Category DG magazine 129

Inaugural Jerwood Moving Image Awards Winners

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Sea Change - Rosie Pedlow and Joe King

Winner: Sea Change by Rosie Clements and Joe King

Kate McCurdy


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In an attempt to support and promote the myriad disciplines that fall under the umbrella term ‘digital moving image’, this year the Jerwood Moving Image Awards was established to provide a platform for exploring and debating the artform as it exists today, as well as its future prospects.

Of the 350 entries received, three winners were selected by the judging panel as leaders in their field: Sophie Clements, Johnny Kelly and the creative partnership of Rosie Pedlow and Joe King. They have each received £10,000 as winners of the first ever major award in the UK for artists working in the relatively new discipline of digital moving image.

Procrastination - Johnny Kelly

Winner: Procrastination by Johnny Kelly

Digital moving image is a ‘uniquely exciting creative discipline of almost limitless possibility,’ says Roanne Dods, Director of the Jerwood Charitable Foundation. She adds that ‘the three winning films wonderfully fulfil the potential of putting digital technology in the hands of the artists, and will hopefully encourage audiences, artists and critics alike to engage more closely with this artform’.

The fact that the judging panel was led by Wayne McGregor of the Royal Ballet displays the breadth of this new discipline into all areas of the arts. McGregor observes that ‘the staggering diversity of practices that we’ve seen [in the award's entries] from dance film and documentary to animation and video art, reveals a discipline that is vigorously creative and consistently challenging its own boundaries.’

Evensong - Sophie Clements

Winner: Evensong by Sophie Clements

The three winners’ work are prime examples of this blurring of disciplines, as they combine elements of filmmaking, sound design and music, screenwriting, visual arts, as well as animation and digital effects to create the films.
A collection of their work as well as the other five finalists, and twenty-two other shortlisted films can also be streamed online at the Jerwood Moving Image Awards website.

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Production Line: Exhibition Gallery

Production Line was staged in Off the Kerb, an exciting, newly established artist-run space.

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Concrete Canopy: Serero Architects’ Winning Design Gallery

Serero Architects were recently awarded first prize in competition for the new auditorium and movie theater in Saint Cyprien, France.

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Beck Wheeler Gallery

Beck Wheeler
Hey, Hey, Which Way?
4 – 30 March 2008
Über Gallery
52 Fitzroy Street St Kilda, Victoria Australia

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Frame, Set & Match Gallery

Frame, Set & Match (FSM) are one of the largest independently owned post houses in Australia. Based in Sydney, they specialise in design, visual effects, colour grading, compositing and digital intermediate.

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Game On Gallery

Game On at the Australian Centre for the Moving Image (ACMI) is an exciting exploration and celebration of the development of video/computer game technology from the earliest electronic game, Spacewar, in 1962, played on a giant computer, to present day games and into the future. Game On looks closely at the relationship between design and culture. It examines the many areas of design in this industry, such as graphics, illustration, animation, sound, game design and technology, game consoles and much more.

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Olivia Desianti Gallery

Olivia Desianti has achieved quite a lot for someone in her early twenties. By the age of twenty-one she has graduated with a degree in design (Visual Communication), begun her own online music magazine Arcady, established herself in the music photography scene, and started work as junior designer for the Herald Sun newspaper in Melbourne.

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The Jarman Award Gallery

Launched in January this year by Film London, More4 and the Serpentine Gallery, the Jarman Award seeks to award artist filmmakers who create their art in the spirit of the late Derek Jarman. The award coincides with a season of screenings of the filmmaker’s work on More4 (Channel 4′s digital arts and documentary channel), the Serpentine Gallery’s new exhibition on his work, a screening of his Super-8 films at the Tate Britain, and the UK premiere of Isaac Julian’s film biopic, entitled Derek.

‘Derek Jarman curated by Isaac Julien’ will be on display at the Serpentine Gallery from 23 February – 13 April 2008.
Visit the gallery’s website for more details.
To find out more about the Jarman Award visit the Film London website.
To find out more about the More4 and Channel 4 broadcasts of Jarman’s films and the 3 Minute Wonder series, visit the Channel 4 website.

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Color Chart: Reinventing Color, 1950 to Today Gallery

Color Chart: Reinventing Color, 1950 to Today
An exhibition which explores the impact of Standardized, Mass-Produced Colour on Contemporary Art with works by 44 Contemporary Artists
March 2 – May 12, 2008
The Joan and Preston Robert Tisch Gallery
Museum of Modern Art, New York

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EULDA 07 – European Logo Design Annual Gallery

The 2007 European Logo Design Annual (EULDA) promotes excellence in design by showcasing 201 logos from 33 European countries. The annual presents the different quality, trends and evolution that currently take place in brand identity development.

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Black in Fashion Gallery

Black in Fashion: Mourning to Night
NGV Australia at Federation Square from 8 February – 24 August 2008
NGV International on St Kilda Road from 29 February – 31 August 2008

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Black is the new black

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Black in Fashion 1

Mad Cortes, Sydney (fashion house)
est. 2000
Mira Vukovic (designer)
born Yugoslavia 1973, arrived Australia 1996
Berlin dress 2003–04 autumn–winter Berlin collection 2003–04
rayon, acetate, polyester, metal, elastic
71.0 cm (centre back); 33.5 cm (waist, flat)
Purchased, 2005

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Kate McCurdy

As the 2008 L’Oreal Melbourne Fashion Festival has shown, this city’s relationship with the colour black is far from fading. The significance of this relationship, and indeed the strong presence of black in fashion design is now the subject of a major exhibition at the National Gallery of Victoria, Black in Fashion: Mourning to Night.

An NGV first: an exhibition across both venues
The exhibition presents garments and portraits and other items which are drawn from the NGV’s extensive collection of fashion and textiles as well as a number of private and public loans. Notably this is the first time that an exhibition has been held across both NGV venues. NGV International on St Kilda Road will display the worldly history of how black came to be chosen to represent such themes as authority, self-denial, conspicuous consumption, mourning, as well as the empowerment of men and women alike; while the Ian Potter Centre: NGV Australia at Federation Square takes on an Australian, and particularly Melbourne, focus.

Black’s dark associations
Black has come to signify and be associated with many things in its history, including but not limited to death and mourning, power and authority, self denial and humility, wealth, urbanity, sex appeal and allure, as well as elegance, sophistication and glamour. Due to the diversity of its connotations, black can often be seen as a contradictory signifier; its meaning is dependent on a subjective view in relation to its social context and artistic and functional intention.

The origins of black in fashion
Historically, Phillip the Good, Duke of Burgundy in the fifteenth century was the first to use black as a colour for fashionable dress, which stemmed from his mourning throughout his reign for his murdered father. His way of dressing had a strong influence at his court and soon black became associated with authority and power. The trend, reflected in the many portraits on display in the exhibition, continued through the centuries to European courts and parliaments such as Spain, the Dutch Republic and Britain.In the nineteenth century black became the dominant and popular colour for mens and womenswear, particularly in Britain. Adopted by the dandies and poets of the time, such as Lord Byron and Percy Bysshe Shelley, it became associated with the Romantic and immaculately tailored gentlemen of town. At the same time powerful men of industry and commerce came to wear black garments. Ironically, a uniform of black was also adopted by their servants at this time, although their clothing was of a lower quality and cut than their masters.

Mourning wear
Synonymous with mourning wear in the Victorian era was Queen Victoria herself, who chose to dress in black in mourning for the death of her mother, and later most notably, of her husband Prince Albert. Her choices informed the codes of mourning dress for the whole of Britain, and indeed influenced other countries such as Australia’s attitude to mourning attire. The mourning process became excessive in the nineteenth century, where period of deep mourning, ordinary mourning, and half mourning were observed, most often restricting the dress choices of widows, rather than widowers. For example, when a widow is in a period of deep mourning – for one year and one day following the death of her husband – she must dress in drab and dull fabrics in respect for his memory. This was typically a combination of woollen wear, or garments fashioned from bombazine, paramatta and serge, with a crape bonnet and thick crape veil, all black of course. As a widow progresses through the respective periods of mourning she may include other fabrics into her wardrobe such as silk and velvet, add embellishments and grey, white and purple fabrics could be introduced in the final six months of the last period of mourning.

Black in Fashion 2

CHRISTIAN DIOR, Paris (couture house)
est. 1946
Christian DIOR (designer)
born France 1905, died Italy 1957
Zelie, cocktail dress 1954 autumn–winter
silk
122.0 cm (centre back); 32.0 cm (waist, flat)
Purchased NGV Foundation, 2006

Mourning to night
Women of the late nineteenth century must have welcomed the end of the burden of wearing black in mourning, and celebrated the new appearance of black in the form of evening gowns, most famously in John Singer Sargent’s portrait Madame X (1883-84). The early twentieth century became an exciting time for fashionable women living in urban societies, as women embraced the glamour of wearing black at night. Coco Chanel’s template for the iconic ‘little black dress’ is remarked upon as being one of the most adaptable, enduring, and also timeless classics of fashion design. Chanel’s choice of black remained strongly associated with the dress style and continued in its further developments throughout the 1920s and 1930s, and grew in popularity in the time of cocktail parties in the 1950s. Some of the most authentic and recognised examples of this were designed by French couturiers Christian Dior and Cristobal Balenciaga.

The punk movement and postwar subcultures
Black was the popular colour for postwar subcultures and countercultures. The Beat Generation and bikers in the United States, the intellectuals of the Left Bank in France, and most outrageously by the punk movement of the punk movement in Britain and America, all used black predominantly in their wardrobes. The connotations in black of death fitted with the ‘No Future’ punk attitude and the combination of a black leather jacket, black skinny jeans, and black Doc Marten boots with safety pins, studs, spikes and chains gave a menacing and shocking appearance to those who wore them.

Black in Fashion 3

Tragedy Design, Melbourne (fashion house)
est. 1993
Stephen Bruton (designer)
born Australia 1971
Lacetex vest and trousers 1994 (detail)
latex, polypropylene, plastic, metal
(a) 52.0 cm (centre back); 37.0 cm (waist, flat) (vest)
(b) 103.0 cm (outer leg); 42.5 cm (waist, flat) (trousers)
Purchased, 1994

The use of the safety pin in punkwear stems from the poverty and want of simple commodities of that generation; punks paraded their lack of jewellery by adopting safety pins and chains instead. However, one aspect of their dress that was somewhat easier to come by was black clothing. Black material has only been possible to obtain cheaply and easily since the refinement of synthetic dyes in the last century. Before then, creating and processing a black dye was a difficult task, as unlike other colours, black dye is not found in a natural state. A black dye was created by a process of overdyeing which often resulted in a blue-black. These were also unstable dyes, and until the 1850s garments made from fabric dyed in this way would spoil in wet and also hot weather, often resulting in dyeing the wearer black and giving off unpleasant odours. The lengthy dyeing process required at this time to create the dark coloured clothing also caused attire made from black fabrics to be expensive to buy.

Black: the designers’ choice
Black has been and will remain an iconic and classic colour in fashion design, as it is reflected by the choices made by the designers themselves. Christian Dior described his feelings about black as ‘the most popular and the most convenient and the most elegant of all colours. And I say colour on purpose, because black may be sometimes just as striking as a colour’.
Yohji Yamamoto, the Tokyo designer, has concentrated on the use of black in his collections because ‘black is modest and arrogant at the same time. Black is lazy and easy – but mysterious. It means that many things go together, yet it takes different aspects in many fabrics…But above all black says this: “I don’t bother you – don’t bother me!”
Gianni Versace’s evening dress evokes the character of the femme fatale, curiosity through mystery and deception, while Jean Paul Gaultier’s military designs asserts black’s authoritative power in fashion design.

Black in Fashion 4

SEX, London (fashion house)
1974–76
Vivienne Westwood (designer)
born England 1941
Malcolm McLaren (designer)
born England 1946
Court shoes 1974–76
leather, metal, rubber
(a-b) 17.3 x 8.5 x 23.2 cm (each)
Purchased, 1985
© Courtesy of Vivenne Westwood

However, it wasn’t just the male designers who saw the value of black in their fashion design. At the time when Vivienne Westwood was introducing fetish wear into the mainstream in London, particular with her black, high-heeled and spiked Court shoes (1974-76), Jenny Bannister was making waves in Australia for her ‘body sculpture’ work. She embraced the punk style and their penchant for black clothing, which seems to the be the point where black in fashion and the city of Melbourne fell in love. The ‘black attack’ of the 1980s has continued until the present, with Chanel’s little black dress remaining a firm staple in womenswear worldwide. All of these designers and more are well represented as part of this significant exhibition at the NGV.Far from being a drab, monotone or even morbid experience, the NGV’s exhibition shows that the history of black in fashion is a very colourful one, and one that will continue to dominant contemporary design.

Black in Fashion: Mourning to Night
NGV Australia at Federation Square from 8 February – 24 August 2008
NGV International on St Kilda Road from 29 February – 31 August 2008
Entry is free
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In the spirit of experimentation: The Jarman Award

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Derek Jarman

Derek Jarman
B2 Movie, 1980
Courtesy James Mackay

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Kate McCurdy

Luke Fowler announced as winner of The Jarman Award 2008 – Read more 

Launched in January this year by Film London, More4 and the Serpentine Gallery, the Jarman Award seeks to award artist filmmakers who create their art in the spirit of the late Derek Jarman. The award coincides with a season of screenings of the filmmaker’s work on More4 (Channel 4′s digital arts and documentary channel), the Serpentine Gallery’s new exhibition on his work, a screening of his Super-8 films at the Tate Britain, and the UK premiere of Isaac Julian’s film biopic, entitled Derek.

A celebration of the artist
Derek Jarman has been described as one of Britain’s most innovative, esteemed and controversial artists, and a strongly influential and important figure in British and international cinema from the 1970s through to the 1990s. He presented homoeroticism on screen with Sebastiane (1976), explored the notion of art as a commodity in Renaissance Rome (as well as his own love of painting) in Caravaggio (1986) while The Last of England (1988), perhaps one of the greatest contemporary examples of the avant-garde genre, evoked his passionate anger at the Thatcher government and the social attitudes towards homosexuality in Britain. He was made a Fellow of the British Film Institute for his outstanding contribution to film culture. By highlighting the exciting works of relatively unknowns, the Jarman award aims to be instrumental in the celebration of the great independent artist filmmaker.

Andrew Kotting

Shortlisted: Cairns by Andrew Kötting

‘Derek Jarman curated by Isaac Julien’
The Derek Jarman exhibition at the Serpentine Gallery, has been curated by Isaac Julien, a significant artist and filmmaker in his own right. The purpose of the exhibition and installation is to celebrate Jarman’s first love of painting, as well as his expansive work in film and the moving image. Julien conceived and designed it as an immersive environment, featuring many examples of rare footage from Jarman’s Super-8 archive including an installation of his film Blue (1993). Much of the archival footage in the exhibition is shown in Julien’s new film Derek, where clips of Jarman’s feature and Super-8 films are juxtaposed with news and current affairs footage to firmly place Jarman’s work in the social context in which he he so keenly observed and participated. Derek is narrated by Tilda Swinton and has been selected for International competition at the 2008 Sundance Film Festival and the 2008 Berlin Film Festival. The film will be shown daily at the Serpentine Gallery on a loop for the duration of the exhibition.

Duncan Campbell

Shortlisted: Falls Burns Malone Fiddles by Duncan Campbell

The Jarman Award
The winner of the Jarman Award, to be announced on 1 April 2008, will be one of the four shortlisted artist filmmakers: Duncan Campbell, Luke Fowler, Andrew Kötting and Emily Wardill. They have been selected according to a number of criteria which recognises artist filmmakers who have developed a significant body of work over the past 5-10 years; energised and stimulated the artists’ moving image sector through their challenging of expectations, stimulation of critical debate or connecting with and inspiring an audience; and, artist filmmakers who are at a significant stage in their career, at the cusp of breaking through.
Although there is no age restriction, students are not eligible for the award, and the nominated artists must be living or working in the UK.

The overall winner of the Jarman Award will be presented at the Serpentine Gallery in London with £20,000 from Film London and More4, as well as a commission of four short films for Channel 4′s documentary shorts strand to be aired in Autumn this year, entitled ’3 Minute Wonder’. The other shortlisted artists will each receive a £1,000 prize.

Emily Wardill

Shortlisted: Sick Serena and Dregs and Wreck and Wreck by Emily Wardill

The Jarman Award Jury
Among the Jarman Award Jury are Isaac Julien, and Nicolas Roeg, director of such acclaimed films as The Man Who Fell to Earth and Bad Timing. Being the first Jarman Award, the Jury had to make careful choices about they applied the award’s criteria to the work of the nominees.
‘Ultimately, the panel felt that the four shortlisted artist filmmakers were the strongest representatives of the legacy of Jarman’, observes Lisbeth Savill, Chair of the Jarman Award Jury, ‘in the sense of their attitudes and open-ended ways of working, their focus on collaboration and their way of making us look at things differently.’

The influence of Jarman’s films, and the values and principles behind them, is still very powerful for today’s filmmakers. Maggie Ellis, Head of Production at Film London, said that ‘the art/life balance expressed through Jarman’s work combined with a lifetime of dissent and activism, will continue to inspire and influence future generations of filmmakers.’

Luke Fowler

Shortlisted: Pilgrimage From Scattered Points by Luke Fowler

The Jarman Award’s championing of experimental and artist filmmakers will help the not only the artists themselves to break through into the spotlight, but also the innovative and unique ideas that they represent within their work. This celebration is proof that Jarman’s legacy is still very much alive today in the work of up and coming artists filmmakers in Britain.

‘Derek Jarman curated by Isaac Julien’ will be on display at the Serpentine Gallery from 23 February – 13 April 2008.
Visit the gallery’s website for more details.
To find out more about the Jarman Award visit the Film London website.
To find out more about the More4 and Channel 4 broadcasts of Jarman’s films and the 3 Minute Wonder series, visit the Channel 4 website.

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Luke Fowler announced as winner of The Jarman Award 2008 – Read more

Frame, Set & Match

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FSM Tropfest Opener

Client: Tropfest
FSM: Concept / Design / 3D

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Kate McCurdy

Frame, Set & Match (FSM) are one of the largest independently owned post houses in Australia. Based in Sydney, they specialise in design, visual effects, colour grading, compositing and digital intermediate. With a strong background in design, they have worked on commercials, feature films, television series, re-branding, music videos, and most recently the graphics package for Tropfest 8, the largest short film festival in the world. Not only did FSM create two packages for the event, they were also a sponsor of Tropfest 8, which reflects the company’s strong philosophy of supporting and fostering emerging filmmakers, as well as emphasising FSM’s own participatory role in the Australian film and television industry.

Tropfest graphics package
FSM approached Tropfest early in the production of the film festival, as they were keen to be the first design and post production company engaged by Tropfest. The brief was for a graphics treatment for their AV presentation in the form of two packages, one for Tropfest 8 and for Trop Jr, both with a completely different look and feel. FSM’s strong focus on design greatly appealed to the John Polson, founder and Creative Director of Tropfest. He recalls that ‘from the start, they offered amazing design direction and dedication.’
The result of the collaboration between Emile Rademeyer, FSM’s Senior Designer, 3D animator Ferry Taswim, as well as the art direction of Dean Mathers from Spin Communications is a graphics package that well represents the fun, dynamic, exciting and often surprising nature of the film festival. The package can be viewed on the FSM website.

Keep it in house
Frame, Set & Match pride themselves on their state-of-the-art facilities and the expertise of their staff such as the new addition of Crash Carlucci, formerly of Riot, Santa Monica, whom has recently joined the team as senior colourist. The post house is now, thanks to the procurement of two BaseLight film grading systems and their Da Vinci 2K, able to produce high definition grading and digital intermediates for clients looking for flexibility and creative freedom in grading for their film prints.The strength of FSM is that so much is done in house: colour grading, digital intermediates, sound, concept, design, compositing, editing and visual effects, without the need for their clients to outsource for these services. One of the successful examples of this is when FSM worked on Paul Goldman and Alice Bell’s music video for Silverchair’s Straight Lines. The visual effects team at FSM supervised the shoot, provided rushes, transfers and grade, and brought in Stuart Cadzow as lead compositor to work with the team on compositing the live action and special light effects. The visual effects complemented the intense grade to the pictures, and gave the video a distinct look that won the filmmakers ‘Best Video Clip’ at the ARIA Artisan Awards in September 2007.

FSM Silverchair video

Client: Sony Australia
Director: Paul Goldman & Alice Bell
FSM: Grade / Flame

Colour grading for commercials and feature films
Colour grading is the process of altering and enhancing the colour of film prints, and FSM have two Millennium telecine suites at their disposal for HD and Standard definition scanning. The main functions of digital colour grading are most often to restore and compensate for errors in the filming from the shoot, such as changing lighting conditions, but also to optimise the print for compositing and visual effects, and to change the mood or look of the print. FSM are often called upon to grade film for commercials, especially those that require strong branding such as car commercials for the likes of the Mitsubishi Outlander, Toyota TRD Aurion as well as Volvo’s ‘Destination Life’ campaign. These commercials also incorporated composition and visual effects facilitated by FSM’s Flame systems, popular with art directors and producers for their interactivity and flexibility, especially in branding projects.

FSM Volvo Destination Life

Agency: Euro RSCG Worldwide
FSM: Design / Grade / Flame

FSM have also completed colour grading on a number of Australian and international feature films, such as Suburban Mayhem, Jindabyne, House of Flying Daggers, and have produced digital intermediates for Catch a Fire and Clubland. Mark Wareham, Director of Photography for Clubland, praised FSM on their chosen technologies: ‘The strongest asset of your DI system is that there are no surprises when you screen the answer print. All detail and subtleness of the colour is preserved. [Their] FilmLight process incorporating the NorthLight scanner, TrueLight calibration and BaseLight grading ensures the organic look of the negative is preserved with no video artifacts.’ Clubland was well received at its premiere at the Sundance Film Festival in January 2007 with the final print delivered by FSM.

Design and re-branding
FSM are keen to promote their strong design background, and interest in creating concepts and designs for clients, as well as maintaining their reputation as a finishing house. Their talent for design has been recognised with their recent work for the Tropfest film festival and their rebranding of the NRL and Football for Fox Sports in 2007. Michael Neill, Executive Producer for NRL and Swimming at Fox Sports said that FSM ‘came back with a design concept that took the look of our broadcasts in a new direction, while displaying a complete understanding of our aims and objectives.’

FSM NRL Rebrand

Client – Fox Sports
Concept / Design / 3D / Flame

FSM was established in 1984 as one offline edit suite and from their quality work on commercials and music videos has seen them to grow into a significant post house in Australia. Their versatile business model allows them to take on cost-effective and simple projects such as transfers, to more complex digital intermediates, compositing and high definition deliverables for commercials and feature films. Frame, Set & Match’s recent successful graphics package for the Tropfest Film Festival will display their impressive talents in design to a worldwide audience.

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Concrete Canopy: Serero Architects’ Winning Design

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Serero Architectes 1

Perspective of the Auditorium from the entrance hall
Sereo Architects
Auditorium and Movie Theater
Saint Cyprien 2008

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Anne Paterson

Serero Architects were recently awarded first prize in competition for the new auditorium and movie theater in Saint Cyprien, France.
The site for the new auditorium and movie theatre at Saint Cyprien is the middle of an open park. David Serero researched the natural surroundings for his winning design. A computer script was created, generating a facade that assembles non-repetitive and non-standard components. The roofing of the building, despite its irregular appearance, is generated from simple geometrical rules allowing a variation of shapes between the elements. The egg-shaped perforations in the roof resemble the dappling effect of the sunlight filtering through the tree foliage, and in the way a tree provides a shady place, the external shell protects the lobby and the auditorium from the sun. The internal shell of glass and concrete regulates and controls the heating and ventilation level. In this way the external shell of the building acts like a ‘living’ skin.

Serero Architectes 2

View of the entrance of the building.
Sereo Architects
Auditorium and Movie Theater
Saint Cyprien 2008

David Serero draws his inspiration from trees: ‘They are complex structures elaborated from simple rules, growing coherently and continuously in time and space. The efficiency of those structures is based on the notions of redundancy and differentiation in opposition to the concepts of modern engineering such as modern optimisation and repetition.’
The auditorium is designed to offer optimum acoustic quality to two different sound spaces, with the use of a complex geometrical ceiling to diffuse the sound to the whole audience. ‘Concrete Canopy’ at Saint Cyprien, has a strong and sensitive ‘sense of place’. The design of the building is a natural extension of the surrounding park, but at the same time makes a strong design statement, borrowing intelligently and respectfully from nature’s own design elements. ‘It is a concrete “pebble” under foliage that visitors will follow to enter the auditorium,’ says David Serero.

Serero Architectes 3

Axonometric view of the project.
Sereo Architectes
Auditorium and Movie Theater
Saint Cyprien 2008

Serero Architects, created in 2000, develops projects combining research and design in the fields of architecture and landscape design, urban planning and product design. David Serero has particular interest in generative design (using computer software to automatically create designs from high-level specifications), digital manufacturing (describing every aspect of the design-to-manufacture process digitally), fluid dynamics, crystallography, acoustics, genetics and topographical manipulation. He seeks to make new connections between these fields and architectural practice, strongly embracing the concept of interdisciplinary design.

Serero Architectes 4

Interior view of the Auditorium.
Sereo Architects
Auditorium and Movie Theater
Saint Cyprien 2008

Serero Architects has won numerous international awards. The latest design project (March 2008), is a stunning extension to the top floor of the Eiffel Tower, and can be viewed on the website. David Serero’s work has been widely published and exhibited in shows at the Museum of Modern Art (MOMA) of New York, and the Venice Biennale among others.

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