Collection: PART THREE

P3. Research



Filmmaking 101 - How to Record High Quality Audio on a Budget

Observing architectural drawings

A-Z of Music | Sponsored by Marc Jacobs

How to Gentrify Your Neighborhood

Maciek Janicki - Paper City (slowed down) - 2013

Adam Savage's One Day Builds: Foamcore House!

AOTCO Tutorial: How to make and shoot a futuristic city miniature - part 2

The Ruin of London

Blue  = Research

Black  = My own writing

Highlighted = reading notes





Gordon House, West Face
Concrete, acrylic, oil & spray paint on canvas
299 x 209.5 cm / 117 ¾ x 82 ½



Gordon House (Diptych)
Concrete, acrylic, oil & spray paint on canvas
268.5 x 220 cm / 105 ¾ x 86 ⅝

David Hepher, well-known for his architecturally-inspired works depicting residential inner city tower blocks, recently stated that he actually considered himself to be a landscape painter. This was not in the traditional sense of the word, but in the way that he sets out to capture the scene around him, whether it is a raw cityscape, or in the depths of the French countryside. To showcase these parallels, captured in full scale works often as huge diptychs and triptychs, Flowers gallery will offer a fascinating insight into both, in a special exhibition entitled: Town & Country at their Kingsland Road gallery from 21st February- 29th March, 2014.

What makes the works so absorbing is that Hepher treats his rural depictions in the same way as he encapsulates the city, incorporating materials from the surroundings into his work. This includes concrete in his urban works and earth in his rural pieces, which when used alongside graffiti motifs, allows the viewer to experience differing levels of reality and in turn have unique encounters with his works.

In a hint to Brutalism, Hepher chooses residential tower blocks as his subjects. These buildings have a 'pulse', they are filled with people who live there and as their lives progress, so does the building. It begins to decay and becomes run down and weathered by its utilitarian function. The buildings that feature in these urban works lead the viewer to investigate, to question the lives of the people within the buildings, as well as the context of the building and its position. Juxtaposed with the realism within his works, pattern and form are elaborated in rows of squares, raw edges and blanked out or non-painted windows. This leads us to suspend disbelief and appreciate the work in its entirety and away from any subject matter, or any social comment. There is a sense of being within or directly outside the subject of the work, due to the textural aspect of the concrete mixed with paint and the flashes of matt colour, emulating decay and the movement of time. Standing in the midst of the work one appreciates a sense of beauty amongst function, a sense of survival and endurance - all themes that Hepher presents purely for the onlooker's visual experience, rather than as social commentary or opinion.

Referring to David Hepher and his works, the Architect Jim Tanner said: "In years to come no social study of life in South London, in the late 20th and early 21st century will be complete without reference to the work of this remarkable, talented painter."




The Lurkers is an on going project that was formed in 2012 by like minded people who felt there was gap in the creative world around them that needed filling. A platform for content that often focuses on the over-looked or neglected aspects of our planet, one that would both entertain the people creating it and inspire those who follow it. To lurk is to observe and through observation often comes insight. Via a wide range of creative practices we aim to channel this insight into a unique blend of content that reflects our lifestyles and shows you the world from our perspective.



The Lurkers: elusive street art duo turn their attention to photography

The Islington Tribune article on The Lurkers

The Lurkers: elusive street art duo turn their attention to photography 

By Dan Carrier

Nameless artists aim to create a new way of considering the urban environment

The pair, who shall remain nameless due to the fact they have a healthy disregard for signs that say No Entry or Keep Out, are based in Kentish Town. They have their backgrounds in street art, much of which you will have seen throughout London down the years. Recently, under The Lurkers moniker, they have produced large-scale art works in Camden and Kentish Town in support of Labour leader Jeremy Corbyn, with the motif “The people for JC,” showing clearly where their political allegiances lie.


Now they have turned their attention from paint to photography, and in a new book entitled Lurking in London they create a way of considering the urban environment that for so long has been their canvas.

The Lurkers was a project that started in 2012 as a “platform” for art, a project that “would both entertain the people creating it and inspire those who follow it,” they say.

“To lurk is to observe and through observation often comes insight. Via a wide range of creative practices we aim to channel this insight into a unique blend of content that reflects our lifestyles and shows you the world from our perspective.”

As they take us along for a ride as they explore London, they say in an introduction to the book that it is “a complete guide to London’s hidden corners and often unacknowledged charm”, adding that it acts as a document of the city we live in.

The introduction says: “Our aim was to highlight the ever-changing and multidimensional nature of London, which is something we’ve looked to achieve by using the city as not only a playground to explore and document but as a backdrop for our varied creative pursuits.”




By The Lurkers





The Lurkers present their debut publication entitled ‘Lurking In London’, a complete guide to London’s hidden corners and often unacknowledged charm, documented during an era of rapid change within the capital.

Within the book is a mix of images from hard to reach viewpoints and hidden, rarely visited London locations, through to the well known, long standing, city features that aren’t going anywhere anytime soon.


Some images detail neighborhoods that are currently facing the harsher aspects of gentrification, while others will show complete abandonment of places that could no longer serve their purpose, for one reason or another.


 This photo book aims to highlight the ever changing and multi-dimensional nature of London, achieved by using the city as not only a playground to explore and document but as a backdrop for The Lurkers’ varied creative pursuits.



VICE Interview: The Lurkers

London is an awful, beautiful behemoth. We've been pulverised to a fine pulp with stories of its irrevocable gentrification and homogenisation. "It's not what it used to be," we say, wilfully ignoring our own participation in the loss of its charm. The city is rapidly exfoliating its grubby walls and cobbled streets and replacing them with bright, eternal glass and metal.


Through it all, a collective of artists called The Lurkers have been capturing the city's changes on a 35mm camera. One of the group, Fred Lurke, tells me they pride themselves on their "shared passion for society's underwhelming and under-appreciated locations", and over time have relentlessly hit up London's most hidden and secluded areas with graffiti, inadvertently recording the capital's aesthetic shift. They've compiled it all into a new bookLurking in London.

"The book is something we've been working on for years, mindlessly documenting the rapidly changing face of London. We looked at all we've amassed and realised a lot of the buildings and high streets we'd photographed no longer looked like how they did even a few years ago."

Before I even limber up to ask why the world needs yet another graffiti book, Fred interjects: "This book isn't a graffiti book. Graffiti makes up one part of it, but there are always other elements – an interesting building, a model or a piece of clothing. Our aim is to give new life to the stranger places in London."

Looking at the photos, they certainly do show a less sanitised version of the city. Rooftops, abandoned buildings and the underground are mixed in with shop fronts, estates and suburbia. All of it seems to have a filter of familiar grime laid across it; it's a London that I can relate to far more than the one being sold in property brochures.

What's their favourite place featured in the book? "We have a special affinity to a series of rooftops in the Euston area as they provide a nice perch above the city," says Fred. "I can't say any more 'cos it will make it harder for us."

Fair enough. Police have been taking ever stronger measures against graffiti in the capital, and maximum custodial sentences for "defacing private property" can now reach up to ten years. So you'd expect the odd brush with the law while putting together a project like this.


"Our first ever expedition ended in a rooftop chase with a helicopter," says Fred. "A lot of what we do sits in a grey area of legality; we are mostly frequenting or painting in places people either don't care about or never see. Strictly speaking it's illegal, but Ocean's 11 it is not."


So why now? What do The Lurkers hope to add to the conversation by releasing the book at this time? "Gentrification is accelerating at an alarming rate – they now call South Tottenham 'Soto', for fuck's sake," says Fred. "We're showcasing a lot of buildings that no longer function in their primary purpose, so it's a testament to a bygone era. If nothing more it will at least serve as a reminder to inhabitants of yesteryear of what London once looked like."

It's easy to look back at a past version of London with rose-tinted glasses. Gentrification has certainly had a negative effect, but it's also made some places look a lot nicer, if more dull. I remember the city being an exciting place to hang around when I was younger, but I also remember that I wouldn't want to walk anywhere alone after 11PM most nights. Does the London of old really deserve such nostalgia?

"It's very easy to look at old pictures and associate positive memories with them," says Fred. "People find it much harder to apply positives to their current situations. It's sad London is changing, but we have massive faith in this city and its ability to do good, fight gentrification and regain its edge. I feel like our book is a part of that fight."


It's safe to say that graffiti culture is now more popular than ever. There's a cornucopia of Instagram accounts, Facebook groups and websites dedicated to showcasing street art from not just the capital but around the world, as well as the fact artists like Banksy, Ben Eine and Space Invader are now seen as cultural icons. The question is where The Lurkers can fit into that crowded market.

"Through the internet and social media, culture has become disposable; you don't have to leave your house to experience anything. We contribute to that – most of our content is online – hence why we did a fucking book," says Fred. "It's physical; you can feel it."

London certainly generates plenty of passion in people, and that is definitely something you could say about The Lurkers and their approach to what they do. When I ask finally what Fred wants to achieve with this book, his answer is simple: "Hopefully we will have done London some justice."




Zupagrafika is an author, independent publisher and a creative design studio based in Poland, founded in 2012 by a Spanish-Polish
duo - David Navarro and Martyna Sobecka. The studio has a special affinity with Polish Poster School, post-war modernist architecture and paper. They specialize in poster, editorial and design applied to architecture. 

Brutal London by Zupagrafika is a playful journey through London´s post-war brutalist architecture that allows the readers to construct some of the most interesting and controversial concrete structures while learning about their place in the city´s architectural history. Opening with an informative history of the origins and philosophy of Brutalism, the book features 9 buildings to assemble: Alexandra Road Estate, Alton Estate, Aylesbury Estate, Ledbury Estate, National Theatre, Robin Hood Gardens, Barbican Estate, Balfron Tower and Space House. 

Brutal London continues with a series of illustrated buildings to be found around the districts of Camden, Southwark, Tower Hamlet, Roehampton and City of London. Printed on heavy card stock, readers can detach and construct both iconic brutalist structures, such as: Balfron Tower, Barbican Estate, and National Theatre, as well as social council estates, like Robin Hood Gardens and Aylesbury Estate doomed to premature demolition.




Artist research: Michael Wolf

The Transparent City
by Michael Wolf
Hardcover: 112 pages
13.5 x 10.8 in
Publisher: Aperture


"Big cities often appear like immense visual abstractions. The jam-packed juxtapositions of diverse styles of architecture — all compressed into dense overlapping vertical spaces — can be seen as things of rare man-made beauty.

Wolf positions himself on rooftops or in the windows of opposing buildings to get the most amazing vantage points for each scene. He waits for perfect light at the time of day when twilight and interior light render the building walls nearly invisible. An incredible large format camera with a 112-megapixel digital back captures and reveals exquisite details. It’s a stunning combination.

Wolf accentuates this feeling of alienation and “no exit” with tight cropping of each photograph, so it is difficult to find any reassuring context even in a vast panorama. “You can never go off the building surface and find the sky,” Wolf says. “I make these images so that the only escape is to peer into one of the windows.”




My Aylesbury response to Michael wolf





The word "representational," when used to describe a work of art, means that the work depicts something easily recognized by most people. For example, the artist Leon Dolice created an etching entitled , which depicts a street scene in New York City


Text box

Representation (arts)

From Wikipedia, the free encyclopedia

Representation is the use of signs that stand in for and take the place of something else.[1] It is through representation that people organize the world and reality through the act of naming its elements.[1] Signs are arranged in order to form semantic constructions and express relations.[1]

 For many philosophers, both ancient and modern, man is regarded as the "representational animal" or animal symbolicum, the creature whose distinct character is the creation and the manipulation of signs – things that "stand for" or "take the place of" something else.[1]

Representation has been associated with aesthetics (art) and semiotics (signs). Mitchell says "representation is an extremely elastic notion, which extends all the way from a stone representing a man to a novel representing the day in the life of several Dubliners".[1]

The term 'representation' carries a range of meanings and interpretations. In literary theory, 'representation' is commonly defined in three ways.

  1. To look like or resemble
  2. To stand in for something or someone
  3. To present a second time; to re-present[2]

Representation began with early literary theory in the ideas of Plato and Aristotle, and has evolved into a significant component of language, Saussurian and communication studies.[2]


Considering audio for short documentary



Audio recorder

XLR lead



10/4/17 - Briefing on exhibition preparation

How the space you use demonstrates the context of your work - how to organise the space - not allowed to install prior to 21st for safety unless it's a complex install

Shifting spaces, patience, flexibility - record and reflect on this

Having work on the SHOW REEL AND in the exhibition (4D & 3D?)

Opportunity to negotiate and show off?

Learning how to manage in a group show - in preparation for art career

Learning to work without much control, having to negotiate and compromise according to the work of others


Other Project outcomes should be presented well as a portfolio sheet + details on how it would be presented (cardboard box building paintings)

- showcase technical work, video pieces - present the several different films as alternative pieces

ON A USB STICK + sketchbook - LABEL 'outcomes'

- imagine as a proposal for a solo show


Reflections + research must be ongoing to achieve distinction

Screen grabs with annotation

Post it notes in sketchbook linking to workflow

Written evaluation (500 words)
If i feel I achieved what I intended to
The course, development unit 7

A eureka moment, a time when I realised something
How the project has evolved and changed
(Gives context at how examiner looks at the work)

Decision making and final outcome

"Initially I did this"

"Initially I planned to show this but ended up presenting this instead"
+ further explanation

Record changed plans
Failed plans
Ambitions which didn't work out and how you dealt with it

Instead of focusing on trying to make sense


Submit a second timetable which reflects the reality of how the project actually went -

 did everything go slowly the well at then end?

Did you work methodically?

Came across new people?
Maybe some of the texts in the Bibliography were not entirely relevant

Risk assessment

Consider more involved project outcomes ?

Extention Leads
Splitters for headphones



First interview: Pamella Cofie, 15 years

Length: 14:21:66

Date: 12/3/17


M: How would you feel if someone was to suddenly inform you that within 3 months, you'll be evicted from your home and possibly placed in housing outside of London?

P: I'd feel emotions of anger and sadness...

M: What are your fist impressions of the words Gentrification?

P: Um... it just sounds very general to me... I thought it was a term to do with generalising or stereotyping because of the "Gen-" part of the word whereas the "-trification" sounds like the action of improvement, I think that's helpful to show how people are mislead by the term.

In terms of London's housing crisis, to me it basically means is where people take advantage of others for their own gain or benefit, rather than actually caring about their...

M:  Their well being?

P: Yeah, it's like they're more concerned about the buildings and they just place the people i them anywhere, almost disposing of them as problems to get out of the way, instead of them trying to preserve the community.

In a way it seems like they're building and carrying out these projects so people can have better housing but those people-, I mean it would make more sense if they built those houses as replacement for the residents that lived there before. Because it doesn't make sense to demolish and move people out of their houses, only to build more houses which are too expensive to live in anyway.


M: It's interesting aswell because the developers that invest in these projects are from across the globe and not where the land their putting money into is. What is your opinion on that?

P: It's like they care more about the money in comparison to the families and the households that live there... it seems easiy comparable to White collar crime.

Gentrification IS a form of white collar crime.

M: I agree, those developers from countries like China and others are not aware of the headache this process causes to the communities which are being destroyed.

P: Even if they do, they still don't care as long as their making a profit from it.

If you're going to do this gentrification thing then you might as well place the families back or try building on new land where no one was living before rather than kicking people out and no caring what happens to them whether they end up homeless, depressed or dead. It just doesn't make sense, its just very selfish and greedy.

M: Another question, does the fact that a majority of the households evicted are displaced outside London where its cheaper to live trigger any thoughts? 

P: Just the other day I was on a bus heading in the direction of Elephant & Castle. I was shocked to see that in the distance all you could see were cranes and scaffoldings, when once you were able to clearly see the sky with the absence of machinery.

M: I wonder how many new tall skyscrapers have risen up in Elephant in the past year... That there is Gentrification

P: It almost feels as if they're competing rather than thinking about the real problems going on right now. Laws exist so they can protect people and make sure that they're safe, yet this isn't classed as a crime? Why? 

M: It's true, does this relate to other forms of discrimination? 

P: I feel it does, it's like Racism, it can almost be seen as a hate crime. For me, Gentrification is still a crime. If we look at the Race war thats been going on for decades, people focused on that issue a lot more but now we have a new war going on now, the war of the housing crisis, the war to live.


Record Great Voice-over Dialogue with an iPhone

Equipment used in this tutorial:

  • iPhone 3G
  • Blanket (the thicker and fluffier the better)
  • Lamp or flashlight
  • Audio recording iPhone App (VoiceRecord used in this tutorial)



Peckham negative stigma

peckham .jpg

Research defining Environmental ethics

"Environmental ethics is a branch of ethics that studies the relation of human beings and the environment and how ethics play a role in this. Environmental ethics believe that humans are a part of society as well as other living creatures, which includes plants and animals."

Environmental ethics is the philosophical discipline that considers the moral andethical relationship of human beings to the environment. Human values become a factor when looking at environmental ethics because they are the things that areimportant to individuals that they then use to evaluate actions or events.



Experimenting with a projector

projector .jpg


The history of Gentrification

History of the Term

    The term ‘gentrification’ was coined in 1964 by a British sociologist – Ruth Glass – when referring to the alterations she observed in the social structure and housing markets in certain areas of inner London.  Glass observed; "One by one, many of the working class quarters have been invaded by the middle class - upper and lower ... Once this process of 'gentrification' starts in a district it goes on rapidly until all or most of the working class occupiers are displaced and the whole social character of the district is changed" (Glass, 1964, p.xvii).

    Early definitions of gentrification, like that of Glass, tended to focus on the residential housing market and the rehabilitation of existing properties.  However, since then the definition has widened to include vacant land – usually in prior industrial use – and newly built designer neighbourhoods, as well as neighbourhoods of working-class housing.  Smith’s (2002: cited by Atkinson and Bridge, 2005) more recent work has argued that gentrification has broadened once again to become a new form of neo-liberal urban policy.  Where the original definition focused on ‘sweat equity’ gentrification, with the middle-class householder rehabilitating their dwelling; more recent discussions have included off-the-peg new-build developments, often beside water or in other notable locations in the city.

    Initially confined to western cities, gentrification has spread globally.  Evidence of neighbourhood alteration and colonisation illustrated by an increasing concentration of the middle class can be found across the world; including cities such as Shanghai, Sydney and Seattle.  As well as this, the process can now also be observed in regional centres such as Leeds in England and Barcelona in Spain. (Atkinson and Bridge, 2005).

Piece written in collaboration with Tyrell Peters

Derive of The Streets Part 1 (Year 1999 to now)

Surrounded by licentious chants
while liquor laden delinquents dance,
And their scrutinizing eyes, dart and pierce,
So you wore your generic black (jacket) like chain mail to their glance.

Cellular vibrations and pings from worried mothers extrude the ears 
While their children’s pocket sized swords struck at their own peers. 
The solemn battleground spoke phantasms; you hear Enoch Powel laugh…

In his epoch, you see rivers of red, lifeless blood as the street clears.

The neo knights of the Soul Babies had once embellished the Elephant -his Castle 

But their bouquet gravel graves were defaced and startled-

by sonorous screams of babies playing with knifes – blue suits ceasing them from behind 
While scattered skeleton white painkillers fall from their parcels crafted from crime 
This is my home The SE, home of the PYG to the GMG, ANTI-social teens misunderstood to many 

Unanswered phones are plenty, parents groan for their children’s safety 

While PM’s increase tax for poor, MPs lack constituent rapport 

Why the hell you think people fight each other for? 
Is what I used to say 

Now I say: “…Why the hell are we fighting each other for?” 

We, in the SE, have nobody but ourselves to go to for help 
Harriet Harmon can design apartments but only we can redesign ourselves 
Our parents were fighters, nurses and miners; what do we want to be defined as – well? 
We can’t change the past but we can change our future selves. 
We can’t change the past but we can change our future selves. 
We can’t change the past but we can change our future stop picking knives and start taking books off shelves 
Stop taking lives and strive for wealth 
Stop holding 9’s flip that upside down so it’s a 6 
now times that by 3 and find the factor the factor of the matter is you’ll see the devil still exists like those 3 6’s 

I don’t care if you believe in or atheist 

the fact is negative energy has taken over your playlist 

Lets change the song.


"Gentrification: The New Age of Colonialism"

"Gentrification: The New Age of Colonialism" is a documentary film analyzing the displacement of residents' culture by a higher socioeconomic hierarchy. We explore Leimert Park, a residential neighborhood in the south region of Los Angeles, California, to examine the issue of gentrification, where the buying and renovating of houses and stores in deteriorated urban neighborhoods by wealthier individuals is taking place, which in effect improves property values but also can displace low-income families and small businesses. We compare this [supposed] gentrification in Leimert Park to modern day colonialism.

Directed by Jason Hibono & Alexandria Mae Gilligan

The upper class rebuilds a community which causes an increase in the property value, and often displaces poor residents. The higher hierarchy replaces the poor residents culture with their own

Gentrification is aimed at reconstructing and reemerging inner cities, local inhabitants are lost, the uniqueness will not be maintained. Is a displacement method.

Kincaid 35

Lorenzo vicario, sociology professors at the university of basque country

Three characteristics a community must have in order to be gentrifiable:
The place must have a strategic location (real estate, good transport links, accessibility = increased value of the area)
Possession of a culturally interesting environment with low housing prices
A large portion od the population living there must be vulnerable, therefore easily displaced from the area

More value is placed on the culture and community developed from these locations, therefore gentrification only exploits the city’s location and abandons the people who lived there prior.



Adding more books to bibliography

Farrar, Straus, Giroux, 1988.
Kincaid, Jamaica A Small Place. New York:  Print.

Vicario, L., and P. M. M. Monje. 2003
“Another ‘Guggenheim Effect’? The Generation of a Potentially Gentrifiable Neighbourhood in Bilbao.” Urban studies 40 (12): 2383–2400.

Beauregard, Robert A.
"The Chaos and Complexity of Gentrification." Gentrification of the City (2013): 35-55.

Fujitsuka, Yoshihiro
 "Gentrification and Neighbourhood Dynamics in Japan." Gentrification in a Global Context The New Urban Colonialism (2005): 137-50.


Notes: VICE documentary

[21:27, 1/11/2017] +44 7539 103593: 
The skyline of London is evolving and changing at an accelerated speed

- compared to a nature film by David Attenborough about the return of spring to the Canadian tundra

Prices of housing all across London have gone up by 20% in the last year = resulting in a colossal demand for affordable homes

Original dream of council houses was to move working classes out of overcrowded slums and into revolutionary architecture

Council houses when seen trendy were viewed as futuristic streets in the sky but in present day the post-war dream of urban renewal has turned sour

The number of council houses in London has fallen by a third in the last year despite a million more people migrating into the city affecting everyone

Council estates which still exist are gradually being emptied caused by government eviction for redevelopment of the land. This shows the highest bidders (developers) winning as the people are losing and fighting back

E15 Focus -
Campaign for social housing

F - ocus on the future,
O - on housing,
C - ommunity...
U - nited we are STRONG
S - ecure future for ALL

Their motto is "London for EVERYONE not just the rich"

They caught the attention of the media and the public sparking fires all across the city
One of the main areas of London undergoing regeneration is the Carpenters estate in East London, with a housing waiting list of over 16,000 people and their families

The council provide the explanation for this as refurbishment is too expensive meaning the estate is no longer VIABLE. Therefore are currently seeking investors to help finance the regeneration.

London is in the midst of a housing crisis. "We need a good economic mix, London cannot afford to export the majority of its people and become a place only for the wealthy. It will not function."

Mayor of Newham, Sir Robin Wells has been viewed as the villain in the E15 focus campaign. He has declared that the properties are not fit for housing, however, Newham and other councils have increased power under the localism ACT to take advantage of the rising value of the land in their borough.

Jamie - E15 mum

"London is fir everybody, every one is welcome, don't close the doors. We aren't going hate anyone of wealth, just dont push me out. There is enough space for everybody, it's evident." Based on all the empty flats


"There are so many people being forced out of London to places like Birmingham, Manchester and Hasting. We thought we would highlight the issue of so many homes being boarded up for years on end. Some of the properties on this (Carpenters) estate have been empty for over eight years."

"If you look around you can see all these giant glass buildings that nobody can afford in the local area. There are people that have created memories here, these homes are people's lives, by taking someone's homes away you're taking their life away."

Clir John gray:
Social rent is probably about 50% of market rents. There are 24,000 people in this borough and 300,000 households who are in desperate housing need, the biggest issue is the housing crisis in London, it is an affordability issue. If you've got money you can find somewhere to live, if you haven't got money then you've got nowhere to live"

Presenter takes a trip to the other side of the problem, attending Mipim uk (the decision making epicenter) to meet some of the investors who have the power to transform council houses into fancy mega towers.

mipim uk
Where developers, counsellors and investors network and strike deals while in this case many from the E15 mums campaign and other anti housing groups protested against the function

"On the inside it was like a completely separate world, like a boozy property disneyland"

Investor- "There is a great demand to improve housing. To look at these areas that have traditionally been pretty shoddy, like elephant & Castle and really bringing it up so London is 21st century.


Investor- " Quite a dangerous place to be in over the past few 
             - years and certainly at the end of its viable life."


"Well, a large estate, a large piece of land might need to be propped up by valuable uses. And that valuable use might be private residential, it might be office space, retail or restaurant. So it's whatever makes the most money at that particular point."

- "According to the financial times housing prices have gone up by 20% in the last year, i think that is in many ways a compliment to London, a sign of success. London thrives on being an international city, we need to welcome international city."

Soaring house prices now mean London property has become a safe investment all over the world. It is estimated that a third of new homes in the city had been bought out by foreign investors bringing heavy competition to the housing market and causing land value to sky rocket to record levels.

David orr 
- Chief exec. National housing federation

"If you make an income of 100,000 a year, if you want to be a first time buyer, then very soon people will not be able to afford to live here"
"Its not the idea of regeneration thats the problem, its the way that we've done it and the way we have allowed the wealthy to walk away with the spoils and not invest in ensuring that there are affordable homes for ordinary people who need to live and work in London."

Many of the people/investors at the mipim function were looking quite "bewildered and confused" and were unaware of the reason why people were protesting.

- Director of regeneration southwark council
Recently led the controversial eviction of the Heygate estate

" In terms of regeneration and why it is feared, i think it is a fear of change. Its a fear of the unknown, and I think when you propose change quite rightly, residents, businesses and people impacted by those changes are very resistant and worried about how it will impact upon their lives.

People in the profession have to explain what the benefit of regeneration is. Its not just about shiny buildings and increased property prices."



VICE: The War to live in London: The Regeneration game

Research for narration: How To Get the Siri Voice & Make Her Say Whatever You Want [Mac]


Get Her To Say What You Want

The Terminal / Command Line is the easiest way to do this. Find it under Applications -> Utilities -> Terminal. Type in the following command, replacing the text in quotes with whatever you want Siri to say!

say "Master, my name is Siri. I am here to serve your every desire"

Save The Output

To use the synthesised speech in our project, we need to output it to a file. To do this, add the -o switch the command, followed by a file name.

say -o "filenameGoesHere" "Master, my name is Siri"

Note that when you run this, it will not play the voice – only save to the file. It’s an .aiff file – and by default, it’s going to save in the root of your users’ home directory. To save to the desktop, just issue this command first:

cd Desktop

which will change the current directory to the desktop.

A few more tips – if you have a large amount of text you want to read, save it to the same directory as a plain text file, and instead of specifying the text to say, add the -f switch and the filename of your text file, like this:

say -o "outputFile" -f "inputFile"

To change the voice being used without having to go into System Preferences every time, use the -v switch:

say -v "Daniel" "I am Daniel, the voice of iPhone 4S in Britain"


Researching the Gentrification process

Yuppies: Young urban profession 

Gentrification Processes

            Gentrification commonly occurs in urban areas where prior disinvestment in the urban infrastructure creates opportunities for profitable redevelopment.  It also occurs in those societies where a loss of manufacturing employment and an increase in service employment has led to an expansion in the amount of middle class professionals with a deposition towards central city living and an associated rejection of suburbia (Slater, 2011).

The inhabitants of such urban areas most likely to be displaced by the gentrification process are those living in inexpensive yet architecturally desirable housing near central business districts.  They occupy housing which has the potential to be gentrified and, are themselves economically and politically powerless relative to the gentrifiers.  Such people live in the area for an array of reasons; cheap rent, nearby employment opportunities or the location may hold historical or emotional significance.  Their location may or may not be a matter of choice; however their existence there is a matter of the creation and location of the inner-city poor.  The majority affected are on the fringes of the labour market or outside it: the elderly, welfare mothers, the unemployed and many working class households and underemployed individuals near the poverty line (Beauregard, 1986).

            Pattison (1977: cited by Clay, 1979) identified four stages through which gentrification neighbourhoods commonly experience.

            The initial stage consists of a small group of risk-oblivious pioneer individuals who buy and renovate properties in previously described urban areas for their own personal use.  Very little displacement occurs at this stage since the pioneer gentrifiers obtain housing that is vacant or part of the normal market turnover.  This group of newcomers consists largely of design professionals and artists who have the skill and time to undertake such renovation projects.

            In the second stage of the gentrification process, a similar class of people to the first move in and renovate their new homes.  Some quiet and subtle promotional activities often begin at this stage and are driven by estate agents whilst small-scale speculators often renovate a few houses for resale or alternatively, rental.  The houses bought at this stage begin to disperse over a greater area and are often vacant and thus relatively easy to acquire.  Furthermore, if the neighbourhood was to have its name or boundaries altered, it would happen at this stage of the gentrification process.  This often brings forth attention from public agencies.

After the first two stages of gentrification, the media diverts attention onto the neighbourhood and it becomes a hub of interest.  Whilst the pioneer individuals continue to influence the area, they often become accompanied by developers and urban renewal begins.  As a result of the increasing volume of work undertaken by individual investors and new developers, the physical improvements become increasingly visible at stage three.  Consequently, house prices in the area begin to escalate.  The displacement process continues therefore, and it may increase to a greater extent if codes are enforced rigidly or if reassessments are made to reflect the increasing value of even the unimproved dwellings.  The better maintained properties become part of the middle class market as landlords seek to take advantage of the enhanced reputation of the area – leading to further displacement.  The new middle class residents in the third stage turn outward to promote the neighbourhood to other middle class individuals and to make requests for public resources; whilst turning inward to shape community life.  As this occurs, tension arises between the pioneer individuals and the new gentry. 

Finally, in stage four, a larger number of properties become gentrified and a simultaneous influx of middle class individuals occurs.  These middle class individuals are from the business and managerial middle class, rather than from the professional middle class.  To accommodate the growing demand for houses in the area, non-residential buildings may be turned into rental or condominium units and buildings that had previously been held for speculation emerge on to the market.  As well as this, small and specialised retail and professional services or commercial activities begin to emerge.  This all contributes to the ever increasing house and rent prices, adding to more displacement on both the renter and homeowner fronts.  Often at this stage, additional neighbourhoods in the city become identified to meet the increasing demand of the middle class.

Explanation of Gentrification

Explanation of Gentrification

    The academic literature that seeks to explain gentrification hinges around three key different explanations.

    First and foremost, Ley (1986, 1996: cited by Hamnett, 2003) argues that the origins of gentrification stem from the altering industrial structure in major cities.  A change from manufacturing based industries to service based industries in the inner cities results in a simultaneous change in the occupational class structure from one largely based around manufacturing working class individuals to one increasingly dominated by white-collar professionals whose financial, cultural and service industries are located in major cities.

    Secondly, also related to the restructuring of industry in inner city areas, Ley (1980: cited by Hamnett, 2003) and Butler (1997: cited by Hamnett, 2003) believe that due to the changes in class composition, changes have also occurred in the cultural orientation, preferences and working patterns of a segment of this new middle class which have predisposed them to living in the inner city, rather than commuting from leafy suburban areas.  These scholars suggested that the purchasing of properties in the inner city was more on an individual and demand-orientated basis, rather than Smith’s theory of gentrification on a larger scale. Related to this occupational change was the movement of women into the new class workforce, and the growth of smaller adult oriented-households well suited to central neighbourhoods.

Finally, Smith (2002: cited by Atkinson and Bridge, 2005) argued that gentrification was a movement of capital and not peopleSmith (1979, 1987, 1996: cited by Hamnett, 2003) demonstrated that the driving force behind gentrification was the growing difference between the potential value of inner urban properties and their underlying land values.  Smith suggested that this difference has opened up a growing ‘rent gap’ which has been exploited by the actions of property based capital, estate agents and developers whom have gentrified undervalued inner city housing for profit.

How to narrate my short film/documentary

Using the voice of google translate to narrate a short video advertising London after gentrification as a product.


+ Also find out how to record audio well using my cellular device.

TUES 21 | 02 | 2017


Barbican Centre visit



MON 20 | 02 | 2017


Edmond H.
“The Chintz Age” Cervena Barva Press

“Hamilton creates relatable characters with heartbreak and breakthroughs that resonate. Each of the eight short stories in this collection is a keeper. Hamilton paints a New York you recognize, even if you have never set foot in the city. These same people are in your city, struggling to live the same dreams.”– , Zane Ewton (4 ½ stars) Recommended

"Most of the stories are told in third-person, and one could almost believe Hamilton is still working in creative nonfiction, chronicling the lives of his fellow East Villagers. The stories are just long enough for the reader to relax into the characters, but Hamilton rightly changes focus before we can grow tired of his subjects.

There is a good dash of romance to be found in these stories, although the love tends to lean toward second chances, and long simmering affection that gently blooms more than explodes.

The tales in “Chintz Age” are often simultaneously elegiac and hopeful. The bohemian New York of our collective imagination is dying, but Hamilton suggests that maybe something new can be born in its place, if we are brave enough to imagine it."―Eli Keel, LEO Weekly

“Hamilton creates relatable characters with heartbreak and breakthroughs that resonate. Each of the eight short stories in this collection is a keeper. Hamilton paints a New York you recognize, even if you have never set foot in the city. These same people are in your city, struggling to live the same dreams.” , Zane Ewton (4 ½ stars)

"Ed Hamilton’s accounts of gentrification in The Chintz Age are not black and white. Importantly, The Chintz Age is short fiction, and short stories―unlike case studies―allow a writer to present ambiguous characters and situations. And Hamilton does this. His bohemians―of the East Village/Lower East Side of New York City―are not utterly the salt of the earth. His gentrifiers are hardly ogres...

And get thee a copy of The Chintz Age! It is a captivating account of the consequences of free market capitalism gone greedily amok." -The Thomas Opinions, Thomas Gagnon

"Hamilton has an uncanny ability to show how the inroads of time, age, etc.. forces choices in our lives. His characters find some sort of redemption, and keep on keepin' on. Highly recommended."-Boston Area Small Press and Poetry Scene, Doug Holder

"We are introduced to a fascinating cast of characters, diverse within the somewhat homogeneous subset of “original” New Yorkers, including a used bookstore owner, a once-famous photographer, a musician who is moonlighting as a bellboy at a Chelsea Hotel-esque dive, a couple whose apartment overlooks the Highline, and a group of women whose number one goal is to meet men who have rent-controlled apartments. Some are hanging on by a thread in order to stay here, while others are on their way out. And some have already left.

Set in dive bars, flophouses and condemned buildings, the book is completely engrossing, feeling as though we had been to these fictional places and had met – and perhaps sympathized with – most of these characters in real life."
-Bowery Boogie, Lori Greenberg






David Hepher

Grain of Concrete

LONDON Kingsland Road

17 March – 13 May 2017


For forty years British artist David Hepher has centred on a single subject, the high-rises of South London, through which he has channelled the diverse currents that have swept the international world of contemporary art. His multivalent work has both celebrated and mourned modernism in modes that are futuristic and nostalgic, utopian and entropic. Flowers Gallery will exhibit a major retrospective of Hepher's work at our Kingsland Road gallery space.

David Hepher
Study for Arrangement in Blues and Greys
Oil on board
39 x 30 cm / 15 ⅜ x 11 ¾ in


This show coincides with the UK launch of a new monograph written by art critic, author and documentary film-maker Ben Lewis. The publication charts Hepher’s life and work from the 1950s to the present day, tracing a path that begins in an era of the last century that was highly suspicious of figurative painting, through to the recent re-evaluation and rise to prominence of post-war British Art within global art history.

Oil, acrylic, inkjet and concrete on canvas 

228 x 705 cm / 90 x 277 ¾ in



Aligning the engagement of his work with the critical discourses surrounding the ‘end of painting’ and conceptual and minimalist strategies throughout the 1960s and 1970s, this book presents Hepher’s oeuvre as a “British realist response to modernism” and a highly theorised engagement with painting. With over 250 colour illustrations, this is the largest book to have been published on Hepher’s practice.


The Museum of London: World City

1950s - Today

Revolutions in technology, fashion, and culture have transformed London. The postwar generation led London's multicultural revolution, followed by the punk movement in the 1970s. By the 1980s many of London’s traditional industries had closed down, even as new technologies transformed everyday life. Now 21st century London is known for its diversity and modern industry.

The Ghetto,
Tom Hunter
3D Photographic model


Digital 3D model of the Thames River



The museum of London notes:

Environmental ethics


A home is not a luxury but a necessity

Houses stand empty while homelessness grows. Who makes the profit?


Rich man’s war

Poor man’s blood


A situation where the land we live on holds more value than its inhabitants

Why do we just accept things?


HEYGATE ESTATE - Ghettos of London
What happened to the £400,00 investment money?


This is the London you don’t see on TV

Not Big Ben or wealthy Central London that most Americans are used to seeing

These are the estates and the slum housing most people in London live in.


The grit, grime, poverty and deprivation that plagues most of the city.


Victoria Miro trip: Do Ho Suh

"Do Ho Suh explores contemporary arrangements of space and the unstable boundaries of its categorisation along lines of individuality and collectivity, physicality and immateriality, mobility and fixity. Influenced by his peripatetic existence – leaving his native South Korea to study and live in the United States, he has more recently moved between New York, Seoul and London – an enduring theme of the artist's practice is the connection between the individual and the group across global cultures.

The multiplicity of individuality is tested through meditative processes of repetition: whether interlinked along a lattice of fishing nets, amassed into monumental tornado-like forms, absent from ranks of empty uniforms, or present in every yearbook photo taken at the artist's high school over 60 years, the artist uses the reproduced human figure to explore sensitively, and with spectacular formal effect, the ways in which personal space inherently extends into the collective sphere.

Inspired by his peripatetic life, Do Ho Suh has long ruminated on the idea of home as both a physical structure and a lived experience, the boundaries of identity and the connection between the individual and the group across global cultures. Meticulously replicating the architecture of the places in which he has lived and worked, such as his childhood home and Western apartments and studios, Suh’s one-to-one scale translucent fabric structures give form to ideas about migration, transience and shifting identities."



"personal space inherently extends into the collective sphere."

- The invasion of privacy and the neglect of the basic human rights to live by ceasing people's homes. 


"The multiplicity of individuality is tested through meditative processes of repetition"

- Through observation of the brutalist architecture in London, in housing estates, the method of repetition is applied in the designs of these estates to add an element of unity and cohesion. Evident in the Aylesbury estate where although there are several different blocks, they all appear to look the same, as one.


The Pram Project: Do Ho Suh



Passage/s: The Pram Project, 2014 - 2016
3 channel video installation with audio
Duration: 14 min 25 sec, looped
Dimensions variable


The idea of transient experience as both a sustained emotional state and an act of self-discovery is a theme shared by the enveloping three-channel video Passage/s: The Pram Project, 2015.



The artist, accompanied by his daughters, explores streets in South Korea and around his home in London. Suh?s move to London approximately five years ago coincided with the arrival of his first daughter. Attaching three GoPro video cameras to a pushchair, in the film he captures a newly discovered locale from three different viewpoints while ambient sound from the street and conversations between father and daughters, in English and Korean, signal the crossing of cultural and geographical boundaries.


Suh?s work always stems from the measuring of space and the processes, rational yet sensual, that enable him to determine and connect with his surroundings.




Press Release

13 March 2008

4 April - 8 June 2008
Ondaatje Wing Main Hall. Free admission.


The National Portrait Gallery is pleased to announce its participation in the UNDEREXPOSED arts program, part of the 4 The Record Initiative (4TR) created to highlight talent and achievement within the black British community and to bring their work to a wider audience. The main hall of the Ondaatje Wing will host a plasma screen installation, displaying dramatic portraits of thirty black British actors by photographer Franklyn Rodgers, while the wider programme will see UNDEREXPOSED events taking place at multiple sites across London from the beginning of April.

Photographed by Franklyn Rogers in atmospheric tones, bathed in reflective light, the sitters in this unique project urge an engagement with the viewer. The selection of thirty black British actors includes television legend Rudolph Walker (star of Love Thy Neighbour), Academy Award nominee Marianne Jean-Baptiste, acclaimed stage actor David Oyelowo and Idris Elba, star of HBO's new hit drama, The Wire.

Franklyn Rodgers sits at the cutting edge of contemporary photographic portraiture, bringing a unique approach and a style that is distinctly his own. He has created a diverse body of work over the last decade, spanning the arts, music, and corporate genres and including work for Polydor andNational Geographic. As a recent recipient of the prestigious NESTA fellowship award, he has been able to further expand his endeavours, exploring cross-cultural identities on a global platform.

The 4 The Record Initiative was founded by actor Fraser James as a personal response to the national media debate which suggests that the absence of black role models for young people in the black British community is one reason for the rise in violence, gang culture and low achievement amongst young black adults. Drawing upon the wealth of talented black men and women in the British acting profession, Fraser James conceived of the UNDEREXPOSED programme as both a celebration of this talent and a means of inspiring young people looking for direction and guidance.

Fraser James comments: 'UNDEREXPOSED is the culmination of a long held belief of mine that there are many potential black role models, but their visibility needs to be higher. I hope this project goes some way in achieving a greater level of recognition for the wealth of talent we have in the acting profession and to inspiring the next generation of black actors in this country.'

UNDERPEXPOSED is the first in a series of projects which will take place every two years, focusing on black British talent in different areas. It has been made possible thanks to the support of Arts Council England and deciBel.



The White Cube, Anselm Kiefer 'Walhalla'


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