Sufyan Muzaffar IKON Gallery Exhibition Booklet

N E G O T I A T E D P R A C T I C E
X
I K O N G A L L E R Y

S T A T E M E N T
T H E I N I C I A L T A U G H T S
INITIAL IDEAS STARTED TO FORM AFTER WATCHING THE BUILDING 111 FILM FROM FLORES & PRATS, IN DEPTH RESEARCH AL-
IT REMINDED ME OF WHEN I USED TO COME HOME FROM SCHOOL, A SIMILAR CONCEPT WAS USED IN
LOWED ME TO UNDERSTAND THE RELATIONSHIP BETWEEN THE COMMUNITY AND THE ARCHITECTURE. THE FILM CAPTURES
JAQUES TATI – MON ONCLE. STARTING FROM THE FILM, I COMBINED MY OWN MEMORIES WITH THE PER-
THE APARTMENTS AS A PUBLIC SQUALOR ON THE SURFACE, SIMULTANEOUSLY SHOWING HOW THE RESIDENTS ARE SO
SONAL NARRATIVES OVER TIME, TO GIVE A PHYSICAL REPRESENTATION TO THE EMOTIONAL CONFESSIONS,
SUBSTANTIAL CONNECTED, CREATING A WELCOMING SPACE. SOME SCENES FROM THE MOVIE INSPIRED ME TO CREATE
BY SHAPE, FORM, AND MATERIAL. THE CASTED ELEMENTS ARE RUINS OF A PARTIALLY DESTROYED AND FOR-
A PHYSICAL COLLAGE TO SHOW THE COMMUNICATION AND INTERACTION BETWEEN INDIVIDUALS, TAKING ARCHITEC-
GOTTEN EXPERIENCES THAT PROJECT SPIRITUAL VALUE TO EACH USER APART. CAST WORK ALLOWED ME TO
TURAL ELEMENTS LIKE THE GLASS DETAIL, BALCONY DESIGN, GENERAL LAYOUT, AND MODULAR FIGURATIVE SHAPES. THE
DISPLAY DIFFERENT MATERIALS AND TEXTURES THAT RESEMBLED MULTIPLE LAYERS TO MEMORIES. THIS CON-
FRAMEWORK THAT I HAVE CRAFTED CREATES A MOVING PERSPECTIVE THAT ALLOWS THE AUDIENCE TO SEE THE HIDDEN
CEPT TRAVELS THROUGH LAMBETH AND ITS HOUSING INFRASTRUCTURE BUILDS UPON THE HOUSES I’VE LIVED
AND UNSPOKEN STORIES BEHIND THE INTERPERSONAL AND SOCIAL RELATIONS AS HUMANS SETTLED IN A CO HABITA-
IN. YOU MIGHT NOT BE ABLE TO RELATE BUT THAT’S THE POINT OF MEMORY, THE MODULE PIECES ARE MADE
TION SURROUNDING. THE SPANISH CULTURE, THE LIFESTYLE AND THE FRAGMENTS PRESENTED IN THE MOVIE RELATES
TO BE REARRANGED AND REASSEMBLED TO BECOME AN OBJECT OF PERSONAL IDENTITY, PROVIDING A FLEX-
DIRECTLY TO THE ENVIRONMENT IN WHICH I WAS RAISED. IT GERMINATED FLASHBACKS FROM THE PAST, BRINGING BACK
IBLE AND ADAPTIVE SYSTEM. AFTER LOOKING INTO MY OWN MEMORY AND EXPERIENCE I STARTED MY REA-
GRAINS OF MY CHILDHOOD THROUGH MINOR DETAILS STARTING FROM PEOPLE MOVING OBJECTS AROUND HOUSE-
SEARCH IN PORTUGAL AND FOUND A FAMOUS ARTIST BY THE NAME PAULA REGO. SHE PASSED AWAY TWO
HOLD TO THE JOYFUL ENTERTAINING ACTIVITIES PLAYED BY KIDS IN THE OPEN AREA. THE MOVIES ACTED AS A REACTIVE
YEARS AGO AND I THINK REVIVING HER MEMORIES BY CREATING A MEMORIAL SPACE FOR HER WOULD
SUBSTANCE FOR THE RECREATION OF A LOST EXPERIENCE IN TIME THAT BRINGS THE FEELING OF SAFETY AND EMPOWER-
BE A CREATE CONNECTION BETWEEN PORTUGAL AND ARCHITECTURE. PAULA REGO STOOD FOR FEMINISM
MENT, IN A WORD THE FEELING OF HOME.
AND PAINTS HER MEMORIES AND POLITICAL ISSUES THREW HER ARTWORK. SHE TALKS ABOUT HER OWN
PERSONAL ISSUES BUT ALSO MANY WOMEN OUT THERE. THE CONCEPT WILL BE CONSTRUCTED FROM THE
EXISTING HOUSE OF PAULA REGO, INSPIRING THE DESIGN FROM PLACES LIKE SALA BECKETT, CREATING THIS
REFURBISHMENT FEEL BUT KEEPING EVERYTHING IN ITS HERITAGE WOULD CREATE AN AMAZING DESIGN.

video files:
BEHIND - SCENES - PREPERATION - LAYOUT
image slideshow: various (no audio)
performance 3: image (audio tbc)
performance 3:
single image projected
(roving microphone)
simon & tom bloor bench
Raheem Gilligan
bloor bench
2440
800
video files:
low audio level
1078 1120
2440 2440 2440 2440
IKON GALLERY
Sufyan + Raheem
Simon + Maryam
el
h, Tasharn
r
uchi
Nick + Wiktoria
simon & tom bloor bench
simon & tom bloor bench
800
900
high audio level
Andreea, Hannah, Tasharn
Tim + Harpinder
Paige, Huss, Ruchi
THE LAYOUT
performance 2:
Sufyan
A PRE-ANALYSIS OF IKON GALLERY, CREATING
performance 1:
Nick + Wiktoria
video with audio
800
video with music
live drawing on easel
A LAYOUT FOR ALL WORK TO BE EXHIBITED
1540
ALONGSIDE THE PERFORMANCE SPACES FOR
image slideshow: various (no audio)
performance 1: video with audio
performance 2: video with music
EACH PERFORMANCE TO TAKE PLACE.
Ikon x MArch Showcase
Ikon x MArch Showcase
First Floor Layout
not to scale
03.03.23
First Floor Layout
not to scale
03.03.23

PERFORMANCE - AREA - TABLE - SETUP - COORDINATION

DISCRIPTION - LABEL - OVERALL - CONCEPT
DISCRIPTION OF PERFORMANCE
BHIND THE PERFORMANCE
A discription of the overall meaning behind the performance.
This allowed veiwers to understand the
performance and what the architectural pieces stand
for. The pieces were a combination of my memory,
the building 111, lost fragments and even hybrid pieces.
Combining all pieces together the performance is
creating a vision for rearragable pieces that create
personal memories of living in an apartment.

SECONDS - BEFORE - CAMERAS - LIGHTS - ACTION
THE PERFORMANCE TABLE
THE ARRANGMENT OF MEMORY
The performance table was set up before the opening
of the exhibition. This allowed us to create the
atmosphere for the performance, lighing and table
layout to allow enough space for performing.

THE - ARTIST - ALONGSIDE - THE - ARCHITECT
THE ARTIST
VISUAL REPERSENTATION
Alongside myself i was accompanied by the artist
Nicoleta Rugina. While I was building a creation of
memory with architectural pieces, the artist takes on
the role to bring that vision alive. She draws a painting
that repersents my memory as a child going from
the bottom of my apartment to my room. Painting this
jourrney alongside the architecture arrangement creates
a strong connection between the two.

WHEN - ART - MEETS - ARCHITECTURE

QUOTE - SCENE - FROM - THE - MOVIE
“ THERE IS A CONFUSION BETWEEN
EXPERIENCE & MEMORY ”
” WE ACTUALLY DONT CHOOSE BETWEEN
EXPERIENCES ”
” WE CHOOSE BETWEEN MEMORIES OF
EXPERIENCES ”

” WE THINK OF OUR
FUTURE ”
” AS AN
ANTICIPATED
MEMORY ”

QUOTE - SCENE - FROM - THE - MOVIE
” WE THINK OF OUR FUTURE AS AN ANTICIPATED
MEMORY ”

“ THROUGH TOUGH TIMES ”

QUOTE - SCENE - FROM - THE - MOVIE
” THERES NOT A MOMENT I DONT THINK ABOUT
IT ALL ”

HYBRID - MODEL - CONSTRUCTION

Daniel
Kahneman
16.00
18.08
20.04
Own Qoutes
1.05.15 1.11.09 1.18.05 1.25.03 1.32.00
24.07 31.04 36.19 43.16 50.13 1.00.04
28.17 34.04 40.22 47.23 56.17 1.02.10 1.09.06 1.15.08 1.23.01 1.29.24 1.37.20
IKON MOVIE BREAK DOWN
DANIEL KAHNEMAN EXPERIENCE VS MEMORY
( TED TALK )
22.03
while performing the audio of Daniel Kahnnmen is
Start
0.00
Warning
Introduction
11.22
playing where he explains some aspects of experience
vs memory. This is the start of the movie as the
3.13
10.04
audio then cuts off and leads to my own qoutes.
5.00
Flashing
Images
Daniel
Kahneman
Speech
Daniel Kahneman
Speech
Kanye West
“Run Away”
AUDIO OVERLAP
Overall there is a overlay of an instrumental in the
back.
16.00
Kanye West
“Run Away”
Piano Key
14.14
Music Fade
Down
1.13.16
- Void

CINEMATRIC VIDEO
ANALYSIS. STUDY. COVERAGE.
Stutter Effect Stutter Effect Stutter Effect
Overlayed
Stutter Effect
Rain Effect
After the Daniel Kahnman sequence the movie leads
onto a cinematric scene where you see the architectural
models used in the performance in a more
illustrated way. The video repersents the space becoming
a living space, people and enviroment surrounding
the space to recreate a memory. The first
part of the video is overlayed with Slowthai - Toaster
and the second half takes audio from the fiilm Mon
Oncle by Jaques Tati.
00.00 00.01 00.02 00.04 00.05 00.06 00.08 00.09 00.11
00.16 00.18
00.19 00.23 00.23 00.24 00.25 00.26
Stutter Effect
Overlayed Voice Audio
(Slowthai - Toaster)

THE ARTWORK
ANALYSIS. STUDY. COVERAGE.
The final stage of the video plays the cinematric in
reverse to give an effect of rewinding memory, the
video then is accompanied by some of the model
pictures and personal qoutes to explain the process
of reviving memory. The audio is rerversed in the
Reversed
images section to create a synced effect to almost
give a viewer a past memory effect while creating
something in the future. At the end the beat of the in-
2.39.12
2.53.06
Own Qoutes
3.36.16
3.42.24
Credits
Thank You
3.51.11 4.01.21 4.09.00 4.16.24 4.23.22 4.29.09 4.36.10 4.47.20
strumental drops and the creadits play.
2.10.09 2.16.16 2.23.00
2.35.07
2.40.21 2.47.17 2.58.23 3.04.06 3.09.22 3.22.06 3.30.16 3.38.23
3.45.19
4.22.02 4.28.12
4.34.21
1.43.11
2.11.13 2.17.24 2.17.24
2.36.15
2.43.10
2.56.02
2.50.14
3.07.04
3.01.16
3.14.03 3.25.03
3.12.16 3.20.18 3.26.15
3.33.11 3.41.15
3.48.16
Kanye West
“Run Away”
Piano Key
Reversed
Kanye West
“Run Away”
Piano Key
Music Fades
In
Music Fades
Out
Beat Drop

CENTRAL - TABLE - LAMBETH - MODEL
MIDDLE TABLE
SHOWCASE
In the middle off the gallery there was a long table
set up to exhibite works other then the performance.
Within this exhibition I repersented a rearrangable
house model that repersented Lambeth and a house I
lived in. The model was based on first visit to lambeth
as memory is not as clear seeing things for the first
time, we can see that the model has less architectural
details. Along side this model we repersent a
window detail that is taken from the second visit and
a roof detail from my home in Portugal. We can see
the model has a stage of deteriation has memorry by
time starts to fade away.

A HOUSE - WITHIN - A HOUSE

T H E U N S P O K E N
L A M B E T H F I L M

FLASHBACKS - CHARACTERS - STORY
THE MOVIE
PRODUCTION
A creative movie based in Lambeth taking two concepts
together to create a unique film. The idea of
perspective and memory combined together creates
a conversation for people to see how as humans we
can misjudge situations and people but at the same
time we are looking into two different time periods
that are showing a childhood memory of the people
within the film. The ending scene allows space for
people to judge the film how they perceived it.

PRODUCTION - EXECUTION - EFFECTS - AUDIO
A N A L I T I C A L P R O C E S S
Cinematic Intro
Camera
Angles
A BREAKDOWN ANALYSIS OF THE PROCESS THE VIDEO WAS CREATED
THROUGH. THIS PROCESS SHOWS HOW THE VIDEO STARTS ALL THE WAY TILL
HOW IT FINISHES. IT DOES A STUDY ON THE INDIVIDUAL CLIPS, HOW THEY ARE
CONNECTED WITHIN EACH OTHER, HOW THE EFFECTS HAVE BEEN APPLIED,
HOW NATURAL TRANSITIONS HAVE BEEN USED TO GAIN A MORE NATURAL
“MUSIC VIDEO” FEEL. THEN WE ALSO BREAKDOWN THE WAY THE CAMERA IS
Start
00.00
Time Lapse Effect
Dark
Screen
BEING USED FOR EACH INDIVIDUAL CLIP, THE ANGLE IT WAS SHOT BY AND THE
PAN MOTION AS WELL. ONCE WE HAVE UNDERSTOOD THE TECHNIQUE OF
HOW THE CAMERA IS USED WE THEN ALINE THE VIDEO WITH SUITABLE MU-
00.18
00.33
SIC THAT MATCHES OUR NARRITIVE OF THE VIDEO. BY ALINING VIDEO TRAN-
SITIONS WITH MUSIC INTRUMENTAL DETAIL IT GIVES THE VIDEO A MORE
00.08
00.20 00.22 00.28
00.35
00.37 00.39 00.40
00.42
00.43 00.46
SMOOTH AND CONNECTED FEEL THROUGH OUT. THIS PANEL IS MAINLY
ANALSING THE INTRODUCTION OF THE FILM AND HOW IT WAS PUT TOGETHER.
00.10
00.29 00.31
00.48 00.49 00.53 00.54 00.57
Site Study
Zoom - In/Out
Zoom - Out/In
No Zoom -
No Camera
Movement -
Direction Of
Camera
Movement -
Synced Audio
Reversed Audio
Music Audio
Music Audio
Interview Audio

PRODUCTION - EXECUTION - EFFECTS - AUDIO
Main Body
Outro
AFTER THE INTRODUCTION, WE THEN START TO BREAKDOWN THE MAIN
BODY OF THE CONTENT. IN SIMILAR STYLE IT SHOWS THE TRANSITIONS AP-
PLIED ALONGSIDE THE EFFECTS USED. ALINED WITH THE AUDIO BUT THIS TIME
The
End
WE DO NOT HAVE THE INTERVIEW AUDIO OVERLAYED. THE INTERVIEW AUDIO
FADES AWAY AFTER THE INTRODUCTION IS FINISHED AND THE MAIN MUSIC
Time Lapse Effect
AUDIO TAKES OVER THE VIDEO. THE OUTRO TO THIS VIDEO WAS SHOT OUT OF
THE SITE CONTEXT AS THE SCENE NEEDED TO GIVE A DIFFERENT FEEL TO THE
Traversal Scene
00.57 01.11 01.26 01.40 01.54
02.08 02.15 02.23
Perception Perception Perception Perception
Memory Memory Memory Memory Memory
Journey Journey Journey
Perception
02.37 03.08 04.16
Perception
Memory
Question
REST OF THE FILM. THE SCENE ALMOST IS ADMIRING WHATS HAPPEND FROM
THE OUTSIDE, CREATING THIS CHARACTER THAT MAKES VIEWERS QUESTION
HIS STYLE, MANNERISMS AND ACTIONS. THIS LEAVES ENOUGHT SPACE FOR
RAISING QUESTIONS AND ENDING IT ON A QUOTE TO SUMMERISE OUR
NARRITIVE AS A COMBINED GROUP TASK.
Music Audio
Synced Audio
Original Audio

SCENES - FROM - FILM - SITE

AN ARTIST CAN CREATE EMOTION INTO THE SOLID BLOCK, AS A DESIGNER WE FORGET SOMETIMES TO CREATE A BLOCK
FROM WITHIN OUR EMOTIONS. WHAT I WANTED TO CREATE WAS A THEORY THAT ONE CAN’T SURVIVE
WITHOUT THE OTHER.
SUFYAN MUZAFFAR
O O O