Assignment 5: People and place on assignment

For the final assignment of the course, I decided to investigate one of London’s rapidly changing council estates. I photographed a variety of areas, including estates in Poplar, Ladbroke Grove and Elephant and Castle. My inclination to shoot on these estates – particularly those built in the brutalist/modernist style common during the 1960s – stems from an interest in the historical and social context within which they were constructed, and also from the fact that many (if not all) are on the verge of significant regeneration or demolition. With today’s housing crisis in London and the reluctance of local authorities and the national government to take action against the vast property investment that continues to make home ownership and renting unaffordable, examining the history and ideas behind these huge mid twentieth century estates is, in my view, taking on greater and greater relevance.

Photographing these estates can at times be a sad experience, particularly those that show signs of significant neglect, vandalism and petty crime. However the ideas behind their design were certainly benign – clean, modern and affordable housing for people living in the overcrowded slums of inner London. At some point however, the urban planners appeared to forget they were designing housing for people, and soon many of these estates (despite their acclaimed architectural design) became synonymous with dystopian visions of urban collapse, alienation and crime. What went wrong and what caused this reputation? Was it the design of these estates that doomed many of them?

Initially I considered attempting to knit together images from a variety of estates, however with a 8-12 image brief in mind I decided to focus on one estate. I selected the Thamesmead area in southeast London for a number of reasons. Firstly it forms one of the most extensive estates in the Greater London area, and is therefore one of the best examples of 1960s modernist architecture. Secondly, it is somewhat different in it’s use of water (lakes and canals) and other landscape features. The Greater London Council architect Robert Rigg was inspired by housing complexes in Sweden that believed in the idea that lakes and canals reduced vandalism and crime, particularly among younger residents. Thirdly the area is known for it’s use of elevated walkways and raised ‘streets’ so that most of the residences on the estate occupy the first floor and above. The reason for this was the flooding of the area during the 1953 North Sea flood, and so resulted in quite a uniform design feature.

I researched the area and photographed a number of locations, and was immediately struck by how the design of the structure, particularly the elevated walkways and facades impacted the public space on the estate. I therefore formulated a ‘client’ brief based on this research:

A local borough council are seeking the services of a photographer to investigate the impact of architectural design on the public space in a council estate. They are currently assessing the 1960s designed council housing in Thamesmead, hoping to take this evaluation into account when the local councillors meet to propose a regeneration plan for the area. The councillors are particularly interested in the photographer finding evidence of both positive and negative design characteristics, and to show the impact of these on public space. Whilst the expectation is that the focus of the brief will be on the local architecture and urban space, the photographer may produce other findings deemed relevant for the councillors to consider when formulating a future proposal for the Thamesmead area.

Once I had settled on an idea and written the brief, I found it much easier to approach the assignment. As I walked around the Thamesmead area I was able to plan the photos effectively by referring back to the brief. During my research on the estate, I discovered that one of the first complaints by residents after moving in was rain penetration problems inside a number of the residences. Already this proved the inadequacy of concrete for large scale housing, but its flaws became even more pronounced over time. Concrete is prone to moss and lichen growth and cracks easily, and this is something very noticeable upon the estate’s material facade. Another frequent criticism was the dimly lit walkways and inadequate drainage rendering many of the residences inaccessible. In light of this research, I settled on shooting a particular stretch of one of the elevated ‘streets’ on a day of wet weather. I had considered producing a series of black and white images, but I opted for colour images to present a more objective set of images that departed from the standard portrayal of these estates by photographers. As with my previous assignment on Brixton, I chose to use my digital camera to allow for a quicker review and reflection on the images produced. The final 12 images are arranged in order below.

 

 

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ThamesmeadDigitalFinal-2

 

 

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ThamesmeadDigitalFinal-4

 

 

ThamesmeadDigitalFinal-7

 

 

ThamesmeadDigitalFinal-5

 

 

ThamesmeadDigitalFinal-6

 

 

ThamesmeadDigitalFinal-12

 

 

ThamesmeadDigitalFinal-9

 

 

ThamesmeadDigitalFinal-10

 

 

ThamesmeadDigitalFinal-11

 

 

ThamesmeadDigitalFinal-8

 

* All images shot on Sony A7 with 28-70mm zoom lens – using variable apertures from F3.5-F8 with ISO set to approx. 400-1600 

 

Overall I feel the final set of images fulfils the brief and actually reveals more than expected by the ‘client’. It highlights poor design characteristics such as using concrete as a building material (evidence of moss growth and cracks in many of the images), flooded and poorly lit walkways, and also reveals how high walls block out views of the outside. The impact of these features on the public space in the images is dramatic. The viewer feels a sense of enclosure, almost as if the estate is a fortress against the outside world, and the absence of plant life or colour upon the facade does little to alleviate the barren concrete and two-tone world of the walkway. The images are effective in creating this impression of being blocked off from nature, as there are hints of trees overlooking the concrete walls and glimpses of the outside world are obstructed by barbed wire. Even upon the walkway there is little that makes the space inviting – the ‘no ball games’ signs, the barbed wire, the concrete walls and the flooded walkway deter rather than encourage the residents to use the space. Even so, there is evidence of a community. The images that show painted walls are a welcome relief from the dark, two-tone walkway. This demonstrates how even a simple splash of colour can alter a space and make it appear more inviting. It is also a sign of the individual and that within the cold, barren atmosphere of the walkway a community can still exist.

There were a number of difficulties encountered whilst I was carrying out the brief. One of the main difficulties was planning for the day of the shoot – once I had found the walkway I wanted to shoot I had to wait for a rainy day, and so waited some time (unexpectedly for England) for a weekend with bad weather forecast. Therefore shooting the assignment was perhaps not done as quick as it would have needed to be in a real life professional scenario. Another difficulty not unanticipated was the length of time it took to travel to the location. Whilst it did not impact me too much, I did realise in a professional context this would be quite impactful on the process.

I also allowed myself a period of reflection before selecting the final shots for submission. Taking the advice of my tutor, I shot mainly landscape oriented shots and I observed this made the final set feel more focused. I also decided to get some of the images printed (see previous blog posts in Assignment Five folder) and stuck them on my wall for a few days. This allowed me to see the images ‘together’ rather than individually on the computer screen, leading me to select shots with a similar style of composition – a decision I felt helped produce a more coherent final 12. I chose to include the shots of the painted wall towards the end of the set to introduce variety and to challenge the viewer’s perception of the location. Whilst the length of time I took for the process was unrealistic for a professional context, I felt I got to practice the stages of a professional assignment. The period of reflection was an especially important part of the process, and a stage I will employ in the future when discerning the final images to submit for an assignment.

 

 

Assignment 5: People and place on assignment

Assignment Five Research: Reviewing the set

With the final submission date (27th May) looming, I took my tutor’s advice and decided to get some cheap(ish) prints of the images I was considering for submission. In the event I found a very affordable giclee printer here in London, so I thought why not and went for some prints on some very nice A5 ‘platinum etching’ paper. The images in question were the Thamesmead set posted in the previous post on the blog, a set of 16 shot on one of the elevated ‘streets’ common to the design of the estates in the area.

Having the images printed is certainly beneficial, particularly in seeing how the images work together (see below) and how I will present them in terms of order, sizing, and aspect ratio. I have already noticed things in some of the images that I haven’t noticed on the computer screen, and I may go back and rework some of the editing. While I will be spending the next couple of weeks reviewing the images and may get some more images printed, the final selection is already starting to take place and I have already cut some images. At this stage I can be 100% sure all the images will be presented in the normal 35mm aspect ratio in the landscape format. I do like how the images shot at a 45 degree angle lend a consistent feel to the set and I may keep this theme in mind when I do make the final selection.

Prints

I also feel the introduction of a wider colour palette toward the end of the set is effective (see the image on the bottom right above), however I am not 100% happy with these images and may return to Thamesmead one more time. These images could be reworked slightly to bring out the colours or to tighten up the composition. It will be worth editing on Lightroom before I make the decision to return to the location.

Prints-3

Above is a provisional selection for the final 12 images, however there are some changes to be made with certain images and I am not 100% happy with 5-6 at least.

If you are interested in some cheap and beautiful giclee prints and you are in the UK, try Zheeklay printing: http://www.zheeklayprinting.co.uk/

Assignment Five Research: Reviewing the set

Assignment Five Research: Thamesmead

Following on from my recent research in Poplar, I have been shooting in the Thamesmead area of south east London. The area is notable for hosting a vast 1960s housing estate – broken up into ‘sub-estates’ – built in the modernist/cubist style popular amongst architects and urban planners of the era (particularly those who worked for the Greater London Council). The estate is in diverging states of disrepair and upkeep, many of the properties are now privately owned and some parts have been demolished to make way for a long-term regeneration plan.

My shots are focused on the elevated ‘streets’ that dominate the estate. My original intention with the images was to focus on the facades of the housing, the textures, geometric shapes, the colours, and also the inevitable signs of decay. As I walked through the labyrinth of the ‘street’ and looked for these elements, I began to notice the shortcomings of the design. In many places it felt very dark despite it being the middle of the afternoon, there was flooding everywhere after heavy rain, and there were very few communal areas such as gardens, benches or even an area that felt welcoming or inviting.

As well as showing the material facade of the building, my images also show how a space can be poorly designed. The estate is essential a series of empty spaces, there is no impression of community from an outsider’s perspective. The space does not seem to have been designed with the intention of cultivating a community. It is inviting to theorise why the planners selected this design for such a massive estate, and if I decide to proceed with this idea and image set for my final submission I shall be providing more context to the political and social forces that created the Thamesmead estate.

Nevertheless, what is interesting is that there are still signs of individualisation within the ‘streets’, and that even within a design that appears to reject the idea of community, residents can provide a more welcoming space simply by painting a wall or by placing a few plants outside the front door. I will continue reflecting on these images whilst waiting for my film scans to return from the lab.

ThamesmeadDigital

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ThamesmeadDigital-12

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Assignment Five Research: Thamesmead

Assignment Four: Reflection

As part of the post-assignment reflection, I reworked the images I shot for the assignment into a new series. One of the suggestions my tutor made for future assignments is reviewing how images work together in a set, as well as how things like format and aspect ratio can affect this.

I chose the 11 images below as I think they present a set of images that flow better together than the set I submitted. One of my tutor’s points was that the landscape images appear to have stronger compositions – in hindsight, the stronger images do appear to be the landscape shots as they make better use of their elements, and it might have been preferable to submit shots in the same format to maintain uniformity within the set. However it must be said this is not something to be assumed with every set of images, but keeping the same format is worth considering for future projects. See the reworked set of images below.

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Looking ahead to the final assignment, one of the underlying points from my tutor’s feedback is to play to my strengths. With that in mind I will most likely be composing with the landscape format, unless I go for square crop images. Also points to takeaway from this and put into the process for the next assignment as I start my research are:

  • continue with the observational ‘flaneur’ approach
  • consider printing images (even cheap inkjet prints) when considering what to include in a final set
  • make the brief for the final assignment fit the images, not the other way around
  • consider using a tripod when composing landscapes
  • refine composition and think carefully about how the elements fit together within the frame

I expect my research for the final assignment to continue for at least the next month or so. I will post the results of my research on here as I go along, along with the results of my research from reading the course books and online materials.

Assignment Four: Reflection

Assignment Four: A Sense of Place

Introduction

For the following assignment, I selected the Brixton area in south London as my location. I visited the area over a few weeks and shot a variety of subjects, locations, and buildings. Over the period of time I ‘covered’ the area  I found that I gradually developed a narrative and theme to focus on for the assignment brief. As this specified that the images would be pitched to a thoughtful travel publication, I looked for a strong visual narrative through the final images I would be making my selection from.

From the first walk around the area with my camera, I noticed immediately the juxtaposition between the old, independent businesses around the area, particularly underneath the railway arches on Atlantic Road and the markets on Electric Avenue, and the new forces of regeneration in the form of Network Rail’s apparent intent to refurbish the arches. However my subsequent walks around the area revealed a more complex narrative, and with my final selection I set out to show a greater insight into the area beyond the obvious tensions created by the regeneration initiatives. Also in keeping with the brief, I tried to incorporate a variety of images that showed the various techniques in camera handling, observation and reaction explored in the module so far.

The initial selection 

I made an initial selection of 12 images from around the 50-100 frames I shot in Brixton over a period of 4-5 weeks. I thought this initial 12 best captured the narrative I was trying to convey. All images were shot with my Sony digital camera and a 28-70mm zoom lens. I found this gear choice gave me a simple but flexible approach, and is notably the first time I have used digital for an assignment on this course. The approach I chose – walking around the location a few times over a period of weeks – meant that using film would have delayed the completion of the assignment considerably, and also have interfered with the momentum I gained from each visit to the area. Whilst I find the film process useful and sometimes preferable to the instant gratification of digital, I felt that seeing the images immediately once I had arrived at home allowed me to appraise what I had captured that day, and to make notes on possible themes and narratives to focus on during my next visit.

Images were therefore shot from a variety of focal lengths; however looking at the EXIF data from the RAW files showed that I did not go wider than 35mm, and went up to the maximum 70mm my zoom lens allowed. I did not do much editing in Lightroom beyond the exposure and contrast sliders, but also did some cropping that in some cases affected the composition of the finished images. I also stuck with the traditional 35mm aspect ratio and colour palette to create a more consistent feel to the set, baring in mind that the final set would be published in a magazine. The inevitable overcast days that are typical of England at this time of year were also welcome in helping to create a consistent feel to the images, despite them being captured at various times over October-December 2015.

The first three images below were taken in residential areas of Brixton, and I feel they capture something of the essence of the community’s character. The first shot is of Loughborough Park and the Guinness Trust, which acts as an advocate for the local residents in the estate which is under threat of demolition so the developers can move in. Some development can be discerned in the background behind the Guinness Trust building and the original flats, and shows something of the conflict present in the estate. The green boards on the left hint at the development taking place, and the old man with shopping trolley could perhaps be taken to symbolise the resistance of the local residents to the developers. In terms of composition, the man on the left draws our attention and acts as an initial focal point within the frame. However the green boards, the Guinness Trust building and the new development in the background create a multi-layered image with a strong narrative that I feel sets the tone for the remainder of the series.

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The second image below shows the ‘Pop Brixton’ development. The area is an initiative that uses old shipping containers and aims to encourage local residents to get involved by offering affordable rents or subsidised loans for start up businesses. The containers range from housing street food stands, restaurants, bars, clothing shops, jewellers, bakeries and even a small stage for music and stand up comedy performances. It is undoubtedly a product of the regeneration that has affected the area in recent years, but perhaps shows a more positive side to what such initiatives can do for Brixton. The image itself utilises the “anonymous” figure approach to photographing people in place. The figures entering the development form part of the overall photo which features the shipping containers and a 1960s residential tower block in the background. Along with other images of the set, I noticed that this image display an independence and ingenuity on the part of the community in Brixton – an area that is traditionally a working-class area of London, but has seen vast amount of social upheaval over the years. This theme is something that resonates throughout the set, but is a trait that can also help to explain the local community’s rejection and mistrust of initiatives from outside developers such as Network Rail.

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The next image below is in the same vain as the image of ‘Pop Brixton’, and shows more of the ‘can do’ attitude of the local community that I observed. This is a clearly a communal area, and it is the recycling of materials for a public space that shows the ingenuity of the community that uses it, for instance the mannequins and wooden platforms that surround the space.

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The preceding images below were taken below the railway arches on the Atlantic road. As mentioned the arches are an area of particular conflict in the area due to the stated intention of Network Rail to regenerate the arches and potentially force away the small businesses that have operated out of the shops below the railway.

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The images I chose vary in camera handling, composition and subject focus. They vary from showing the type businesses that reside beneath the arches, for example the wig shop and carpet shop, to showing the people that use the space particularly the delivery man and the two people sitting in conversation in the first and second images respectively. The uniting strand in them is that they show a thriving community that still exists beneath a railway that presumably thousands of people use to commute to central London everyday, probably unaware of what exists beneath.

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The final images that I chose for the initial selection are varied in location.The first in the sequence is of a church on the main road not far from the tube station and opposite the famous music venue, Electric Brixton. I chose to include it as it shows something about the community that still resides in Brixton, and the fact that the church was packed when I visited shows that many of the local residents are still very religious. The final three are shot on the famous Electric Avenue, which resonates with independent markets and butchers, and is always somewhat chaotic and dirty. I thought the image of the two butchers busy on their phones reveals a quiet moment amidst the chaos. The graffiti in the final image above also perhaps tells a story particularly when placed amongst the chosen images of this set. Is the graffiti alluding to something lost in the area? Are the authors talking about an end of an era? It is an interesting photo to finish on certainly within the context of the narrative the images reveal.

The final selection

In keeping with the assignment brief I cut the initial selection of twelve images to a final six. I would have preferred to have kept the final set to the twelve selected above and cutting those to six has been a difficult exercise, particularly as I feel the twelve photo series works so well.

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Cutting the selection of twelve down to six was certainly tricky, especially when covering an area as diverse as Brixton with its vibrant and active community. The final six I felt show the essence of the local community as one of ingenuity (as evidenced by the ‘Pop Brixton’ and Loughborough park images), and of unique use of space (the use of the arches as a public and retail space). The final image ‘I miss my Brixton’ is particularly illustrative – the local residents perhaps face a near constant struggle to adapt in the face of forces of deprivation and regeneration, but the graffiti also shows that many take pride in the character of their community.

Conclusions

Overall I felt the final images I produced for this assignment were successful in capturing what I wanted to convey as the ‘essence’ of Brixton. Although I would liked to have presented the initially selected twelve as the series, the final six still work well together and succeed in presenting something of the area whilst maintaining visual variety. I would have liked more access to areas such as Loughborough Park, perhaps focusing more on the people who reside there and capturing portraits and something of their personal stories. However this assignment was more about capturing the community as a whole, and including the space in the frame was just as important as the people. In fact for some images including human subjects was almost unimportant, for example the ‘Pop Brixton’ images which makes use of the anonymous figures.

Without an end-result in mind, I might have approached photographing Brixton in a much less focused way. In fact the resulting images may have been much more cliche – including perhaps the inevitable ‘street portrait’ – and less focused on conveying a narrative. I may also not have revisited the area over a few weeks and not taken the time to walk around and to get to know the place. I found this approach very useful in forming ideas and finding a narrative to tie a finished set of images together. Having a clearly defined goal when shooting a project is a vital lesson I will takeaway from this assignment, and is certainly something I will prioritise when shooting any future project.

Assignment Four: A Sense of Place

Part 3 Reflections

Having completed assignment three and had some time for reflection, I thought it useful to write up some conclusions I had from the process and provide some more background for the choice of locations and technique. In addition, this reflection should also reveal the rationale behind the final images I chose for the submission. I have included images I chose to omit to help illustrate some of the thoughts and conclusions I had about the final submission.

*Note that all of the images below were omitted from the final submission and should not be considered as part of assignment three

Ironically I found the most challenging part of the assignment photographing the most mundane locations, i.e. the shopping centre and library interior. Whilst working through the exercises and projects, I had set on a couple of locations for the assignment with quite obvious functions – a fairground and housing estate. What was interesting with the housing estate (Barbican set) was that as I got to know the location better, I began to see more uses and functions. I was also very taken in by its form and architectural design and found myself focusing too much on these aspects rather than the functional aspect of the space. Gradually I became aware that this was pulling my focus away from the assignment brief. The four images I selected showed various uses of the space, whereas those I decided to omit were either too similar to the ones I had selected, or were overly focused on form. A selection of those I decided to leave out are posted below.

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Barbican-5 Barbican-7Barbican-2  Barbican-6

One image I might have included was the park and the person walking across it. It shows part of the residential space of the estate but demonstrates a slightly differing function – a leisure space. This is something that could have been included in a larger project or series, but I decided that it was too similar to the residential uses I had shown in the other images. Also I thought it was perhaps a bit wayward of the assignment brief and was not focused enough on ‘building’ or the idea of a structure. However the idea of a leisure space is something that I found interesting and is an idea that I will come back to later.

The images of the Coney Island fairground I chose to omit were not particularly focused on the idea of a building in use. The ones I had chosen to include were rather a loose interpretation of the brief as well, but close enough to demonstrate a functional structure (for instance the ticket office. Again exploring this location again or one that I would have access to near to where I live would be an idea worth pursuing, perhaps fitting into the idea of a leisure/recreational space. A selection of images I chose to omit for the Coney Island location are below.

ConeyIsland-2 ConeyIsland-3 ConeyIsland-4 ConeyIsland

I felt the images of the outdoor cinema and the people on the benches were too loose an interpretation of the brief. I chose to select one image of the ferris wheel, the two I chose to omit were perhaps again too vague but I did enjoy the rather abstract capture of the roller coaster on the left. It would be interesting to see if it could fit into a larger project or more varied series of images focusing on a leisure/recreational space. Experimenting with visual narrative and finding “visual punctuation” in a series of images is something touched upon by Maria Short in ‘Context and Narrative’:

“It can be possible to achieve a certain pace in the series by using a particular size or shape of image at a key point in the sequence, either as a recurring theme or a one-off.” (Short, 2011, P.106)

Experimenting with narrative and presentation of images is something that I will be researching and attempting to do, certainly for the part four assignment and perhaps in a retrospective presentation of the images I made for the part three assignment. It would have been interesting to present the images I made for assignment three in a less uniform way, for example increasing the prominence of one image by increasing its size or messing with its aspect ratio. Observing the presentation of work by other photographers and how this can change visual narrative is something that I will come back to and research later.

My initial approach to photographing the shopping centre in Stroud can be seen in the images I chose to omit. I had the problem of shooting the complex’s obvious function when I first approached it and the resulting images were somewhat flat and uninteresting. It was after I had walked around the entire complex and saw how it fit into the Stroud town centre that I saw a function besides the obvious use as a shopping centre. The omitted images below show this function whereas those I chose to submit in the finished set demonstrate more creativity and a more interesting visual narrative.

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Merrywalks

A takeaway point from this location (and that I considered immediately) is that it is always important to research and consider your location before approaching it. My intention when shooting Merrywalks was somewhat arbitrary, as I was thinking about its obvious function as a place to shop in. After walking around and considering its place within the town centre as a meeting point for young people, I approached the location in a more creative manner and I think the images I chose to submit possess a more engaging narrative for the observer.

This point was also very relevant with my approach to photographing the mills. It was only after I had shot a few frames and had considered how I could create a visual narrative for the audience that I approached the location in a different, more creative way. As I was shooting I found a potential narrative in juxtaposing the modern with the old. I saw the sports car parked under the Victorian railway bridge with the mill in the background, and saw the opportunity to contrast the modern office function with the traditional function of the mill as an industrial workspace. The images I omitted from the submission are presented below, and are devoid of any social/visual narrative I think is present in the set I submitted. Similar to my initial approach in photographing Merrywalks, the first frames I took at the mill are quite straightforward and only really show the original function of the buildings.

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To conclude, I feel I approached this assignment in a much more thoughtful and creative way compared to assignment two. I was quite pleased with the submitted images for each of the five locations and I came away with some very useful learning experiences and ideas for future research. Although I have talked about these in the above text, I have bullet pointed the ideas below for ease of future reference.

  • It is important to research and walk around a location before shooting it and to consider how you would present the location in a series.
  • It is useful to ask yourself if there is any narrative present besides the obvious, and if you could approach photographing a location in a unique way.
  • Consider ways of presenting your final images in a set – are there subjects you could emphasise over others? How could you emphasise this within the set?
  • Could you change aspect ratio, size or bring in other visual aspects to achieve a visual punctuation within the narrative?
  • Taking away ideas such as leisure and recreational spaces, and how people interact with these spaces for my work/research in Part Four.

Having already done some preliminary reading for Part Four, these points are relevant learning experiences and ideas to bare in mind for work/research in Part Four. Although I am aware that the research and execution of assignment four may take a while, I am keen to keep up the momentum gained from Part Three and have already begun research for the next assignment and projects in Part Four.

Part 3 Reflections

Assignment three: buildings in use (Set 5)

For the fifth set of images in this assignment, I chose to shoot at the Barbican estate in London. I find the complex an interesting place due to it being a great example of 1970s Brutalist design and still seemingly functioning – at odds with the rejection of Brutalism by contemporary society. It is controversial for many Londoners due to its ugly aesthetic and association with 1970s urban planning. However it is the organisation of the complex and its varied use which makes it an engaging space. I therefore set out to attempt to capture the Barbican’s contemporary functions again using my Rolleiflex camera for the sake of continuity with the other sets of this assignment. I decided to use Fuji Provia slide film in order to obtain as clear scans as possible and also because I thought the muted tones of Provia would be more suitable than more saturated colours of a negative film. I was tempted to use black and white film, but I decided upon colour in order to capture accurately how it is seen by visitors and residents. In hindsight I think I should have used faster colour negative film as the Provia resulted in a lot of blocked shadows and blown highlights.

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I shot a lot of images at the Barbican so deciding upon three or four was difficult. The image above shows the harshness of the concrete structure contrasting with the natural colour of the flower beds laid out by the residents. The image gives a strong sense of an overpowering urban environment, but perhaps in defiance of this the residents seek to create their own space on the balconies of their flats.

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It is easy to imagine that growing flowers in an environment dominated by concrete gives residents a sense of ownership over the space. I shot the above image looking down onto an underground car park beneath the estate. I did not expect to see signs of residence when looking down upon three subterranean levels of concrete.

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Despite the signs of residence and community on the estate, there were points where I was reminded of its location within a busy part of London. The above image shows part of the complex which is given over to offices and the performing arts centre. The bike path was busy and full of commuters whilst I was walking around, travelling between the estate’s offices, flats and nearby tube station.

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The final shot shows an architects’ office with people busy at work. This demonstrates one of the estate’s contemporary uses alongside its original function as a residence for working class Londoners. It’s success as a space seems to be rooted in its continued occupancy by a community of residents who value the flats they reside in, its use as a performing arts centre (one of the largest in Europe) and its occupancy by private firms such as the architects’ office. This set therefore accurately shows the complex’s various functions and how the estate continues to successfully function despite the controversy and divided opinion over its aesthetic and design.

Assignment three: buildings in use (Set 5)