1. Clink Street in Southwark is a conundrum - it has a very small permanent resident population, with a majority transient daytime population of commuters using the street to move from A to B, and very little cultural and ethnic diversity. Southwark in general, can be understood by the difference between the prosperous economic hubs in the north, and crime ridden and high unemployment in the south - a divide experienced when entering the zone 1 region of the city. This polar relationship within a single borough was my problem to solve architecturally, where the types of commuters were the first group to be analysed, with the site scrutinised for it's potential in generating relationships and social cohesion to achieve the end aim.
2. In order to generate relationships without forcing dialogue, it was theorised that observed and experienced phenomenon and activity could be the binding factor of a socially cohesive hub in clink street. Analysis of activities that could generate the most extreme and rapid transition from stranger to friend was whittled down to dance practice - where the humility required to learn a dance move would be the integral component that would act as the binder in this growing brief. The brief therefore became a Dance Centre, where dance practice would be viewed from the street, and would act as an attraction to the youth and culturally diverse groups of South and North Southwark.
3. And how would such a centre help create relationships between the two groups? What could be striking enough that it could awaken the zombified walk-to-workers? Break-dance. I personally am a break-dancer, and from my experience, it is a gruelling but infinitely enjoyable art form. The sense of camaraderie one feels in breakdancing is like that of a family - you see each other push themselves to one's own limit - you fall, hurt yourself, pant for breath, and when you get a move, when you achieve success, it feels remarkable. Engaging the walk-to-workers with those dancing in this sense of camaraderie I felt was a good way to begin a relationship between the two, and without any words being said.
4. Emotive studies were taken in Clink Street to identify the key opportunity zones for the different types of interaction between the dance centre and the street - using parameters such as feeling 'anxious', 'stronger', 'open feeling', 'calm/ peaceful', 'self-conscious', and 'excited'. These studies were carried out at night, midday and morning rush hour, generating an emotive map for the site that could then be used to inform the zoning of each program of the building.
5. The centre would orient itself in a way where the practice rooms the facade - the point of entry visually. And the entire building would feel in full control of those using it - you can walk on top of each unit - you can walk around it, through it, under it - it's your playground.
6. The building would house practice rooms for dance practice, and hold a dance auditorium/ theatre for performances. At night, this building will feel like it's exploding out of the ground - if you were walking by, you would hear the beats of hip-hop or the soothing song of Ralph Vaughan Williams in an Orchestral performance in the basement Music Hall. Light would break through the ground and into the black street, colouring the space around it, and if you wanted, you could sit and watch in one of the public viewing galleries.
7. The building belongs to the curious - it is designed to encourage dialogue and understand, not to intimidate.
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