while remaining locations of difference and contestation, be rapidly evolving systems in which dwellers assume increasing responsibilities and power.


Ref: http://books.google.co.uk/books?id=41zKohtu70UC&pg=PA22&lpg=PA22&dq=Rendell,+Jane.+%E2%80%98Between+Real+And+Imagined%E2%80%99,+Urban+Futures&source=bl&ots=bJfMJ3H9fd&sig=3Eraiw4sZ5CY6gCVzfREOrIYYLQ&hl=en&sa=X&ei=uCG1Uc29JLOg0wX10YDACQ&ved=0CFMQ6AEwBA#v=onepage&q=Rendell%2C%20Jane.%20%E2%80%98Between%20Real%20And%20Imagined%E2%80%99%2C%20Urban%20Futures&f=false

Interim show idea's

Whilst working on my portfolio and project I decided to dig in the the college archives and work around the space allocated to us for the show. The intension was to see how my work would look like in the show. This is an on going work in progress model -

Filming of the attic with completed tracks

After a few rigours days in the workshop I was able to complete the tracks and get them ready for a continuos 12 meter shot. The following are the images of the tracks on set i.e. the attic-

The films that now follow are a product of the mini dolly rig I put together -

an extension of the library on another floor

Reminiscing the view of the attic the floor below the initial floor shared memories from up top. The following images are in order after scene 3.

The question that now arises is, how was I able to pin point my location under the attic so sharply? The following map helped me out here:

exploration of the space beneath the attic

Whilst working on putting the tracks together I decided to explore my projection space. Noting the small details now became important.The camera was only able to travel a distance of 12 meter because of the holes in the walls, those walls in reality extend downwards separating the building in different parts. Scenes 1,2,3 from the previous post represent the side of the attic above the library. Scenes 4 and 5 form parts of the staircase underneath and the corridor. The images below show the spaces as follows:

Scene 1, 2, 3:

Scene 4 and 5:

Scene 6: