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Day Against DRM – 4th May 2011 July 6, 2011

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4th may – day against DRM

Social Centre Plus – 12th April 2011 July 6, 2011

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Participants from the Social Centre Plus created through Deptford.TV a 3 min. documentary about the eviction attempt, which was then published on indymedia.

Local residents who occupied the old Job Centre on Deptford High Street with the aim of “converting it into an anti-cuts space for the community” have responded to a legally binding eviction order for this Tuesday by announcing a series of events, culminating in a “mass meeting of anti-cuts activists” the night before. The collective – who go by the name of Social Centre Plus - also plan to bring the local community together against the government’s budget cuts, with spoken word concerts, children’s days, film showings and market day cafés.

Members of the Social Centre Plus collective were in Woolwich Crown Court on Wednesday 30th March to hear the Judge accept the argument of Paul Jackson from Victory Land, the owners of the site on 122 Deptford High Street, and rubber-stamped an order that allows Jackson and bailiffs to forcefully evict the occupation. “They’ve notified us that they’ll arrive this Tuesday morning,” Nasser Khan said. “So we’ve got a raft of activities to keep us busy in the meantime, and we’re calling on the local community to come down and participate. It’s your space, so we want to hear your ideas!”

When asked what the SCP Collective had planned for after the eviction, Khan replied that they hadn’t discussed the issue. “What’s important now is that we all work together to use the space as an effective space to counter the brutal cuts being implemented both by the Tories and Lib Dems in Westminster, and the Labourites running Lewisham Council,” Khan continued.

On the morning of Tuesday 12th April, SOCIAL CENTRE PLUS successfully resisted an attempted eviction. Around 60 people gathered outside the space, linking arms and blocking the front door so as to prevent High Court bailiffs and builders – backed up by a vanload of police – from entering.

Scp-medium
photo by Transpontine

The victory was achieved following an hour-long stand-off, during which the bailiffs – from Locks Bury Services – met with Paul Jackson, the site’s landlord, were spotted outside the Deptford Project, the café opposite Social Centre Plus, whose owner also wanted the space for a high society art exhibition. There they made a series of frantic phone calls in which they spelt out their reluctance to confront the occupiers inside the anti-cuts space, some of whom were positioned on the building’s roof.

Eventually the police informed the bailiffs that they had no intention of intervening, and recommended that they come back another day. Members of the local community remained outside SCP for most of the morning, savouring the success for South East London’s anti-cuts movement.

However, the SCP Collective is well aware of the continued threat to the space. A second eviction attempt must be expected, and this time Locks Bury will come unannounced, and with the necessary tools and thugs to remove the occupiers. Despite this, SCP remains committed to hosting and facilitating the local anti-cuts movement, even if they do have to move on from 122 Deptford High Street.

From the blog http://socialcentreplus.wordpress.com

Lewisham 77 at Cafe Crema September 20, 2010

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Quoted from Lewisham, Peace, Justice and Solidarity:

Thursday 18 March
Who shot the sheriff? The Battle of Lewisham 1977 and the Battle of Cable Street short films looking at the fight against fascism from the 1930s to today with Q and A with film makers and Unite Against Fascism

Who shot the sheriff? – the history of Rock Against Racism and Love Music Hate Racism inspiring and mobilising young people to stop the fascists by bringing together music and politics-from the 1970’s to today.

[Details here. Read an interview with director Alan Miles here. We showed this on our Lewisham 77 commemorative day, and it went down well. If you like it, you may also like our short films about Rock Against Racism's Red Saunders: 1, 2.]

Lewisham 1977 about the Battle of Lewisham filmed in New Cross by Deptford TV volunteers.

[Not sure which of our films they are showing, presumably this one, filmed on our commemorative walk. More details of the film in this article. Our films were made by volunteers, including Goldsmiths MA Screen Documentary students, in collaboration with Deptford TV, a project which uses open source technologies to generate new forms of collaborative film-making to document changes in SE London.]

The Battle of Cable Street and The Legacy of Cable Street with film maker Yoav Segal

[More info here. Note: Cable Street features in our film about anti-fascist footsoldier Martin Lux.]

With Q and A with film maker and Unite Against Fascism – important lessons as the fascist BNP stand in the forthcoming elections.

Presented by the Lewisham Anti-Racist Action Group and south-east London Unite Against Fascism in conjunction with Café Crema , New Cross larag@talktalk.net; www.naar.org.uk/larag www.uaf.org.uk/ also join face book ‘sel uaf see LARAG online exhibition with images and quotes about fighting fascism in London from 1930’s to 2010.
For all the films at Café Crema there is a charge of £6 which includes polenta meal or cake and drink ordered at 7.30 pm, film screening 8.15pm. Tickets available from the café in advance. To guarantee a place at this cosy venue. 306 New Cross Road. London SE14 6AF. 2 minutes from New Cross and New Cross Gate stations mob 07905 961 876/ 07905 552 571 http://www.cafecremaevents.co.uk/ for information. Pop in: book your seat!

Bonus link: Watch the Deptford.TV film about Cafe Crema.

CUCR & Deptford.TV, workshops / roundtable: research architecture September 22, 2007

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During April/May 2007 CUCR students joined the Deptford.TV workshops. Have a look at the 2007 channel in the http://www.Deptford.TV Broadcast Machine.

As a result the text “strategies of sharing” got published in the CUCR magazine street signs (.pdf file).

roundtable

Can spatial practice become a form of research? How may architecture engage with questions of culture, politics, and conflict? This new and innovative research centre brings together architects, urbanists, filmmakers, curators and other cultural practitioners from around the world to work collaboratively around questions of this kind. In keeping with Goldsmiths’ commitment to multidisciplinary research and learning, the centre also offers an alternative to traditional postgraduate architectural education by inaugurating a unique, robust studio-based combination of critical architectural research and practice at MA and MPhil/PhD levels. The MA programme is for suitably qualified graduates from a range of disciplines wishing to pursue studio-based spatial research in the context of theoretical work. The MPhil/PhD programme is aimed at practitioners of architecture and other related spatial practices who would like to develop long-span practice-based research projects. The encompassing aim of research at both levels is to explore new possibilities generated by the extended field of architecture. http://www.goldsmiths.ac.uk/architecture

Deptford.TV diaries interviews December 30, 2006

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watch video here

Future City August 22, 2006

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now at the barbican – utopia in architecture, quoted from the barbican website:

What would it be like to live in a hairy house, a floating city, or an inflatable pod? Pure fantasy or the shape of things to come?
From extraordinary houses and incredible towers, to fantasy cityscapes and inhabitable sculptures, Future City showcases the most radical and experimental architecture to have emerged in the past 50 years.
Featuring a who?s who of architecture, the exhibition includes 70 visionary projects by influential and groundbreaking architects who have challenged convention to radically shape and influence the way we live.
From the visionary artist-turned-architect Constant Nieuwenhuys, to 1960?s giants Archigram and SuperStudio, to deconstructivists Daniel Libeskind and Zaha Hadid and contemporary digitally inspired work by Nox and Decoi, this is the most comprehensive survey of experimental architecture to be held in the UK.
Featuring 300 original models and drawings, plus photographs and film, Future City reveals classic projects: from Kisho Kurokawa?s Floating City (1961) and Rem Koolhaas?s Delirious New York (1978), to unusual and innovative houses including Shigeru Ban?s Paper Log House (1995) and Watanabe?s Jelly Fish house series (1990-97) .

A series of exciting evening events accompanies the exhibition including talks by Rem Koolhaas, Lord Norman Foster, Nigel Coates, Fashid Moussavi and Will Alsop.

Media Artist & Social Housing Forum August 18, 2006

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At the 31st of March Deptford.TV’s outcome of the March workshops was presented at the Media Artist & Social Housing Forum:

Inspired by Vital Regeneration’s recent collaboration with the City Of Westminster and CityWest Homes to create FreqOUT! (www.freqout.blogspot.com), this will be an opportunity for media artists to find out more about the expanding employment and commissioning opportunities in the Regeneration and Housing sector.

Invited speakers from housing and regeneration agencies, and media artists who have experience of the field, will explore housing associations’ objectives when commissioning arts projects. The forum will also explore barriers that artists experience to working in this arena.

Artists attending will leave with an understanding of the skills and capabilities needed to work in this context, and the challenges of working with young people, who are often the main beneficiaries of creative regeneration schemes. This will be an opportunity for both perspectives – arts and housing – to share their experiences and increase their likelihood of participating in successful arts and regeneration partnerships in the near future. For more information please contact Amy Robins at arobins@cwh.org.uk

Architecture April 11, 2006

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Architecture is a term that has over history acquired different, though indirectly related, meanings all of which have currency today.

* Architecture, in its first and traditional usage, refers to the art and science of designing buildings. A wider definition would include within its scope the design of the total built environment, from the macrolevel of urban planning, urban design, and landscape architecture to the microlevel of furniture and product design. Architecture also refers to the product of such a design.
* From this original meaning, the term architecture has been extended to the design or act of designing other complex systems and is usually qualified using a prefix, for example: computer architecture, software architecture, information architecture, product architecture). In these cases, it tends to refer to the overall structure of the system.
* Common to all contexts is the idea that architecture embodies a coherent set of organizational principles and objectives guiding the design of each aspect of a complex structure. Generally, a product resulting from such guided design can also be referred to as architecture.
* Computer architecture is the theory behind the design of a computer. In the same way as a building architect sets the principles and goals of a building project as the basis for the draftsman’s plans, so too, a computer architect sets out the computer architecture as a basis for the actual design specifications.
* Software architecture is a coherent set of abstract patterns guiding the design of each aspect of a larger software system.
* Information architecture is the art and science of structuring knowledge (technically data) to be published in a web, and defining user interactions (also see use case).
* A vehicle architecture is an automobile platform that is a shared set of components common to a number of different vehicles.
* Product architecture comprises the structure of a product or product family including its constituent subassemblies and options for commonality, customization, upgrading, or repair. Vehicle architecture is an example.

Architecture of the built environment

Architecture (in Greek αρχή = first and τέχνη = craftsmanship) is the art and science of designing buildings. A wider definition would include within its scope the design of the total built environment, from the macrolevel of town planning, urban design, and landscape architecture to the microlevel of furniture.

Contents

1. Scope and intentions
2. Theory and practice
3. Architecture and buildings
4. Architectural history
5. Conclusion
6. External links

Scope and intentions

According to the very earliest surviving work on the subject, Vitruvius’ De Architectura, good building should have Beauty (Venustas), Firmness (Firmitas) and Utility (Utilitas); architecture can be said to be a balance and coordination among these three elements, with none overpowering the others. A modern day definition sees architecture as addressing aesthetic, structural and functional considerations. However, looked at another way, function itself is seen as encompassing all criteria, including aesthetic and psychological ones.

Architecture is a multi-disciplinary field, including within its fold mathematics, science, art, technology, social sciences, politics, history, philosophy, and so on. In Vitruvius’ words, “Architecture is a science, arising out of many other sciences, and adorned with much and varied learning: by the help of which a judgement is formed of those works which are the result of other arts”. He adds that an architect should be well versed in fields such as music, astronomy, etc. Philosophy is a particular favourite; in fact one frequently refers to the philosophy of each architect when one means the approach. Rationalism, empiricism, structuralism, poststructuralism, and phenomenology are some directions from philosophy influencing architecture.

Theory and practice

The relevance of theory in informing practice cannot be overemphasised, though many architects shun theory. Vitruvius continues: “Practice and theory are its parents. Practice is the frequent and continued contemplation of the mode of executing any given work, or of the mere operation of the hands, for the conversion of the material in the best and readiest way. Theory is the result of that reasoning which demonstrates and explains that the material wrought has been so converted as to answer the end proposed. Wherefore the mere practical architect is not able to assign sufficient reasons for the forms he adopts; and the theoretic architect also fails, grasping the shadow instead of the substance. He who is theoretic as well as practical, is therefore doubly armed; able not only to prove the propriety of his design, but equally so to carry it into execution”.

Architecture and buildings

The difference between architecture and building is a subject matter that has engaged the attention of many. According to Nikolaus Pevsner, European historian of the early 20th century, “A bicycle shed is a building, Lincoln Cathedral is a piece of architecture”. In current thinking, the division is not too clear. Bernard Rudofsky’s famous Architecture Without Architects consolidated a whole range of structures designed by ordinary people into the realm of architecture. The further back in history one goes, the greater is the consensus on what architecture is or is not, possibly because time is an efficient filter. If like Vitruvius we consider architecture as good building, then does it mean that bad architecture does not exist? To resolve this dilemma, especially with the increasing number of buildings in the world today, architecture can also be defined as what an architect does. This would then place the emphasis on the evolution of architecture and the architect.

Architecture is also the art of designing the human built environment. Buildings, landscaping, and street designs may be used to impart both functional as well as aesthetic character to a project. Siding and roofing materials and colors may be used to enhance or blend buildings with the environment. Building features such as cornices, gables, entrances, and window treatments and borders may be used to soften or enhance portions of a building. Landscaping may be used to create privacy and block direct views from or to a site and enhance buildings with colorful plants and trees. Street side features such as decorative lighting, benches, meandering walkways, and bicycle lanes can enhance the experience of a project site for passersby, pedestrians, and cyclists.
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Architectural history

Architecture first evolved out of the dynamics between needs (shelter, security, worship, etc.) and means (available building materials and attendant skills). Prehistoric and primitive architecture constitute this early stage. As humans progressed and knowledge began to be formalised through oral traditions and practices, architecture evolved into a craft. Here there is first a process of trial and error, and later improvisation or replication of a successful trial. The architect is not the sole important figure; he is merely part of a continuing tradition. What is termed as Vernacular architecture today falls under this mode and still continues to be produced in many parts of the world.

Early human settlements were essentially rural. As surplus of production began to occur, rural societies transformed into urban ones and cities began to evolve. In many ancient civilisations such as the Egyptians’ and Mesopotamians’ architecture and urbanism reflected the constant engagement with the divine and the supernatural. However, the architecture and urbanism of the Classical civilisations such as the Greek and the Roman evolved from more civic ideas and many new building types emerged. Architectural styles developed and texts on architecture began to be written. These became canons to be followed in important works, especially religious architecture. Some examples of canons are the works of Vitruvius, the Kaogongji of ancient China and Vaastu Shastra in ancient India. In Europe in the Classical and Medieval periods, buildings were not attributed to specific individual architects who remained anonymous. Guilds were formed by craftsmen to organise their trade. Over time the complexity of buildings and their types increased. General civil construction such as roads and bridges began to be built. Many new building types such as schools, hospitals, and recreational facilities emerged.

Islamic architecture all by itself merits a special discussion. The concept of Islamic architecture can be understood in several ways. But perhaps a concise way of defining it would be to say that Islamic architecture is simply the architecture characteristic of predominantly Islamic societies as well as similar architecture elsewhere.

Using this definition, Islamic architecture has a long and complex history beginning in the 7th century CE continuing today. Examples can be found throughout the countries that are, or were, Islamic – from Morocco and Spain to Iran, and Indonesia. Other examples can be found in areas where Muslims are a minority. Islamic architecture includes mosques, madrasas, caravansarais, palaces, and mausolea of this large region.

With the Renaissance and its emphasis on the individual and humanity rather than religion, and with all its attendant progress and achievements, a new chapter began. Buildings were ascribed to specific architects – Michaelangelo, Brunelleschi, Leonardo da Vinci – and the cult of the individual had begun. But there was no dividing line between artist, architect and engineer, or any of the related vocations. At this stage, it was still possible for an artist to design a bridge as the level of structural calculations involved were within the scope of the generalist.

With the consolidation of knowledge in scientific fields such as engineering and the rise of new materials and technology, the architect began to lose ground on the technical aspects of building. He therefore cornered for himself another playing field – that of aesthetics. There was the rise of the “gentleman architect” who usually dealt with wealthy clients and concentrated predominantly on visual qualities derived usually from historical prototypes. In the 19th century Ecole des Beaux Arts in France, the training was toward producing quick sketch schemes involving beautiful drawings without much emphasis on context.

Meanwhile, the Industrial Revolution laid open the door for mass consumption and aesthetics started becoming a criterion even for the middle class as ornamented products, once within the province of expensive craftmanship, became cheaper under machine production. Such products lacked the beauty and honesty associated with the expression of the process in the product.

The dissatisfaction with such a general situation at the turn of the twentieth century gave rise to many new lines of thought that in architecture served as precursors to Modern Architecture. Notable among these is the Deutscher Werkbund, formed in 1907 to produce better quality machine made objects. The rise of the profession of industrial design is usually placed here. Following this lead, the Bauhaus school, founded in Germany in 1919, consciously rejected history and looked at architecture as a synthesis of art, craft, and technology.

When Modern architecture first began to be practiced, it was an avant-garde movement with moral, philosophical, and aesthetic underpinnings. Truth was sought by rejecting history and turning to function as the generator of form. Architects became prominent figures and were termed masters. Later modern architecture moved into the realm of mass production due to its simplicity and economy.

However, a reductive quality began to be perceived in modern architecture by the general public from the 1960s. Some reasons cited for this are its perceived lack of meaning, sterility, ugliness, uniformity, and psychological effects.

The architectural profession responded to this partly by attempting a more populist architecture at the visual level, even if at the expense of sacrificing depth for shallowness, a direction called Postmodernism. Robert Venturi’s contention that a “decorated shed” (an ordinary building which is functionally designed inside and embellished on the outside) was better than a “duck” (a building in which the whole form and its function are considered together) gives an idea of this approach.

Another part of the profession, and also some non-architects, responded by going to what they considered the root of the problem. They felt that architecture was not a personal philosophical or aesthetic pursuit by individualists; rather it had to consider everyday needs of people and use technology to give a livable environment. The Design Methodology Movement involving people such as Chris Jones, Christopher Alexander started searching for a more inclusive process of design in order to lead to a better product. Extensive studies on areas such as behavioural, environmental, and social sciences were done and started informing the design process.

As many other concerns began to be recognised and complexity of buildings began to increase in terms of aspects such as services, architecture started becoming more multi-disciplinary than ever. Architecture now required a team of professionals in its making, an architect being one among the many, sometimes the leader, sometimes not. This is the state of the profession today. However, individuality is still cherished and sought for in the design of buildings seen as cultural symbols – the museum or fine arts centre has become a showcase for new experiments in style: today Deconstructivism, tomorrow maybe something else.

Conclusion

Buildings are one of the most visible productions of man, and vary greatly in design, function, and construction implementation across the globe from industrialized countries to “third world”, or developing countries. The role of the Architect also varies accordingly. The vision (or lack of) that Architects project on the society in which they practice has a profound effect on the built environment, and consequently on the people who interact with that environment. The skills of the architect are sought after in many situations ranging from complex building types such as the Skyscraper, Hospital, Stadium, Airport, etc. to less complicated project types such as commercial and residential buildings and development. Many types of projects or examples of Architecture can be seen as cultural and political symbols. Generally, this is what the public perceives as architecture. The role of the architect, though changing, has been central to the successful (and sometimes unsuccessful) design and implementation of the built environment in which we live. There is always a dialogue between society and the architect. And what results from this dialogue can be termed architecture – as a product and as a discipline.
Four architectural styles in , , including the egg-shaped . In 2004 this building won the for its architects

External links

* 0lll.com (http://www.0lll.com/lud/pages/architecture/archgallery/) – Photographs of Contemporary Architecture
* International Architecture Database archINFORM (http://www.archinform.net/)
* Architecture.com – Courtesy of the Royal Institute of British Architects (http://www.architecture.com/)
* Galinsky – People enjoying buildings worldwide (http://www.galinsky.com/)
* Global Architecture Encyclopedia – Glass Steel and Stone (http://www.glasssteelandstone.com/)
* The Great Buildings Collection

brainstorming 4th march 2006, tv hacking workshop March 6, 2006

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- hong kong city
- all saints church
- seagar distillery
- boat community
- housing in deptford
- dlr joutney
- day times in deptford
- music docs
- headjam, lewisham way 117
- pain, lewisham way
- dirtypins
- known
- the kut
- punch judy
- lost club
- destillery – open arts plattform
- i love nx
- bubble gum
- lewisham way
- danny
- new cross inn
- rehersal studios, commercial
- rubbish fairys
- deptford highstreet
- hayles gallery
- degentrification?
- use your loaf – social center which has been squatted, free film nights
- pips estate
- redevelopment southwark, stratford, olympics
- infrastructure changing arround housing estates
- arts community
- how is housing changing?
- education
- public playgrounds
- what is the situation with the small shops?
- kranes / building sites
- control & space
- planing issues, planing documents
- abandonned vehicles
- historical review
- brainoff.com/worldkit/londonplanning
- back in the times of the docks
- stowage archive material
- archive material research for database
- borders of deptford, lewisham, greenwich?
- new cross, brockley, deptford?
- cruiseliner terminal
- charity studies
- laban dance center
- deptford creek
- betting shops
- conspiracy?
- visual representation, forms, methods?
- show a historical change in architecture and society
- languages?
- subcultures

questions arround deptford regeneration & the boat community February 23, 2006

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what will happen with the creek?

will the boat have to leave?

how democratic are decision being made with the regeneration, how are people involved in the process?

it will take more then ten years to regenerate the area.
who is planning the regeneration process?

start documenting the process (who did what?)
feeding everything into one archive.

a docfilm club on the boat?

is it possible to tell good stories over collective filmmaking?