Horror in the Modernist Block [IKON Exhibition]

H O R R O R
IN THE MODERNIST BLOCK
By Raheem Gilligan

In collaboration with
IKON

INSTALLATION

The INSTALLATION goal was to utilise
space to compliment works. This included:
using projectors for video work and
photography, trestles for performance
works, walls for ornamentation and a
centre table for displaying models.
Scale [ 1 : 200 ]
0 5 10 20

THE
UNSPOKEN

THE UNSPOKEN is a film which played
as a key role in the exhibition. Playing on
key ideas within the Modernist Block of
perception and memory. Chosen visuals
present the current situation of Central Hill,
speaking to a negative controlling image.
The film sheds light on unseen memories
of residents to battle this negative narrative.

THE UNSPOKEN controlled a key point
from the main projection. Situated at the
head of the table, it was directly in the
eye line of those entering the space. This
was done to utilise powerful zooming
shots to set a clear tone for the exhibition.
Scale [ 1 : 200 ]
0 5 10 20

The film begins by showcasing the estate
in it’s situation - under the backdrop of a
reversed instrumental and key quotes from
an interview. A CINEMATIC STUDY shot
in a black and white filter to portray the
desperation of current circumstances.

0:00 0:07 0:08
0:10 0:18 0:20 0:22
0:28 0:30 0:32 0:33 0:35 0:37 0:41 0:43 0:44 0:47 0:48 0:50 0:52
Camera Pan Direction

After the cinematic study, the main body
kicks into effect. THE CONTRAST centres
around a protagonist as he traverses the
estate. Using powerful shots of key spaces
and provocative dress senses. The scenes
raise questions on how viewers choose to
see the protagonist in those spaces.

THE STAIRCASE Negative Perception vs Positive Memories

THE WALKWAY Negative Perception vs Positive Memories

THE HILLS Negative Perception vs Positive Memories

TRAVERSAL
TRAVERSAL
DEPARTURE
NEGATIVE
POSITIVE
NEGATIVE
POSITIVE
NEGATIVE
POSITIVE
OUTRO
0 : 57 1 : 12 1 : 26 1 : 40 1 : 54
2 : 08 2 : 16 2 : 24 2 : 38 2 : 44 3 : 08
Camera Pan Direction

SYMBOLISM

SYMBOLISM was situated at the head of
the table next to ‘The Unspoken’. This was
done to create an immediate connection
for people viewing the film, being able to
see a model inspired by the film’s spaces.
Scale [ 1 : 200 ]
0 5 10 20

SYMBOLISM comments on perceptions of
key spaces. Taking the staircase, walkways
and sloped hills - speaking to their true
open nature. A connected tunnel beneath
symbolises a contrasting narrative imposed
by the Lambeth council. Seeking residents
to feel vulnerable within key spaces.

The key idea of SYMBOLISM utilises
accompanying pillars to symbolise lost
architecture. Like Egyptian hieroglyphs,
each pillar contains unique symbolism.
Laser etched into each pillar are key details
from the architecture within each space.

THE STAIRCASE

Riser and
Slip Guard
Wall
Detail
Enclosing
Walls
Stair
Elevation

THE WALKWAY

Slope
Section
Balcony
Ballustrade
Housing
Entrance
Light
Fixture

THE HILLS

Housing
Section
Hill
Railings
Enclosing
Elevation
Slope
Elevation

CHIARO
SCURO

CHIAROSCURO is a selection of key
images which capture a protagonist
in the context of a modernist block in
Birmingham. Derived from concepts of The
Unspoken, Chiaroscuro focuses on negative
representation to show the influence
people have on architectural perception.
Scale [ 1 : 200 ]
0 5 10 20

IN THE WIND Unpredictable. Still we stand against it. BRICK BY BRICK Destroy to rebuild.

THE ABYSS The brightest spark in a dark place can still be seen negativley. ALONE IN THE DARK Aren’t we all?

NEGATIVES
WE’VE BEEN MADE TO KNOW

Our perception of the block is cold
Controlled through the darkness and the light exposed
It could even be through the time of day
Or the attire worn by those who occupy a space
The dark against the light helps to emphasise
Any preconceived thoughts you hold inside your mind
Stereotypes against people leads to architecture
Just wait and see how far that gets you
Maybe the light can bridge the gap
Between the reality and the way we see
Because those within the spaces see it differently
To those who see a film and don’t relate to anything they see
Although not all perceptions of a space are wrong
We often demonise instead of empathise
So maybe understanding its reality can help change our perceptions
To see the block with different eyes
Be it your block their block, or any block
The specific location doesn’t mean the most
Because you can look at film or even Central Hill
And realise that controlling images apply to both
Even modernist blocks that we’ve all known
Share many of these principles and show the traits
So you should take a closer look at what you see
And bridge the gap between what’s real and what’s really fake
Then we wonder why the views are split
Wth some saying “save them” and others saying “go”
But it doesn’t matter what opinion people hold
When images that we’re shown are always overly controlled
I mean maybe we should make a space
One that can counter the negatives of old
And maybe carry on and build insights
To change away from the NEGATIVES WE’VE BEEN MADE TO KNOW

NEGATIVES WE’VE BEEN MADE TO KNOW
is a poem exploring reality. Questioning whether
we should or shouldn’t believe things we’re
shown in the controlling image. In the exhibition
it was delivered as a spoken word performance,
accompanied with an ambient instrumental and
inverted background imagery. Casting myself as
a silhouette in front of a key projection screen.
Scale [ 1 : 200 ]
0 5 10 20

Background imagery for the
performance derives from The Unspoken.
Taking key shots which relate to the
poetic context and INVERTING them.

0 : 10 0 : 20 0 : 30 0 : 40 0 : 50 1 : 00 1 : 10
1 : 20 1 : 30 1 : 40 1 : 50 2 : 00

The exhibit welcomed over 90 people
to IKON gallery, leading to important
conversations on the Modernist Block. Is it
really a form of failed architecture? Maybe
it represents PERFECT IMPERFECTION.
However we choose to see it, we should
choose for ourselves and not how others
influence onto our perception.