Walking in the Contemporary City: Thames Explorer Club by Alexander Lundmark

This book is part of the master thesis project at the Laboratory for Sustainable Architectural Production at UmeĂĽ School of Architecture year 2015-206. This master thesis started with an interest in what takes place while walking, during the in-between, and what affects this movement. Special interest was put on modern technological developments, especially contemporary information and communication technologies, and how they affect our movement. Research and experiments ended in a set of conclusions. These were contextualized in London, and informed the development of a urban strategy and building project. Alexander Lundmark

Tutors 9th semester JĂźri Soolep Adria Carbonell Rabassa 10th semester Toms Kokins David Ortega Jaime Montes

â&#x20AC;&#x153;[...] I suspect that the mind, like the feet, works at about three miles an hour. If this is so, then modern life is moving faster than the speed of thought, or thoughtfulness.â&#x20AC;? Rebecca Solnit, Wanderlust, 2000

CONTENTS

INTRODUCTION 2 Opportunities in walking 4 Walking in the contemporary city 5 PART I WALKING IN THE WORLD 8 The embodied experience of the world 9 Movement and intentionality 12 Walking as experience and performance 13 INTERLUDE I WALKING EXPERIMENTS 16 The Blind Walk 17 In The Dark 20 The length of my step 22 PART II MOVEMENT AND MODERN TECHNOLOGIES 24 Living in an internet of things 25 Logistics and tracking 26 Body schema and extended bodies 28 INTERLUDE II WALKING WITH TECHNOLOGY 32 Fulton Center, New York 34 A Virtual Walk 36 Mapping UmeÃ¥ 40 PART III RESEARCH CONCLUSIONS 48 Mystery and risk 49 INTERLUDE III A BRIEF HISTORY OF ENGLISH WALKING 52 Walking, a national spirit 54 The birth of the walking club 56 PART IV POTTERS FIELD 58 PART V MUDLARKING THE THAMES 68 Walking the foreshore 88 PART VI THAMES EXPLORER CLUB 94 About the project 96 BIBLIOGRAPHY 130

INTRODUCTION

I will be investigating walking in the contemporary city and what affects it, e.g. the body and its possibilities, the physical environment and the digital layers permeating it, and the political, social and cultural forces directing our behaviours and what we can and cannot do. My goal is to find ways of designing spaces that can help us find time for reflection and being more present in the world while we walk in urban environments. The research will start broad to find a plethora of interesting threads and aspects, and later on narrow down into more specific areas. It will culminate in a design project. The site given for the project is Potters Field, next to the City Hall in London. London, and England, has a history of walking that is part of a strong culture with many branches; the Sunday walk, the city stroll, the rural trespasser, the activist taking back the streets etc. There is a rich contextualized background which could inform, strengthen and shape investigations and design projects into what walking can be.

Opportunities in walking Through walking, we know the world. “Only by walking the land, fully engaged and immersed as we read carefully and deeply, can we truly know a place.”1 And through walking, we also make sense of the world. “I can only meditate when I am walking. When I stop, I cease to think; my mind only work with my legs.”2 Thus two opportunities in walking can be identified: The thinking - within the mind and the being - within the world. Walking is an opportunity to do ‘nothing’. Rebecca Solnit tells us that in contemporary western society, it is hard to do nothing, but walking is a way of disguising it as doing something.3 In it there is freedom from demands of productiveness. Through walking temporary, personal space-time is generated, providing places and moments of relief to reflect. But it also puts our bodies into the world we share. Walking is a natural, unofficial, comfortable way of being in the environment and perceiving what goes on around us. Both of these aspects are related to doing nothing in particular, in being open to

(Jacks, Reimagining Walking: Four Practices 2004)

(Jean-Jacques Rousseau, quoted in (Solnit 2001)

(Solnit 2001)

the rhythm of the embodied experience. Here is an open perceptiveness to where our pondering thoughts and our intuitive bodies takes us. It can lead to insights and encounters, and help us find the unknown and the unexpected. At its best, the walk is an open-ended, experimental process. Even if it is a stressful walk between two fixed locations, we can have unforeseen thoughts and experiences. Tim Ingold argues for life as a continuous line, made through movement, with the concept of wayfaring. “The wayfarer is continually on the move. More strictly, he is his movement.”4 He never arrives at a full stop; instead, every pause is just a break, a temporary rest on the way. He is not traveling through the world, but in the world. He is perceptive of the world around him and changes his behaviour according to sights, sounds, smells and emotions that engages him. His experience of the world is embodied; his body is what Bourdieu calls a ‘geometer’5, that from which the world gets its measure and meaning. In this wayfarer’s line we can find the opportunities identified above. Walking as wayfarers makes us more present and therefore more engaged in our surroundings. Many thinkers6 have understood the importance of 4

(Ingold, Up, across and along 2007)

(Bordieu 1977)

See the writings of e.g. Jan Gehl and Judith Butler

Walking in the contemporary city the shared streetscape and its qualities as common space for social cohesion, diversity and even happiness7. Being ‘in’ the world, and experiencing how effects of actions reverberate through our cities, can give ecological understandings and perception of consequences of lifestyles. 7

(Gehl 2011)

Capitalistic forces have set up efficient infrastructures supporting our consumer culture. Constantly increasing consuming needs constantly increasing production, which in turn needs to be as lucrative and consequently efficient as possible. This is done through logistics, the organization and managing of flows. Together with positivistic, all-encompassing scientific paradigms, this has led to logics of efficiency strongly influencing our thinking. Everything can be calculated and optimized; if not, it is just because we haven’t reached the technological level to do it yet. Speed is paramount because it gives quicker and larger returns on investments. This can now be found in all aspects of life; we want shorter transportation time, faster brains, quicker processors, less time spent waiting etc. More and more cities become ‘smart’, using a plethora of digital sensors and devices to optimize their performance. Networks between these new technologies are set up, collecting, analysing and predicting data. This both informs and forms the infrastructure; telling us where and how to move, but also producing the spaces which we move in. What is the role of walking in the smart cities of tomorrow? Transportation today fragments our existence. We spend our lives traveling between places. These specific locations are the stops in which we live, and only when we arrive at them we begin to move around. The unplanned, unproductive

moments that used to exist within the process of travelling are seen as waste and destroyed whenever possible. Buses, trains and aircrafts now offer free Wi-Fi, transforming the ‘wasted’ time into work time. We don’t have time to be in the world anymore, instead we are being shuttled from productive activity to productive activity. Thus we live in fragmentation and become less attached to our shared world. As a corollary the places of our lives are in a sense disconnected.

we perceive the environment around us. Like analogue tools, e.g. eyeglasses and shoes, digital devices now melt together with our body, extending our actions and perceptions further in the world. Just as the city is invaded and made smart by devices, so the body is augmented, with new layers of ICT growing closer and closer, even into our skin. We have to be aware of the consequences. They radically influence our behaviour2, but how? What effects do they have on how we move in space?

The consequence of current travel conditions is division. We spend less time in common spaces; we increasingly live in social and cultural ‘fragments’. This disconnection can be anti-democratic (who has access to these ‘fragments’?) and thus has ethical and political consequences. Can walking become a process of stitching life together again?

We risk becoming appendixes to machines; technology becomes the end of humanity instead of an instrument in our hands.3 Galimberti warns us that quantity and quality might inverse4; computers already become faster for the sake of being faster, with changes in human life often a fortuitous consequence. We have less and less distance from our technologies; as their limits extend and blur, we might turn into them. Are developments in ICT improving our experience of walking, or robbing us of some of its qualities and opportunities?

There are still certain degrees of freedom in movement, ways of moving outside logistics and efficient infrastructure. Our bodies still have the ability to break rules both written and unwritten. But this does not entail a complete break with information and communication technologies (ICT). There is no denying that ICT devices are becoming part of our everyday life. Our world is increasingly permeated by an internet of things, giving our environment digital qualities, always connected.1 We have to relate to them on a personal scale; they shape how we move and how

(Easterling 2014)

(Crandall 2011)

(Fortunati 2003)

4 Galimberti referenced in (Fortunati 2003)

PART I WALKING IN THE WORLD

The embodied experience of the world All walking is done by bodies. It seems natural to start with what it means to have a body, and how it is our means of experiencing the world. Through his work, the French philosopher Merleau-Ponty profoundly explored the body in relation to itself, the world, and others. He opposed the dualistic thinking of body contra mind, which underestimate the body, and instead argued for an embodied inherence in the world which is far more fundamental. Merleau-Ponty writes: “Either I consider myself as the world inserted into it by my body which is beset with causal relations [...] Or else I try to really understand how sight comes about [...] And seize by reflection a being for whom the object can exist.”1 “The body is our general medium for having a world.”2 This embodied existence means we can never withdraw from the world. We will always exist as a body in it, “affecting and being affected by objects and subjects in the world.”3 Consequently the body is the permanent structure of perception, as Merleau-Ponty writes: “it is my point of view of the world.”4 We are our bodies, and the lived experience 1

(Merleau-Ponty, Phenomenology of Perception 2002)

(Tharakan 2011)

(Verhage 2008)

(Merleau-Ponty, Phenomenology of Perception 2002)

of this denies that we can detach the mind from the body. They are inseparable, situated in the world. It is impossible to imagine perceiving the world without a physical entity. For Merleau-Ponty, our body is the measurant of the world; it belongs essentially to it. Through it the world appears to us. This perception is not just functioning organs individually sensing and relaying data. Instead they all inform each other, complement each other, through the “vital and performative human act in which “I” perceive.” Usually measurement refers to quantity, but the human body cannot be understood like this. The complexity of experience is much broader. The envelopment of the senses in our embodied experience prevents us from analysing them completely separated. They are united in our behaviours, in our acts and intentionality through our embodied existence. Hence the body is not a tool in the sense of an object that consciousness perceives, but rather; “consciousness simply is the living body.”5 “[...] the omnipresence of our body keeps it from being simply an object in the world.” It cannot be viewed the same way as other objects in the world; it is impossible to see it in the same way we see e.g. the bodies of others. Things are always and only perceived from the perspective of our body; “the presentation of objects in perspective cannot be understood except through the resistance of my body to all 5

(Verhage 2008)

variation of perspective.”6 It is so inherent in our perspective of the world that “the reflection of the body upon itself always miscarries at the last minute.”7 MerleauPonty proves this claim of the body being a subject-object with the following example: “If I touch with my left hand my right hand while it touches an object, the right hand object is not the right hand touching: the first is an intertwining of bones, muscles and flesh bearing down on a point in space, the second traverses space as a rocket in order to discover the exterior object in space”8 Here the body is at the same time perceiver and perceived; subject and object constantly alternating, never distinguished. Ultimately, this leads to the body not being an object separated from and used by the mind, but rather the “means of communication with the world.”9 Further, we do not passively see something, and then interpret that data. Through the embodied experience there is a more active dimension of perception, that appropriates directly what is seen through some influence, and consequently responsibility. This is often illustrated through 6

(Merleau-Ponty, Phenomenology of Perception 2002)

7 (Merleau-Ponty, The Visible and the Invisible: Followed by Working Notes 1968)

Wittgenstein’s famous example of the duck/rabbit, which we can, at will, perceive as one animal or the other. We are never completely disinterested in our perception. This influence is both conscious, as in the above case, and unconscious. There is no way for us to perceive the world outside our body, and outside its abilities. As MerleauPonty writes: “Whether or not I have decided to climb them, these mountains appear high to me, because they exceed my body’s power to take them in its stride [...]”10 Hence height is not measured simply in its comparable height to me, but also in how I interact with it. Distances are not measured quantitatively in my head; only by attempting to describe it do I order it in geometrical space. For example, my distance to my colleague on the other desk is not bodily measured in exact units, but in the fact that I can reach her, touch her face, see her features. Similarly, I don’t measure my apartment in square meters, but in how I can move in it in relation to my bed, my desk etc. Quantifiable specifications matters less than projective relations; what is important is what I can do, see, touch, hear. We do not catalogue sense data, but inhabit it.11 In her essay “The Body as measurant of all: dis-covering the world”, Florentien

(Merleau-Ponty, Phenomenology of Perception 2002)

(Reynolds u.d.)

(Kujundzic och Buschert 1994)

Verhage extracts some interesting insights of Merleau-Ponty’s view on the process of perception. When we perceive something, we are “taken out of the centre of the world”. At that point, objects can affect us while we perceive them. “Thus while I “bite” into the object, the object also “bites” into me [...] “Sinking your teeth into each other” means that we partly envelop and puncture the other.”12 The style and the dimensions of the object has an effect on us as we perceive them. When I reach for an object, I change the movement of my hand, its shape, its pressure, according to the object I perceive. The body “mingles” with the thing, it adds to the dimension of how I perceive the world. This happens in a precognitive way; more or less unconscious of how, the object has altered me, made me respond to it. This is not exclusive to direct physical contact; when walking next to a slanted wall, I change the way I walk, leaning slightly in the same way as it does. When I move in a room with a roof height close to mine, I shrink slightly. When the sun shines bright, I squeeze my eyes. When I smell those I love, I inhale more deeply.

the other, but rather myself as the other. I measure the body of the other with mine in a way that completely covers it. If it is exhausted and sweaty, breathing heavily, the perception of the exhaustion is not only of the other body but rather I feel it in myself. Thus the measure itself (my body) overshadows the other to be measured (the body of the other). I make the other into me. But at the same time, while I ‘bite’ into the other, the other ‘bites’ back. For example, when speaking we adopt similar ways of talking as our interlocutor. The other shapes us; they add new dimensions to our world.

When I perceive another person, a mutual connection arises based on the similarity of our bodies. In the body of the other I see “a familiar way of dealing with the world.”13 Suddenly, I see myself in the other, with all “my own feelings, intentions, ideas, actions and habits.”14 In a sense, I do not perceive 12

(Verhage 2008)

Movement and intentionality Our perception is always based on our intentionality; we cannot perceive or experience anything without having something to direct it against (something to perceive or experience), or without doing it in a specific way.1 And movement is a basic dimension in how we direct ourselves towards the world around us. Movement here adopts a broader meaning; it can be both concrete and abstract; it can be both about actual movement and about orientation towards a possibility.2 It describes dynamic processes. Movement is active engagement with time and space. We are not in time and space, but rather we inhabit it. We donâ&#x20AC;&#x2122;t perform our movements in emptiness, but rather deeply connected to the world around us. Place and time stems from our activities, our movement. This movement transforms geometrical space and chronological time into lived place and lived time.3 Movement is life. We enter this world moving, and by moving we ground our understanding of the world. â&#x20AC;&#x153;Through movement, we learn not only the contours and qualities of our world, but also the sense of ourselves as inhabiting a world which we can interact to achieve some of our ends and goals.â&#x20AC;?4 And our most basic, common way of moving, is walking. 1

(Ihde 2001)

(Johansson 2013) 165

(Johansson 2013)

4 (Johnson, The Meaning of the Body: Aesthetics of Human Understanding 2008) 27

Walking as experience and performance Walking is a straightforward activity, an everyday act common to most of us. This is what makes it powerful. Through walking in our environment, we gain access to a real, tangible experience of the world. We are ‘in it’, and objectivistic views quickly fall away, consciously or unconsciously. Our cities are no longer abstract grids or satellite images, but real, experienced and concrete. The intimate scale of walking put ourselves in the world. As soon as we move, we inhabit and grasp the in-between, we become something that is changing. Change, “obviously the most basic dynamic or physic of our universe”1, is inherent in movement and grounds our experience of the world as it puts it in relation to earlier experiences. The experience of a walk cannot be abstracted to specific steps; rather it is a continuation, a perpetual becoming. Every step relates to the one before it, builds on it. The walk is a metaphor for process, also applicable for meandering and thinking, and perhaps that is why they go so well together. The everyday activity of walking is a way of reaching deeper knowledge about our lived world. While moving around, we intuitively perceive the relations between the things around us, be it objects or organisms, using all our senses. We start to relate their location and alignment, and how they exist to each other in space. We feel their tactility, 1

(Jacks, Reimagining Walking: Four Practises 2004)

we hear the soundscapes they make, we smell the scents pervading the area around them. These experiences make sense only in their context; only by moving can we appreciate them. We also start measuring the world around us against ourselves. We begin understanding distances by taking the necessary steps to traverse them. We feel the protective influence of moving under a heavy roof, we feel exposed crossing a large space. We feel the rhythm of the streetlights guiding our way. By walking in the world, we get to know the self. The encounters we have with our environment through walking is not only about one-sided experience. When we find ourselves walking in a particular place at a particular time, we transform it from abstracted, empty space into lived place. Walking is a way of inhabiting, and inhabiting, dwelling, brings life. Our walks become events in time and space, events that has their own specific rhythms but still interact, influence and are influenced by others. Together they make polyrhythmical fields of interaction2. “These synchronized ensembles of distinct practices define the everyday spatio-temporal images of urban places and suggest a temporal rhythmical continuum, which in itself has a significant impact on the character of the place”3. The temporal interactions of walking are key in making place. Imagine a square without 2

(Lefebvre 2004) p.16

(Wunderlich 2008)

people passing it; it is dead. Without walking, there is no urban life; walking is the dynamism that enables space to become place. Through its everydayness, we develop, over time, strong relations to the spaces in which we move. Our environment becomes familiar to us. We become aware of how it is inhabited and lived by other organisms, how the sun moves at different times of day, how weather and seasons affect it. We experience the activities that take place in it. This understanding, forged in our bodily experience, becomes the basis for our intellectual capacities.4 “Walking is …] fundamental to human knowledge and understanding about self and the world.”5 Thus we create a conceptual modelling of the world, and with it an imagination of it and its possibilities. The place performed and experienced by the walk becomes an origin of creative imagination; it is not just “what it is at this moment”, but also holds a potential for future becoming, as we have seen what it is and what it can be. It becomes what Gaston Bachelard calls ‘intelligible place’, unfinished, fleeting place, experienced as a specific place but 4 (Johnson, The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason 1987) p.37 5

(Jacks, Reimagining Walking: Four Practises 2004)

loaded with projections and possibilities. In this part real, part imaginary, part material, part immaterial place, is the potential of becoming something else.

INTERLUDE I WALKING EXPERIMENTS

The Blind Walk Accompanied by a friend with a camera, I set out exploring the environment surrounding UMA while completely covering my vision. It is a simple common experiment that Iâ&#x20AC;&#x2122;ve done many times before, but itâ&#x20AC;&#x2122;s effects never ceases to amaze me. At the beginning it is awkward. Suppressing vision makes it hard for us to predict our movement. We rely so much on it to let us know what is coming next. But as I walked along, I gradually became more and more used to it. Direction and relative location became unimportant; what mattered was being there and now, experiencing the surroundings with my other senses, primarily touch but also through sounds and smells. I found myself in the moment. I didnâ&#x20AC;&#x2122;t care about the people laughing around me, talking to and about me. They seemed lightyears away. Instead, my awareness shifted to my body and its relation to the world around me. As the time I spent blind went on, the textures of the ground became crispier, the scents in the air intensified, the echoes of my footsteps against the buildings became pangs in my ears. But I also felt myself more, my pulse calming down from the initial novelty, my stuttering breathing in the cold winds, the rhythm of my steps measuring the ground slowly. First I carried a stick to help me predict where to set my foot, and to know what came ahead. It helped me navigate, but also distanced me from the ground. Merleau-Ponty says our instruments eventually melt together with us, extending our bodily perceptions. But this takes time. For a blind man, the stick is a part of him. For me, it was an object enabling me to do certain things but at a loss of experiential intensity. So I threw it away and relied on my hands and feet to tell me what was in front of me. The shoes I was wearing can be seen as an instrument similar to the stick, but long use has incorporated them into my body, and so the distance between me and the ground decreased.

In The Dark On All Hallows Eve at midnight I found myself walking the dark forests next to Nydala Lake, armed only with courage and a DSLR-camera hanging around my neck. I was inspired by the many horror movies when navigation in complete darkness is done only with support with some device, like a hand-held video camera with night vision. I was after the fear; when we fear, we are in the moment. We tense up, we listen intently, we become perceptive of all the small sounds and shadows around us. I walked straight into the darkness. One might think itâ&#x20AC;&#x2122;s silly that I was afraid, and maybe I wasnâ&#x20AC;&#x2122;t, but I was for sure not comfortable. I regretted going many times, stopping and thinking I should turn back, but curiosity took the upper hand, and I continued. After fifty steps of trepidation, my pulse increasing notwithstanding of my logical arguments against any danger, I lifted my camera from my chest and snapped one picture, with the flash at full effect. For a few seconds, the forest lit up around me, the darkness receded. I could see the trees and the bushes, their shadows propagating away from me in all directions. I knew where I was, and for an instant the way forward was elucidated. Then the light was gone. I was in darkness again. I looked down at the screen of my camera; I could slightly make out a way forward. I took a deep breath, and continued forward. Compared to my blind walk, where I and my relation to the world was felt and in focus, here my body disappeared. Only briefly did I note my pulse, my breathing. All attention was directed outwards; I was in survival mode. The creaking of the trees swaying in the wind, the scraping of my feet against the vegetation on the ground. I was so intently feeling the world around me, perceiving it so deeply, that the border between me and my surroundings faded. I simply was there, completely living the situation. Nothing else mattered, nothing else was on my mind. It was exhilarating. I felt deeply alive.

196 mm

546 mm

The length of my step

172 mm 685 mm

Light astigmatism Right slighlty worse than left Causes headache after long p 389 mm

389 mm 182 mm 685 mm

1242 mm

1240 mm 752mm

254 mm

1064 mm 930 mm

432 mm

284 mm 843 mm 882 mm

843 mm 882 mm

924 mm

SLAP lesion surgery Weakened serratus anterior and trapezius Diﬃculty raising arm over 90 degrees, weakness, instability Pneumothorax due to physical trauma Causes twitching and discomfort

174 mm Top of right little ﬁnger dismembered Nothing to whine about

Stresed liotibial band Running causes pain after medium distance

Hallux valgus Hereditary joint disease Causes pain, decrease in balance, shoe problems

The dimensions of my body influences how I move; they allow me to do certain things, and prevent me from others. I cannot hide in a cupboard, but I will reach the top shelf.

546 mm

The disabilites of my body influences how I move; they rob me of some potential, but the scars carry wisdom unique to my experiences. I will never enter the ring again, but maybe that is a good thing.

Light astigmatism Right slighlty worse than left Causes headache after long periods of straining 182 mm 685 mm

432 mm

284 mm

SLAP lesion surgery Weakened serratus anterior and trapezius Diﬃculty raising arm over 90 degrees, weakness, instability Pneumothorax due to physical trauma Causes twitching and discomfort

Top of right little ﬁnger dismembered Nothing to whine about

Stresed liotibial band Running causes pain after medium distance

Hallux valgus Hereditary joint disease Causes pain, decrease in balance, shoe problems

Asthma Problems in cold weather or during heavy exercise Medicated two times daily

Asthma Problems in cold weather or exercise Medicated two times daily

Light astigmatism Right slighlty worse than left Light astigmatism Causes after long periods of straining RightLight slighlty worse thanheadache left astigmatism Causes headache after long of straining Right slighlty worse thanperiods left Causes headache after long periods of straining Asthma Problems in cold weather or during heavy Asthma Problems in coldexercise weather or during heavy Asthma twoor times daily exercise Problems inMedicated cold weather during heavy Medicated two times daily exercise Medicated two times daily

My physical appearance influences how I move; I can enter where you can not, depending on how well I dress. Generalisation and discrimination prohibits some movement, and allow other. It is said Abraham Lincoln became president because of two things; he was an excellent rider and an elegant dancer. Our lifes are ingrained in our movement; when we walk, we show who we are.

Head vertical movement 110 mm

Shoulder horizontal rotation 15 °

Arm vertical rotation 63 ° Leg vertical rotation 68 °

Average step length 78,4 mm

PART II MOVEMENT AND MODERN TECHNOLOGIES

Living in an internet of things Technologies related to communication and information have developed rapidly during the last hundred years. They are now an inherent part of life. An abundance of information and images construct our world, always available. We carry a multitude of tools around with us everywhere in computers and smartphones, all of them connected. These communicating nodes now appear everywhere and in all things from small devices to buildings. They are even inside us, monitoring our heart rate, oxygen levels, stress factors etc. We are living in a library of babel where now most objects can, according to Jordan Crandall, “think, communicate with another, and act in concert [...]”1. Together they produce the internet of things that is permeating our contemporary world, becoming part of everyday space as “networks of cognizers”, sensors of different kinds that quantify information. We are always connected to a digital world of information that is profoundly integrated into our lives, giving our environment digital qualities. This condition remakes our daily lives fundamentally. Technologies redefine established ways of doing things, while introducing new practices and habits, and take part in deciding how we live functionally, socially and politically.

beings, affecting our self-construction both psychologically and physically through processes of subjectification. These are, Agamben writes, “a set of practices, bodies of knowledge, measures, and institutions that aim to manage, govern, control, and orient - in a way that purports to be useful - the behaviours, gestures, and thoughts of human beings.”3 How do these new technological elements of the apparatus re-produce us in the world, specifically in modes of “movement” or “transportation”? I will investigate two aspects; on a societal scale through of logistics and infrastructure, and in an individual sense through how our bodies ‘melt’ together with technology, affecting our movement and perception of our environment at a personal scale. They interlaced and inform each other. These can be seen as a top-down and a bottomup view. 3

(Agamben 2009)

These technologies are elements of what Foucault terms the apparatus2, a network of forces which determine us as living 1

(Crandall 2011)

(Grosrichard 1977)

Logistics and tracking Capitalistic forces have set up efficient infrastructures supporting our consumer culture. Constantly increasing consuming needs constantly increasing production, which in turn needs to be as lucrative and consequently efficient as possible. This is done through logistics, the organization and managing of flows. Together with positivistic, all-encompassing scientific paradigms, this has led to logics of efficiency strongly influencing our thinking. Everything can be calculated and optimized; if not, it is just because we haven’t reached the technological level to do it yet. Speed is paramount because it gives quicker and larger returns on investments. This can now be found in all aspects of life; we want shorter transportation time, faster brains, quicker processors, less time spent waiting etc. More and more cities become ‘smart’, using a plethora of digital sensors and devices to optimize their performance. This both informs and forms the infrastructure; telling us where and how to move, but also producing the spaces which we move in. This network of new technologies, the internet of things, constantly monitors our movements, calculating it, analysing it. This is done by quantifying it, normalizing it into measurable information that we can somehow take advantage of. Movement is occupied by technologies giving us, according to Crandall, the “illusion of control, the ability to catalyse events and shape outcomes. [...] It optimizes it, and infuses it

with the potential to be predicted.”1 Moving phenomena are identified and classified in order to extrapolate their future positions. As we are all moving, we can all be defined by our location and movements and thus become “subjects to calculative measures.”2 Crandall continues: “These analytical procedures infiltrate social life, construct the perception of social events, define priorities and relevancies, and frame approaches. All actors in the world are locatable, yet subordinated to movement, and thus fundamentally able to be tracked, modified, transported.”3 “As tracking has become elevated into a condition, dissolving into space, behaviour, and all manner of social practices, “being” is interpolated into a cluster of calculation, materiality, and behaviour -- performatively enacted between pattern and act. This performative relation must be considered with the true extent of tracking’s anticipatory orientation in mind. Ultimately, tracking seeks to characterize an actor not in terms of what it is doing, but what it will do.”4 The efficiency technology offer is meant to free us. By going the shortest route in the quickest way from A to B, we can be more productive, and thus giving us more free time. In reality, the opposite is happening. 1

(Crandall 2011)

By striving for ideal transportation, we destroy precious time for doing nothing that used to exist in traveling. The world moves faster and faster, and we have to keep up. Spending time unproductively is no longer allowed. The unplanned moments that used to exist within the process of moving are destroyed whenever possible. We don’t have time to be in the world, instead we are being shuttled from productive activity to productive activity, from our beds to our work, to the shop and our friend’s house, to the restaurant and the gym. Solnit writes:

even into our skin. We have to be aware of the consequences. They radically influence our behaviour.6 To understand how, we have to go further into what our embodied experience of the world is, and how we relate to new technologies around us. 6

(Crandall 2011)

“[...] the rhetoric of efficiency around these technologies suggest that what cannot be quantified cannot be valued - that that vast array of pleasures which fall into the category of doing nothing in particular, of wool-gathering, cloud-gazing, wandering, window-shopping, are nothing but voids to be filled by something more definite, more productive, or faster paced.”5 There is no denying that ICT devices are becoming part of our everyday life. We have to relate to them on a personal scale; they shape how we move and how we perceive the environment around us. Like analogue tools, e.g. eyeglasses and shoes, digital devices now melt together with our body, extending our actions and perceptions further in the world. Just as the city is invaded and made smart by devices, so the body is augmented, with new layers of ICT growing closer and closer, 5

(Solnit 2001)

Body schema and extended bodies Merleau-Ponty’s idea of perception is as mentioned above not based on a dichotomy between an objective and a subjective, body and mind, but somewhere in-between. To structure perception in this openness, he argues that the body seeks stability through ‘habituality’, or skilful copying.1 This refers to how we mainly through imitation produce body schema around what we do and can do with our body, which “gives our life the form of generality and prolongs our personal acts into stable dispositions”2 As Reynolds explain3, these come through embodied activity; actions and perceptions are habitual with their root in imitation and responsiveness within environments and communities. Through it we get ‘praktognosia’, practical knowledge, which is the primacy of the body having and understanding its world without “having to make use of … ‘symbolic’ or ‘objectifying’ functions.”4 Merleau-Ponty describes practical, embodied intelligence thus: “We said earlier that it is the body which “understands” in the acquisition of habituality. This way of putting it will appear absurd, if understanding is subsuming a sense of datum under an idea, and if the body is an object. But the phenomenon of habituality

(Reynolds u.d.)

(Merleau-Ponty, Phenomenology of Perception 2002)

(Reynolds u.d.)

(Merleau-Ponty, Phenomenology of Perception 2002)

is just what prompts us to revise our notion of “understand” and our notion of the body. To understand is to experience harmony between what we aim at and what is given, between the intention and the performance – and the body is our anchorage in the world.”5 The body schema then works as a reference point, which “establishes a stable perceptual background against which I perceive and respond to changes and movements in my environment.”6 It is the integrated skills and capacities we have from our precognitive familiarity with ourselves and the world.7 They are ready to anticipate and incorporate a world prior to the application of concepts and the formation of thoughts and judgements. These precognitive skills make the ‘habituality’ mentioned above. While the body is the general instrument of comprehension, its possibilities through body schema are not a closed system. Merleau-Ponty explains this through two layers of the body: the habitual body (corps habituel) and the body at this moment (corps actuel).8 The ‘habitual body’ is in a sense what we think we can do at a given moment. It is continuously updated in relation to the ‘body at this moment’, which 5

(Merleau-Ponty, Phenomenology of Perception 2002)

(Carman 1999)

(Merleau-Ponty, Phenomenology of Perception 2002)

changes our body schema. For example, when we grow up, we grow taller, which changes our perception of our body, our environment and what actions are possible for us. Further, if we lose a body part, suddenly our actions become limited. Over time, we adapt to this condition, and thus our body schema is restructured. This means that there is “no original measure, no intrinsic human scale constitutive of authentic humanity”.9 The habitual body is not separated from objects biologically outside it. It can be, and is, extended through things in the world we incorporate by way of concern. Heidegger writes on intentionality: “[...] that with which our everyday dealings proximally dwell is not the tools themselves [...] On the contrary, that with which we concern ourselves is primarily the work”10. When using a tool, we are not constantly thinking about what it is and what it can do, we simply use it. Our human activity is extended into tools with a dynamic being, capable of ‘melting’ together with us through action. When I type on my keyboard, I do not look at the keys before every stroke. Rather, its spatiality has merged with me; the keybank space has been incorporated into my bodily space. Another example; when I cut the tomatoes, I don’t think about the knife. Through habit it is part of me; with my left hand I move the tomatoes from the box to the cutting board, with the right hand I slice

them rapidly without reflection. My mind can even be on something completely else; my habitual body is extended, the knife is part of my hand and me. Similarly, Merleau-Ponty writes: “The blind man’s stick has ceased to be an object for him, and is no longer perceived for itself; its point has become an area of sensitivity, extending the scope and active radius of touch, and providing a parallel to sight. In the exploration of things, the length of the stick does not enter expressly as a middle term: the blind man is rather aware of it through the position of objects than the position of objects through it. The position of things is immediately given through the extent of the reach which carries to it, which comprises besides the arm’s own reach the stick’s range of action [...] The points in space do not stand out as objective positions in relation to the objective position occupied by our body; they mark, in our vicinity, the varying range of our aims and our gestures. To get used to a hat, a car or a stick is to be transplanted into them, or conversely, to incorporate them into the bulk of our own body.”11 Thus the range of the body is re-established within its ‘economy’.12 Technological instruments of a wide array (glasses, shoes, bikes, wheelchairs etc.) can either melt completely into the body, or accommodate it in various ways and thus extending its

(Kujundzic och Buschert 1994)

(Merleau-Ponty, Phenomenology of Perception 2002)

(Heidegger 1962)

(Kujundzic och Buschert 1994)

area of sensitivity and action. Reynolds provides an additional example: “[...] of the practical and embodied intelligence that Merleau-Ponty insistently points us towards, is the driving of a car. We are intimately aware of how a particular car’s gearshift needs to be treated, its ability to turn, accelerate, brake etc., and importantly, also the dimensions of the vehicle. [...] many drivers [...] ‘know’ (in the sense of a harmony between aim and intention) what the result of the various movement of the steering wheel are likely to induce. The car is absorbed into our body schema with almost the same precision that we have regarding our own spatiality. It becomes an “area of sensitivity” which extends “the scope and active radius of the touch” and rather than thinking about the car, it is more accurate to suggest that we think from the point of view of the car, and consequently also perceive our environment in a different way.”13 The habitual body is not permanent but rather situational. Take for example the surgeon who performs some operation using a camera device to see where in the body his tools currently are, and what they are doing. Through habit the camera has become an extension of his vision; he does not continually reflect upon it’s cognitively; the camera extends his perception in that given situation. Dissolved into the surgeon’s body, it becomes part of his sensitivity to

(Reynolds u.d.)

the world at this specific moment; seconds later he has left it behind. Through these examples we can see a notion of ‘sensitive instrumentality’, a melting together of subject and object. The instruments are not distanced from but rather part of the embodied existence. We are all of us dependent on these objects; our mutual integration with them seem limitless. In Merleau-Ponty’s view, “human existence remains dominant, pervasive and open-ended.” Instruments are in themselves no threat to our humanity. Merleau-Ponty was writing this in 1945. 70 years later, Fortunati et al. writes: “The human body is undergoing the same processes today that nature once underwent. In fact, whereas initially technology turned to nature, today it has become very interested in the human body [...] Communication technologies have extended the boundaries of the body, increasing the capacity to transmit information. Technology has progressively grown closer to our bodies, approaching through first clothing, then synthetic clothing fibres, and finally ‘smart fabrics’, wearable computers, and communicative machines embedded [...] into the body.”14 As modern technology advances, it becomes “increasingly advanced at simulating, stimulating, supplementing, and altering the human body with a host of genetic, chemical, sensory, and 14

(Fortunati 2003)

many other techniques.”15 This makes Verhage’s observation relevant: “[MerleauPonty’s phenomenology] can be read as a phenomenology of violence. The violence of perception [...] [biting into] cannibalism [...] Introjection [...] Retaliation [...] In this image of mutual encroachment the intersubjective encounter has become particularly fleshy and violent. [...] the intersubjective relationship can have both ethical and violent consequences as it can be a mutual transformative sculpting or a violent breaking into another’s flesh.”16 Every melting together with an instrument has a consequence, and we must be vigilant in political and ethical terms, to understand exactly what we gain and what we give up. Our humanity might be at risk. We risk becoming appendixes to machines; technology becomes the end of humanity instead of an instrument in our hands.17 Galimberti warns us that quantity and quality might inverse18; computers already become faster for the sake of being faster, with changes in human life often a fortuitous consequence. We have less and less distance from our technologies; as their limits extend and blur, we might turn into them.

projects runs this risk. It demands understanding of both the potentials and the dangers. Is it something meaningful, contributing to the design in a conducive manner, or is it just a novelty, applied for its own sake? Are we taking a political or ethical decision, or are we blindly rushing along under a paradigm of scientific development without stopping and thinking about how our lives actually are, and how we want them to be? ICT will always shape our movement in spaces, whether deconstructing and objectifying us from afar, or becoming part of environment that surrounds us, or if it has melted together to extents or completely with our embodied experience. This cannot be perceived as ethically ‘good’ or ‘bad’ in itself. Rather, it demands investigations into how different instruments alter our environment and our perception of it, in what way they extend our habitual body, and what effects this has on our life.

Every application of technology in design 15

(Kujundzic och Buschert 1994)

(Verhage 2008)

(Fortunati 2003)

Galimberti referenced in (Fortunati 2003)

INTERLUDE II WALKING WITH TECHNOLOGY

Some of the technological devices I walked with - a GoPro camera with a mount, a Galvanic Skin Receptor for measuring emotional respones, handsfree for recording sound, and a smartphone for recording GPS data etc.

Fulton Center, New York After 9/11, much of Lower Manhattan was revitalized. One of the sites that underwent most change was the Fulton Center, one of the busiest transport nodes in New York. Here, six subway stations and 12 subway lines meet. ARUP was hired to do the project, and began with intensely studying the situation. They focused on connections, stating that “There was a clear need for better access channels, and more of them.” Through the use of software, they mapped almost 50,000 people travelling through the station, and used the results to make design decisions. New direct connection connected the lines, the corridors became wider, and they made new mezzanines to separate passengers. The users were seen as packages to be transported, and the station as an efficient system. The effects of their design were less crowding, a reduction in loading and unloading delays, and improved security. Considering New York City has the residents spending most time commuting in all of US (around 6h per week per person), these improvements were welcomed by many. Unfortunately, the experience of the traveler is rarely mentioned, only in brief superficial terms like the novelty of an intricate (and extremely expensive) steel and glass structure allowing light to enter deep into the building. If the residents of New York City spend so much time on the tube, one can question why this is not seen as an opportunity to at the same time try to make that experience worth their time. Additionally, the great success the ARUP publication raves about is contradicted on many places on the web, who claims that though “some corridors were straightened or rearranged, and some escalators have replaced stairways [...] the problematic transfer challenges remain”.

The complete control of movement through this design strives to eliminate all the random factors, all opportunities for random encounters and meetings that are unplanned and ‘wasteful’. Thus it isolates us from the world around us; we are just ‘in transit’, speeding along to our next destination. Data has been used as a tool of suppression, abstracting and controlling the complexity of life into something manageable, predictable, and ultimately, in the worst case scenarios, devoid of life.

Constant flow through the hub. Only the cops and some admirers of the structure are stationary. There is no overlapping of Ingoldian lines; everybody is going their way as quickly as possible.

The transportation is quick and efficient; you travel as a solitary package, isolated from the world around you, with your eyes on the phone and music in your ears. There is no need to interact or to be aware of your surroundings; the perfection of the design leads you where you want to go without any demands on you.

A Virtual Walk Dear Esther walks the line between being a video game and an art project. Developed as a research project at the University of Portsmouth in 2008 and later remastered and rereleased in 2012, it gained many positive reviews from a gaming community much more used to faster-paced, more interactive games. The game has no puzzles or tasks, nothing to defeat and no score kept. The only thing to do is to walk the landscape a far-away island in the Hebrides. As you explore the island, the main protagonist reads aloud letters written to his dead wife. They are cryptic, sometimes pretentiously abstruse, but they narrate in an unchronological order the past events of his life, and the unfolding story it tells balances the gradual exploration of the island; its muddy shores; narrow, rocky mountain paths; and deep, illuminated caves. I played through the game twice (it takes around one hour to complete), first with a friend and speakers, and the second time alone with headphones, on a large 17â&#x20AC;? inch screen. The character is controlled using four keys (forward, back, left, right) and the mouse to move the head. Alone, the game has far greater effect. Eventually, when giving all focus to the experience, I came closer to the character, his emotions and above all his experience of the environment. It is beautifully designed by artist Robert Briscoe, who skilfully uses the natural elements of the island and man-made objects to make the straight-forward journey from beginning to end an experience of unpredictable exploration through a landscape laid out with twists and turns, aha-moments, awe of natural wonders, curiosity with old remnants, confusion with obscure, unknown relics etc. The powerful effect of contrasting space is very much felt; combined with audio changes it becomes convincing and immersive. Experience of the walk is here reduced to primarily two senses; the visual and the aural. Still it manages to convey some of the experience of a walk. The aural supports the immersion of the experience through music and ambient sounds. The visual gives

scale (feeling protected, small, narrow) and orientation (choices, what is possible, knowing where we are, direction). It also conveys a basic sense of texture. It mainly works through composition of image-based experiences. (contrast, focus). I will present how it is used with a few examples.

The Radio Tower

Through the game, a radio tower in the distance becomes the beacon guiding the journey. It is visible in a number of locations, often with the path traversed leading towards it. Already at the start it establishes itself as a point of reference. Soon it disappears, as cliffs tower over the player, as shrubs and bushes cover the view, but it always returns as a clear marker of the way forward. Its presence organizes the experiences, provides a datum for the progression further and further around the island II.

The House, the Passage, the Light at the End of the Tunnel

When the Radio Tower disappears, often new elements take its place, temporary guiding the player forward. They do not overtake with the Radio Tower, as its dominating presence nullifies their effect, but as temporary markers they offer some organization, some guidance, a way forward. As the player draws close to them, suddenly a new orientation springs into view, taking the place of the former marker, continuing the path forward. III.

Posts, Stairs and Candles

Making sense and direction of the landscape around is often made with man-made elements supporting the path at various location. This is posts marking a path through the wilderness, a stair hewn in the precarious mountain path, a few candles lighting a path. They reinforce direction and gives clues to what has been happening on the Island. They structure the natural environment, ordering it and taming the wild nature into comprehensible elements. IV.

Contrasting Scale

Changes in scale make powerful experiences of space. One chapter of the game takes place entirely underground; tight, claustrophobic spaces suddenly open up into massive caves. The threshold between the two becomes most important. They are most effective when there is an anticipation, a suspense, not only a sudden surprise. When we suspect the transition, we glimpse it or hear the echoes in the distance. The transition is successful when we know something is coming, even though we are not sure exactly what.

Mapping Umeå

196 mm

546 mm

A site in London was given for the project, but I had no way of visiting it during the first part of the project. Thus a walk in some ways comparable to the London site was chosen, as a ase study and preparatory laboration before the study trip. I decided to explore a digital mapping of the walk. The route was chosen to include a diversity of places similar to those in London. 172 mm 685 mm

The walk was around 2.5 km long and cyclical. It started and stopped at my desk at UMA. It was walked numerous times during different days and hours, states of mind and environmental conditions. 389 mm

182 mm 685 mm

1242 mm

1240 mm 752mm

254 mm

Light astig Right sligh Causes he

389 mm

1064 mm 930 mm

432 mm

284 mm

843 mm 882 mm

924 mm

Of my walks, eight were chosen as of interest. I developed a systematic and considerable mapping system to juxtapose the data from the walks. Still, the information did not aim at being comprehensive or even coherent. It became a mix of objective data and subjective observation and speculation, trying to investigate deeply, to push borders of understanding, and to find threads that could be further developed.

SLAP lesion surgery Weakened serratus anterior and trapezius Diﬃculty raising arm over 90 degrees, weakness, instability

Asthma Problems exercise Medicated

Pneumothorax due to physical trauma Causes twitching and discomfort

174 mm

Top of right little ﬁnger dismembered Nothing to whine about

Stresed liotibial band Running causes pain after medium distance

Hallux valgus Hereditary joint disease Causes pain, decrease in balance, shoe problems

A walk in some ways comparable to the London site was chosen, as a case study and preparatory laboration before a study trip. It includes riverside environment and more dense city centre places. The walk is around 2,5 km long and starts and stops at UMA. The walk was walked numerous times during diﬀerent days and hours, during diﬀerent states of mind and environmental conditions.

THU

DISTANCE

DURATION

2,73 km

27m52s

11:05

8 walks were chosen as of interest, and are here juxtaposed with a plethora of information and reﬂection extracted. The information does not aim at being comprehensive or even coherent. It is objective data mixed with subjective observations, trying to ﬁnd any interesting threads that can be followed up later.

DATE & TIME thu 11:05 - 11:32

16:52

DATE & TIME

DISTANCE

DURATION

thu 16:52 - 17:19

2,65 km

27m12s

WIND

,1 m/s NE

WIND ,5 m/s N

Light astigmatism Right slighlty worse than left Causes headache after long periods of straining 182 mm 685 mm

432 mm

284 mm

SLAP lesion surgery Weakened serratus anterior and trapezius Diﬃculty raising arm over 90 degrees, weakness, instability

Asthma Problems in cold weather or during heavy exercise Medicated two times daily

Pneumothorax due to physical trauma Causes twitching and discomfort

Top of right little ﬁnger dismembered Nothing to whine about

Stresed liotibial band Running causes pain after medium distance

Hallux valgus Hereditary joint disease Causes pain, decrease in balance, shoe problems

Walk overview A walk in some ways comparable to the London site was chosen, as a case study and preparatory laboration before a study trip. It includes riverside environment and more dense city centre places.

DATE & TIME

DISTANCE

DURATION

AVG. SPEED

MAX. SPEED

WIND

TEMPERATURE

HUMIDITY

WEATHER

DATE & TIME

DISTANCE

DURATION

AVG. SPEED

MAX. SPEED

WIND

thu 11:05 - 11:32

2,73 km

27m52s

5,96 km/h

8,52 km/h

1,7 m/s N

-2 °C

100%

Clear

thu 19:58 - 20:32

2,59 km

34m29s

4,51 km/h

11,99 km/h

3,1 m/s NE

Head vertical movement 110 mm

TEMPERATURE

HUMIDITY

WEATHER

DATE & TIME

DIST

-1 °C

92%

Clear

fri 11:48 - 12:13

2,36

DATE & TIME

DIST

fri 15:16 - 16:41

2,34

Shoulder horizontal rotation 15 °

The walk is around 2,5 km long and starts and stops at UMA.

THU

The walk was walked numerous times during diﬀerent days and hours, during diﬀerent states of mind and environmental conditions.

11:05

THU

19:58

FRI

Arm vertical rotation 63 °

DATE & TIME

DISTANCE

DURATION

AVG. SPEED

MAX. SPEED

WIND

TEMPERATURE

HUMIDITY

WEATHER

thu 16:52 - 17:19

2,65 km

27m12s

5,84 km/h

7,92 km/h

2,5 m/s N

-1 °C

100%

Clear

DATE & TIME thu 23:39 - 00:02

DISTANCE 2,32 km

DURATION 23m04s

AVG. SPEED 6,22 km/h

MAX. SPEED 11,60 km/h

WIND 2,5 m/s N

TEMPERATURE -2 °C

HUMIDITY 86%

WEATHER Clear

Average step length 78,4 mm

THU

16:52

THU

23:39

FRI

TEMPERATURE

HUMIDITY

WEATHER

DATE & TIME

DISTANCE

DURATION

AVG. SPEED

MAX. SPEED

WIND

TEMPERATURE

HUMIDITY

WEATHER

DATE & TIME

DISTANCE

DURATION

AVG. SPEED

MAX. SPEED

WIND

TEMPERATURE

HUMIDITY

WEATHER

-1 °C

92%

Clear

fri 11:48 - 12:13

2,36 km

25m36s

5,53 km/h

8,58 km/h

3,1 m/s NE

2 °C

100%

Rain

fri 18:17 - 18:42

2,39 km

25m08s

5,71 km/h

8,56 km/h

4,5 m/s SW

-1 °C

100%

Snow

FRI

TEMPERATURE -2 °C

HUMIDITY 86%

11:48

Leg vertical rotation 68 °

11:48

WEATHER Clear

FRI

15:16

FRI

18:17

DATE & TIME

DISTANCE

DURATION

AVG. SPEED

MAX. SPEED

WIND

TEMPERATURE

HUMIDITY

WEATHER

DATE & TIME

DISTANCE

DURATION

AVG. SPEED

MAX. SPEED

WIND

TEMPERATURE

HUMIDITY

WEATHER

fri 15:16 - 16:41

2,34 km

25m01s

5,62 km/h

7,56 km/h

3,9 m/s SW

0 °C

100%

Snow

sat 14:32 - 14:58

2,61 km

26m26s

5,81 km/h

8,94 km/h

6,7 m/s NE

5 °C

100%

Cloudy

SAT

15:16

14:32

Juxtaposing the walks

0 50 100 150 200 250 300 350 400 450 500 550 600 650 700 750 800 850 900 950 1000 1050 1100 1150 1200 1250 1300 1350 1400 1450 1500 1550 1600 1650 1700 1750 1800 1850 1900 1950 2000 2050 2100 2150 2200 2250 2300 2350 2400 2450

0:00:00 0:45:00 1:19:00 1:47:00 2:25:00 2:56:00 3:19:00 3:44:00 4:15:00 4:45:00 5:19:00 5:45:00 6:18:00 6:51:00 7:29:00 8:01:00 8:38:00 9:06:00 9:42:00 10:18:00 10:59:00 11:41:00 12:13:00 12:48:00 13:22:00 14:06:00 14:42:00 15:07:00 15:40:00 16:12:00 16:38:00 17:10:00 17:32:00 18:05:00 18:23:00 18:56:00 19:22:00 19:51:00 20:12:00 20:31:00 21:01:00 21:31:00 21:57:00 22:17:00 22:43:00 23:08:00 23:31:00 23:58:00 24:35:00 25:29:00

t (tot) t (50m)

0:00:00 00:00:00

00:45:00 00:34:00 00:28:00 00:38:00 00:31:00 00:23:00 00:25:00 00:31:00 00:30:00 00:34:00 00:26:00 00:33:00 00:33:00 00:38:00 00:32:00 00:37:00 00:28:00 00:36:00 00:36:00 00:41:00 00:42:00 00:32:00 00:35:00 00:34:00 00:44:00 00:36:00 00:25:00 00:33:00 00:32:00 00:26:00 00:32:00 00:22:00 00:33:00 00:18:00 00:33:00 00:26:00 00:29:00 00:21:00 00:19:00 00:30:00 00:30:00 00:26:00 00:20:00 00:26:00 00:25:00 00:23:00 00:27:00 00:37:00 00:54:00

100

150

200

00:45:00 00:45:00

01:19:00 00:34:00

01:47:00 00:28:00

02:25:00 00:38:00

KC-UMA

250

300

350

400

02:56:00 00:31:00

03:19:00 00:23:00

03:44:00 00:25:00

04:15:00 00:31:00

RIVER PROMENADE

450

500

550

600

650

700

750

04:45:00 00:30:00

05:19:00 00:34:00

05:45:00 00:26:00

06:18:00 00:33:00

06:51:00 00:33:00

07:29:00 00:38:00

08:01:00 00:32:00

PARKING LOT

UNDER BRIDGE

person in personal space person in interaction

Girl, architecture student, early twenties Enjoying sun with back against the door Slightly obstructing

Swearing because it feels weird with a camera on the head

Elderly lady going same direction; stops to look at sun

Girl leaning with back against door; have to knock for her to move

Checking with friend if camera is on Door

850

900

950

08:38:000 00:37:00

9:06:00 00:28:00

09:42:00 00:36:00

10:18:00 00:36:00

Elderly couple Walking with walking sticks Pointing with them Man looking strangely at camera

‘1,2, test, 1 ,2, test...’

1050

1100

10:59:00 00:41:00

11:41:00 00:42:00

12:13:00 00:32:00

Two ladies with baby strollers ahead of me

Car, stopping for me

They turn to river just before I pass them

Lady walking ahead of me in slightly lower speed Lady carrying shopping bags Steadily the distance decreases.

1200

12:48:00 00:35:00

13:22:00 00:34:00

Tempo increase - then I pass her

1300

1350

1400

1450

1500

1550

1600

1650

1700

14:06:00 00:44:00

14:42:00 00:36:00

15:07:00 00:25:00

15:40:00 00:33:00

16:12:00 00:32:00

16:38:00 00:26:00

17:10:00 00:32:00

17:32:00 00:22:00

18:05:00 00:33:00

18:23:00 00:18:00

RÅDHUSTORGET

Lady talking on phone Young girl listening to music Man on bench Man window browsing Man looking down hand in pockets Passing man Lady with coﬀe Old lady with walking device Young lady listening to music Library guests, Boy with hat around 8, mostly elderly

Door

ÖSTRA CENTRALA KUNGSGATAN

18 persons on the square with me Old man freezing Lady friends buzzing Lonely girl Alone in revolving door Man with funny hat Little boy Elderly couples, two

4 elderly people using computers and microﬁlm viewers Nobody looks up

Girl walking perpendicular with bike, headphones Sees my camera, then ignores me

Older couple, other direction Eyes at the ground

1250

MVG

Lady with shopping bags

1750

1800

1850

1900

1950

2000

2050

2100

2150

2200

2250

18:56:00 00:33:00

19:22:00 00:26:00

19:51:00 00:29:00

20:12:00 00:21:00

20:31:00 00:19:00

21:01:00 00:30:00

21:31:00 00:30:00

21:57:00 00:26:00

22:17:00 00:20:00

22:43:00 00:26:00

23:08:00 00:25:00

MIMER & VÄNORTSPARKEN

ÖSTRA KUNGSGATAN

Revolving door

Stairs enter

Man standing drinking coﬀe

People at hotdog stand

Looks at door sensor because it is slow at opening

Stairs exit

Moods can be contagious. This particular lady’s sigh made me sentimental. Maybe I should be slapped, but I couldn’t help thinking about her; what worries her so much?

Two young friends talking and laughing

Passing a lady

Zig-zagging around people

Automatic doors

Meeting a lady Looks at door sensor because it is slow at opening

Girl with handbag Woman walking with handbag, making sighing noise Two guys hanging out talking, One with dog Woman walking very slowly looking through shopping window Man walking deliberately Three bikes

Bike passing Woman hurrying

2350

2400

23:31:00 00:23:00

23:58:00 00:27:00

24:35:00 00:37:00

2450 25:29:00 00:54:00

KC-UMA

I look around more when I have to for safety. I can stay in my world, in my thoughts, as long as I don’t have to worry so much about my surroundings.

Girl with nice handbag and band around head

Beggar outside

Beggar outside door, greets Checks mirror image in revolving door glass checks camera position

2300

PILGATAN

Elderly couple being guided by librarian

Lady walking opposite direction Freezes, looks down all the time

Spit Lady walking opposite direction

Car

1150

VÄVEN

The camera makes people react; scared, angry, interested. It provokes because it is uncommon, but also because it means something is made, created; what can it be?

Girl sitting on riverside in sun, using smartphone

Man ahead of me Stops to sit on bench

immobile

Bike passing

Man looking weirdly at camera

Woman looking down

Young girl walking briskly

Crossing street

Bike passing Senior couple, man looking at me funny

Coughing

Blinded by sun

Big revolving door

Tired, keeps slow walk after stair Entrance doors

Turn back, look at sun

slow steady Stairs increases movement speed

medium steady fast steady

1000

RÅDHUSPARKEN

The sound conditions of the space make a big diﬀerence to my rhythm. Here the sounds are ampliﬁed; I become intrusive, brutal, imposing. I take over the space with my sound, and feel my own rhythm reverberate in me.

Slipping, almost falling; ice on wood Classroom activity

event/interaction/thought

800

ÅRSTIDERNAS PARK

Speed increase, clear direction

Knock on glass

Opening door

Sound of heels on concrete ﬂoor

Heels on wood

Birds chirping

Smell of wet dirt

Footsteps echo under bridge

Traﬃc noises

Look at Church

Sounds of elderly couple walking on wet gravel

Sound of heels on wet gravel

slow arythmic

Look at river and other side

Stepping in puddle - sound

Wind!

Check road before crossing Car noise

Look at Väven

Traﬃc noise Stair slows down speed

Shoes on wood

Look into COOP A mix of smells: food

Look back

Look into Kappahl

apotechary

Protected from wind by trees

Shoes on wood

Look up at Utopia

Intelligible talking around

Cold Opens door with keycard; covers camera with left hand as habit

The square is nothing without the passers-by; they make the space alive, give those who stand there something to direct their activites against.

One student in theatre with computer

Meeting one person with dog in darkness between lights; can barely see his face

Low classroom activity; all sitting silent in front of computer Door

Runner passing me, running in the gravel next to the road

Bicycle passing quickly

minor obstacle medium obstacle

Passing woman talking on phone, looking away

Dark! Less streetlights in this area.

Traﬃc noise

Entering arcade on left side; lit, protected Wind

Walking uphill; swaying more from left to right No cars

No cars

Lights create cozy spaace under tunnel

Passing three people and one dog

Two men and one woman standing outside the bar; smoking, talking gently

Checking if Väven is closed; it is

McDonalds still open; people sitting inside

Stair slows down speed

Traﬃc

The way random meetings can become weird, uncomfortable situations always fascinated me; I see somebody we know, or even better, they see me and say my name. I react surprised, I had already walked past them. We end up standing in some strange formation, talking. Wasn’t I in a hurry?

Two women standing talking in the arcade light; seems like they met randomly by how they stand

Square very empty Young man Bicycle rider Another bicycle rider

The sound of crushing ice is awe inspiring. It is so silent yet so powerful, so full of latent forces.

The streetlights generate a rhythm of lit/unlit spaces

Look left - right

Looking into yard

Bike wheels on wet gravel

Traﬃc noise

increase

decrease

Traﬃc noise

Wind

Obstruction forces interaction. When everything goes smooth, we are prone to keep to ourselves. When unexpected things happen, we share more of the world.

strong

Look left - right

Bike wheels on wet gravel

Wind

Shoes making distinct sound on concrete at stair landing Wet, dirty shoes scraping concrete as stairs are ascended

Wind!

Wind

Look left - right

Bike wheels on wet gravel

Smells from hotdog stand Windy!

Fresh air

weak medium

Wind

Look across square

perfumes

Music from street musician

Sound of heels on dry asphalt Looking at sun

fast arythmic

Revolving door sound; plastic scraping glass

Walks in the middle of bike line, no one here

Deep sigh Two students walking down stairs, not looking at me

Two bikes passing Passing woman walking briskly

Arcade columns; clear barrier and rhythm

Walking on car lane, no traﬃc

Opens door with keycard; covers camera with left hand as habit

Slips on hedge while taking shortcut, almost falls

Door

Entrance doors

major obstacle Distant traﬃc noises

Stairs increases movement speed Sound of heels on concrete ﬂoor

Heels on wood

perceptible

Floating ice crushing against quay

Couple talking on the road next to the park

Heel sound loud on hard surface, echoing in the city

Harder surface; heels more audible

medium

Traﬃc noises

It becomes clear that when there is not much happening around, the sounds from my body and actions become more present, becoming a backdrop for the walk. The solitary evening walk is more introspective and less concerned with what is going on around.

Traﬃc noises

The space under the bridge has become my favorite place of the walk. For some reason it feels safe, protected, and strangely pleasant notwithstanding its rough, cold character. I am reminded of a project someone did here ﬁrst year.

The streetlights. I always imagine them having a personality; I can see it in their shape. Some are shy, some are tired, some are proud, some are deﬁant. They generate a rhythm, a structure, through their distance and the light they cast.

weak

Concrete ﬂoor, distinct sound from heels

Car passing

Sound of heels on frosted gravel

Traﬃc noises Stair slows down speed

strong

view

When the crowds get larger, individuals matter less, even are noticed less. They all melt together into one shape, one idea. Walking past someone in a crowded square is much less personal than if it is only us two.

Snow continoually hitting my face for this walk Meeting student walking up, he looks down into his phone Walking slowly down stair

Starts sniveling

Opens door with keycard; covers camera with left hand as habit Door

Slipping in wet snow

Turns face away from wind

Meeting friend; ‘Ah, I’m in your walk!

Sometimes the infrastructural design forces interaction or at least proximity between us walkers, for example waiting together at a crossing or sharing the same revolving door. I sense a bond here, a sense of togetherness, even though it is very weak.

24 people on square with me One standing waiting alone in the middle A couple of loud teenagers smoking

Waiting and sharing crossing time is a (very light) bond

Walk with 35 people this place Man with bicycle standing outside shop window Couple talking under roof Passing guy with hoodie and backpack

Looks down to not get snow in eyes

Meeting two friends walking in silence

Wet watery snow in crossing

Meeting two friends walking in silence

Two looking at campus map, pointing at it, Asking me where the audiotorium is, I tell them to follow me and let them in Make small talk

Walking rapidly past two persons, eavesdropping on them

Sharing crosswalk wih one dude

Two bikes passing with some distance between them

McDonalds still open; people sitting inside

Walking under roof for protection against snow

Meeting middle-aged couple walking in silence with heads down

Two bikes other direction, can hear them talking

Almost slips, swears Bike swishing by, other direction, very quick

Guy walking with bike, woman with bag, looking forward where they put their feet

Opens door with keycard; covers camera with left hand as habit

Almost slipped earlier here, takes it easy this time

Door

Sound of heels on concrete ﬂoor

Entrance doors

Soft steps on wet snow

Windy!

Fresh air

Wetter snow; wetter sounds

Beep from broken door system

Super windy!

Distant traﬃc noises

Bike swishing past

Super windy!

Bike swishing past

Smell of popcorn from movie theatre

Almost water; wetter sounds

Wet steps on wet snow

Dry asphalt; hard heel sound

Car passing

Car noise

The sound the snow makes when I step on it is so pleasing, relaxing. Compared to hard surfaces, I become more relaxed. It is like I am sneaking forward, light-footed, silent, more part of my surroundings than the loud intruder.

Concrete ﬂoor, distinct sound from heels

Traﬃc noises

Wind decreases

Talk

Traﬃc noises

Car passing

Wind

Talk

Bike

Smoke from ﬁrewood Brisk steps on stairs

Traﬃc

Car skidding

Bikes in snow-water puddles

Indviduals drown in the mass; less people notice my camera

Door

Sound of heels on concrete ﬂoor

Slipping. My mind drifted, I was unprepared. My body stiﬀens quickly, even hurts itself just to keep myself up, to keep me from falling and injuring myself, from loosing my dignity.

Meeting two, walking and talking

Extremely wet and slippery (ice with water on top) Greeting fellow student Opens door with keycard; Looks at student

Empty studio...

Four young teenagers walking wide line, talking loudly, laughing Behind them a smiling elderly man in a permobile, trying to get past The light from the permobile reﬂects in the ice

Cough; due to temperature change?

11 people in diﬀerent groups hanging out in the foyer Again, meeting two people in the darkness; can’t say much about them

Meeting two people in the darkness; can’t say much about them Woman crossing at the same time opposite direction

And again! meeting two people in the darkness; can’t say much about them

Woman crossing my path

Revolving door

Shoes on wood

Soft steps on wet ice

Looks into HH

Overhearing talk

Car noise

Windy!

Look into cafe; seems to be many there

Windy!

Stairs enter

In Umeå, I have no fear against cars. I know they will stop, so I walk. Maybe one day I will pay some kind of price.

Revolving door left completely open for more passage At least 100 on square with me Beggar asking for money Hot dog stand Kids playing with baloons

Five crossing at same time as me Beggar says heey, I say heey

Slows down, tries to pass but can’t

Man standing next to crossing looking at cars, waiting? Complain about slippery walk to classmate Woman walking with bike

Woman looking down, trying not to slip

Automatic doors

Habitually I enter my keycode while covering the camera. Some movements are ingrained so deep we do never reﬂect on them. Which ones do I overlook?

Slips at same spot! Saves it less elegantly.

Realizes restaurant closes soon, hurry up!

Opens door with keycard; covers camera with left hand as habit Entrance doors

Hot dog smell

In arcade my heels echo louder and are noticeable again Looks into Max; lit up and big windows

Bingo salesman!

Turn back to look at them

Look across river

Looks up at Väven

Look across river

Concrete ﬂoor, distinct sound from heels Traﬃc noises

Church bell

Eavesdropping on conversation

Look into Stadium, almost stop because I recognize someone

Shoes making distinct sound on concrete at stair landing Wet, dirty shoes scraping concrete as stairs are ascended

Revolving door sound; plastic scraping glass

Smell of glögg and candles

Traﬃc noises

RIVER PROMENADE

PARKING LOT

UNDER BRIDGE

ÅRSTIDERNAS PARK

RÅDHUSPARKEN

VÄVEN

MVG

RÅDHUSTORGET

The eavesdrop is so fruitful! Some random sentences about something that ordinarily would bore me become so interesting simply because they are not meant for me.

I don’t even know who I thought I saw, but it completely stopped me in my tracks. I made some awkward movements, shook my head, and kept moving.

General chatter and background noise drowning out most speciﬁc sounds

ÖSTRA CENTRALA KUNGSGATAN

MIMER & VÄNORTSPARKEN

ÖSTRA KUNGSGATAN

By lining up the gathered data, patterns formed and relationships became visible. I deconstructed my walk, and from the pieces new perspectives emerged. The recording devices were able to contort space and time itself, and offered me a viewpoint external to my embodied experience of the world. Certainly not objective, as I deliberately chose what to gather and what to represent, but definitely at some length removed from the embodied walk itself.

I decide to pass them, increasing speed

Girl wlaking in front of me, in front of her two men

Big revolving door

Car passing

Kids screaming

Stairs increases movement speed

KC-UMA

Many cars; I navigate across the road carefully Woman looking down almost walks into me with her bike

Meeting 5 people at the entrance First waits but then squeezes in the other direction in the automatic doors

Stairs exit

Shoes on wood

Dry concrete; hard heel sound Super windy!

Passing and meeting over 90 people during the passage Young woman standing in entrance buﬀer zone Two men standing in front of the entrance talking¨ Man selling BINGO Woman walking slowly with rolling luggage slowing down movement

Library guests, around 19, mixed crowd

Meeting old woman, seems to be scared of slipping Checks mirror image in revolving door glass checks camera position

Slips, manages to ﬁnd balance. Strain in abdomen, thigh, calves

Door

Next time: Separate sound and smells Create stave for each category Deﬁne; across, pass, meet, road, street

PILGATAN

KC-UMA

00 0

e swishing past

Space-time distorted map

600

650

700

750

800

850

900

950

1000

1050

1100

1150

1200

1250

1300

1350

1400

1450

1500

1550

1600

06:18:00 00:33:00

06:51:00 00:33:00

07:29:00 00:38:00

08:01:00 00:32:00

08:38:000 00:37:00

9:06:00 00:28:00

09:42:00 00:36:00

10:18:00 00:36:00

10:59:00 00:41:00

11:41:00 00:42:00

12:13:00 00:32:00

12:48:00 00:35:00

13:22:00 00:34:00

14:06:00 00:44:00

14:42:00 00:36:00

15:07:00 00:25:00

15:40:00 00:33:00

16:12:00 00:32:00

16:38:00 00:26:00

17:10:00 00:32:00

17:32:00 00:22:00

1 0

UNDER BRIDGE

ÅRSTIDERNAS PARK

RÅDHUSPARKEN

VÄVEN

RÅDHUSTORGET

ÖSTRA CENTRALA KUNGSGATAN

The exact positioning and timing of my movement from the city was recorded using the GPS function in my phone. Reading the data, I observed that I moved faster at some places, and slower in others. When I moved through pleasant areas, like the riverfront park, or in crowded areas, like the mall, I slowed my step. Conversely, the rough, empty areas speeded my pace. Two ladies with baby strollers ahead of me

Car, stopping for me

They turn to river just before I pass them

Man ahead of me Stops to sit on bench

4 elderly people using computers and microﬁlm viewers Nobody looks up

Girl walking perpendicular with bike, headphones Sees my camera, then ignores me

Older couple, other direction Eyes at the ground

Footsteps echo under bridge

Look at river and other side

Stepping in puddle - sound

Look at Church

Wind!

Check road before crossing Car noise

Look at Väven

Two young friends talking and la

Checks mirror image in revolving door glass checks camera position Stairs enter

Revolving door sound; plastic scraping glass

Looks at door sensor because it is slow at opening

Stairs exit

Automatic doors

Traﬃc noise Stair slows down speed

Shoes on wood

Passing a lady

Zig-zagging around people

Meeting a lady Looks at door sensor because it is slow at opening

Two guys hanging out talking, One with dog Woman walking very slo

Big revolving door

Look into COOP

A mix of smells: food

Girl with nice handbag and band around head Man standing drinking coﬀe

People at hotdog stand

A map of my circular walk was deformed into a straight line, and then transformed by how much time I spent walking through each and every space. The new map represents a new perspective on the city we move through. Tempo increase - then I pass her

Lady with shopping bags

Beggar outside

Beggar outside door, greets

Revolving door

Turn back, look at sun

18 persons on the square with me Old man freezing Lady friends buzzing Lonely girl Alone in revolving door Man with funny hat Little boy Elderly couples, two

Elderly couple being guided by librarian

Lady walking opposite direction Freezes, looks down all the time

Spit Lady walking ahead of me in slightly lower speed Lady carrying shopping bags Steadily the distance decreases.

The camera makes people react; scared, angry, interested. It provokes because it is uncommon, but also because it means something is made, created; what can it be?

Girl sitting on riverside in sun, using smartphone

Lady walking opposite direction

MVG

Look back

Look into Kappahl

apotechary

Wind

Look across square

perfumes

Shoes on wood

Look up at Utopia

Music from street musician Wind!

Wind!

Traﬃ

Shoes making distinct sound on concrete at stair landing Wet, dirty shoes scraping concrete as stairs are ascended Smells from hotdog stand

Intelligible talking around

The square is nothing without the passers-by; they make the space alive, give those who stand there something to direct their activites against.

Two women standing talking in t seems like they met randomly by

Square very empty Young man Bicycle rider Another bicycle rider

The sound of crushing ice is awe inspiring. It is so silent yet so powerful, so full of latent forces.

Entering arcade on left side; lit, protected Wind

Walking uphill; swaying more from left to right No cars

Lights create cozy spaace under tunnel

Distant traﬃc noises

Floating ice crushing against quay

Two men and one woman standing outside the bar; smoking, talking gently

Checking if Väven is closed; it is

Passing three people and one dog

Walks in the middle of bike line, no one here

Arcade columns; clear barrier and rhythm

Heel sound loud on hard surface, echoing in the city

Harder surface; heels more audible

Couple talking on the road next to the park

McDonalds still open; people sitting inside

Car passing

Traﬃc noises

24 people on square with me One standing waiting alone in the middle A couple of loud teenagers smoking

Walk with 35 people this place Man with bicycle standing outside shop window Couple talking under roof Passing guy with hoodie and backpack Wet watery snow in crossing

Walking under roof for protection against snow

Meeting middle-aged couple walking in silence with heads down

Wetter snow; wetter sounds

Bike swishing past

Super windy!

Smell of popcorn from movie theatre

Almost water; wetter sounds

McDonalds still open; people sitting inside

Wet steps on wet snow

Dry asphalt; hard heel sound

Wind decreases

Traﬃc noises

Car noise

Car passing

Bik

Girl sitting on riverside in sun, using smartphone Girl sitting on riverside in sun, using smartphone Two ladies with baby strollers ahead of me

Man ahead me strollers ahead of me Two ladies withofbaby Stops to sit on bench

Man ahead of me Stops to sit on bench

Lady talking on phone Young girl listening to music Man on bench Lady talking on phone Man window browsing Young girl listening to music Man looking down hand in pockets Man on bench Passing man Man window browsing Lady with coﬀe Man looking down hand in pockets Old lady with walking device Passing man Young lady listening to music Lady with coﬀe Library guests, Boy with hat Old lady with walking device around 8, mostly elderly Young lady listening to music

The camera makes people react; scared, angry, interested. It provokes because it is uncommon, but also because it means The camera makes people react; scared, angry, interested. It something is made, created; what can it be? provokes because it is uncommon, but also because it means something is made, created; what can it be?

Library guests, Boy with hat Elderly couple being guided around 8, mostly elderly by librarian

Car, stopping for me

They turn to river just before I pass them

18 persons on the square with me Old man freezing Lady friends buzzingAlone in revolving door Lonely girl Alone in revolving door Man with funny hat Little boy Elderly couples, two

walking opposite direction 4 elderly people using computers and microﬁlm viewers Car, Lady stopping for me Elderly couple being guided by librarian Freezes, looks down all the time Nobody looks up Lady walking opposite direction 4 elderly people using computers and microﬁlm viewers Freezes, looks down all the time Nobody looks up Girl walking perpendicular Beggar outside door, greets with bike, headphones Girl walking perpendicular Beggar outside door, greets Sees my camera, then ignores me Older couple, other direction Checks mirror image in revolving door glass Looks at door sensor because it is slow at opening with bike, headphones Eyes at the ground checks camera position Sees my camera, then ignores me Checks mirror image in revolving door glass Looks at door sensor because it is slow at opening Revolving door Stairs enter Stairs exit Automatic doors checks camera position Revolving door

Stairs enter

Stairs exit

Automatic doors

Beggar outside

Stepping in puddle - sound Stepping in puddle - sound

event/interaction/thought

Check road before crossing Revolving door sound; plastic scraping glass

00:45:00 00:45:00 Car noise

Check road before crossing

Look at Väven Car noise

Look at Väven

person in personal space

Look at river and other side

Look at river and other side 0:00:00 t (tot) 00:00:00 t (50m) Wind!

Wind!

0 0:00:00 50 0:45:00 00:45:00 100 1:19:00 00:34:00 150 1:47:00 00:28:00 200 2:25:00 00:38:00 250 2:56:00 00:31:00 300 3:19:00 00:23:00 350 3:44:00 00:25:00 400 4:15:00 00:31:00 450 4:45:00 00:30:00 500 5:19:00 00:34:00 550 5:45:00 00:26:00 600 6:18:00 00:33:00 650 6:51:00 00:33:00 700 7:29:00 00:38:00 750 8:01:00 00:32:00 00:37:00 800 crushingItice is awe is so8:38:00 silent yet so cesound is aweofinspiring. is so silentinspiring. yet so It850 9:06:00 00:28:00 werful, so full of latent forces. nt forces. 900 9:42:00 00:36:00 950 10:18:00 00:36:00 1000 10:59:00 00:41:00 1050 11:41:00 00:42:00 1100 12:13:00 00:32:00 1150 12:48:00 00:35:00 1200 13:22:00 00:34:00 1250 14:06:00 00:44:00 1300 14:42:00 00:36:00 1350 15:07:00 00:25:00 ng on the road next to thetalking park on the road next to the park Couple 1400 15:40:00 00:33:00 1450 16:12:00 00:32:00 1500 16:38:00 00:26:00 1550 17:10:00 00:32:00 1600 17:32:00 00:22:00 1650 18:05:00 00:33:00 1700 18:23:00 00:18:00 1750 18:56:00 00:33:00 1800 19:22:00 00:26:00 1850 19:51:00 00:29:00 1900 20:12:00 00:21:00 1950 20:31:00 00:19:00 2000 21:01:00 00:30:00 2050 21:31:00 00:30:00 2100 21:57:00 00:26:00 2150 22:17:00 00:20:00 2200 22:43:00 00:26:00 2250 23:08:00 00:25:00 2300 23:31:00 00:23:00 2350 23:58:00 00:27:00 2400 24:35:00 00:37:00 2450 25:29:00 00:54:00

Passing a lady Slipping, almost falling; ice on wood

Zig-zagging around people Big revolving door

Big revolving door

150

200

Traﬃc noise Classroom Stair activity slows down speed

Revolving door sound; plastic scraping glass Traﬃc noise Stair slows down speed Shoes on wood

250

300

Look into COOP

Look into COOP 02:25:00 02:56:00 01:47:00 food apotechary A mix of smells: Look into Kappahl food on wood apotechary A mix of smells: Shoes 00:28:00 00:38:00 perfumes 00:31:00

01:19:00 00:34:00

Shoes on wood

KC-UMA

Look into Kappahl Look back perfumes

03:19:00 00:23:00

Shoes on wood

Swearing because it feels weird with a camera on the head

Wind! Wind!

100

Music from street musician

Shoes making distinct sound on concrete at stair landing Wet, dirtysound shoes on scraping concrete stairs are ascended Shoes making distinct concrete at stairas landing Wet, dirty shoes scraping concrete as stairs are ascended RIVER PROMENADE

350

400

Two guys hanging out talking, One with dog sensor because it is sl Looks at door Woman walking very slow

Passing a lady

Looks at door sensor because it is slow at opening

450

500

Look across squaretwenties Look backstudent, Girl, architecture early Look03:44:00 across square 04:15:00 04:45:00Wind Enjoying sun with back against the door 00:25:00 00:31:00 Look up00:30:00 at Utopia Look upstreet at Utopia Music from musician Slightly obstructing

Wind

05:19:00 00:34:00

550

05:45 00:26

Traﬃc

PARKING LOT Smells from hotdog stand The square is nothing without the passers-by; they make th The square is nothing without thespace passers-by; they those make the alive, give who stand there something to direc Girl leaning withspace back against alive, give those door; who standtheir there something to direct activites against. ‘1,2, test, 1 ,2, test... their activites against. Intelligible around have to knock for her totalking move

Smells from hotdog stand

Checking with friend if camera is on

person in interaction

Intelligible talking around

Door

immobile

Square very empty Young man Bicycle rider Another bicycle rider

slow steady

Stairs increases movement speed Opening door McDonalds Two outside the bar; Two men and one woman standing outside themen bar; and one woman standing still open;

Passing three people and one dog Passing three people and one dog

Checking if Väven is closed; it is

fast steady

smoking, talking gently

McDonalds still open; people sitting inside

people sitting inside

Sound of heels on concrete ﬂoor

Two women standing talking in the seems like they met randomly by h

Heels on wood

Ente

Entering arcade on left side; lit, protected

Speed increase, clear direction Wind Wind

Knock on glass

Walking Walking uphill; swaying more from left to right uphill; swaying more from left to right

medium steady

Walks in the middle of bike line, no one here

Walks in the middle of bike line, no one clear here barrier and rhythm Arcade columns;

Sound of heels on wet gravel

Heel sound loud on hard surface, echoing Heel in thesound city loud on hard surface, echoing in the city

Harder surface; heels more audibleHarder surface; heels more audible

slow arythmic

Two young friends talking and lau G

Girl with nice handbag and band around head Man standing drinking coﬀe Meeting a lady

People at hotdog stand Man standing drinking coﬀe Meeting a lady Zig-zagging around people

People at hotdog stand

Turn back, look at sun Turn back, look at sun

Lady with shop Lady with shopping bags

Beggar outside

They turn to river just before I pass them

Lady walking ahead of me in slightly lower speed Tempo increase - then I pass her bags Steadily the distance decreases. me in slightly lower speed Tempo increase - then I pass her Older couple, other direction creases. Eyes at the ground

18 persons on the square with me Old man freezing Lady friends buzzing Lonely girl Man with funny hat Little boy Elderly couples, two

Car passing

Sound of heels on dry as

Car passing

Traﬃc noises

Looking at sun

fast arythmic

Windy!

Fresh air

weak

Obstruction smooth, we a things happe

medium strong

When the crowds get larger, individuals matter less, even are When into the crowds get one larger, individuals matter less, are 24 people on square witheven me noticed less. They all melt together one shape, idea. One waiting alone middle less. They all melt together intostanding one shape, onein the idea. Walking past someone in a noticed crowded square is much less A couple of loud teenagers smoking Walking past someone in a crowded square is much less personal than if it is only us two. personal than if it is only us two.

McDonalds still open; people sitting inside Walking under roof for protection against snow

Walking under roof for protection against snow

Meeting middle-aged couple walking in silence with heads down

24 people on square with me One standing waiting alone in the middle A couple of loud teenagers smoking Walk with 35 people this place Man with bicycle standing outside shop window Walk with 35 people this place Couple talking under roof Man with bicycle standing outside shop window Passing guy with hoodie and backpack Couple talking under roof Passing guy with hoodie and backpack

McDonalds still open; people sitting inside

increase Wetter snow; wetter sounds

Almost water; wetter sounds

Smell of popcorn from movie theatre

decrease

Super windy!

Wet s

Dry asphalt; hard heel sound

Wind decreases

Traﬃc noises

Cold

Wind decreases

Smell of popcorn from movie theatre

Car passing

Car noise

Car passing

Car passing Opens door with keycard; covers camera with left hand as habit

Car passing

Car noise

Bikes The streetlights generate a rhythm

One student in theatre with computer

minor obstacle event/interaction/thought

mediumperson obstacle

major obstacle immobile

Meeting two people in the darkness; can’t say much about them

slow steady

es to ﬁnd balance. Strain in abdomen, thigh, calves

medium steady fast steady slow arythmic

Low classroom activity; all sitting silent in front of computerIndviduals drown in the mass; less people notice my camera

door direction; left completely open for more passage Elderly lady Revolving going same Elderly couple Young woman standing in entrance buﬀer zone Indviduals drown in the mass; less people notice my camera stops to look at sun Two men standing in front of the entrance talking¨ Walking with walking Passing and meeting over 90 people during the passage At least 100 on square with me Revolving door left completely open for more passage Man selling BINGO Pointing with them

Door

Girl leaning with back against door; Young woman in entrance buﬀer zone Beggar asking for money slowing downstanding movement 11 people in diﬀerent groups hanging out in the foyer Woman walking slowly with rolling luggage‘1,2, test,standing 1 ,2, test...’ Two men in front of the entrance talking¨ have to knock for her to move Hot dog stand Woman crossing my path

Door

5 people at the entrance Woman crossingMeeting my path Library guests, around 19, mixed crowd Checks mirror image in revolving door glass Slows down, tries to pass but can’t First waits but then squeezes in the other direction in the automatic doors And again! meeting two people in the darkness; can’t say much about them checks camera position Meeting old woman, seems to be scared of slipping Meeting 5 people at the entrance Revolving door Stairs enter Stairs exit Automatic doors Big revolving door Speed increase, clear direction Checks mirror image in revolving door glass Birdsdoors chirping First waits but then squeezes in the other direction in the automatic Knock on glass Stairs increases movement speed Opening door checks camera position

Stairs increases movement speed

Sound of heels on concrete ﬂoor

Revolving door

Shoes on wood

Stairs enter

Stairs exit

Shoes on wood

Dry concrete; hard heel sound

Automatic doors

Heels on woodCar passing Sound of heels on wet gravel

Shoes on wood salesman! Sound of heels on concreteBingo ﬂoor

Looking at sun

Sound of heels on dry asphalt

Wet, dirty shoes scraping concrete asFresh stairs air are ascended

Revolving door sound; plastic scraping glass

medium strong

Traﬃc noises

arcade my heels echo louder and are noticeable again Sounds of elderlyIncouple walking on wet gravel

Hot dog smell Heels on woodProtected Sound heels on frosted gravel from windof by trees Looks into Max; lit up and big windows

Windy!

Wind!

Look almost stop because I rec Looks into Max; lit up into and Stadium, big windows

Obstruction forces interaction. When everything goes smooth, we are prone to keep to ourselves. When unexpected things happen, we share more of the world.

Kids screaming

don’t even know who I thought I saw, The streetlights. I Istopped always the me in myimagine tracks. I made some awk my head, and kept moving. I don’ts can see it in theirshook shape. Some are stoppe are proud, some are deﬁant. Theyshook ge ture, through their distance and the

General chatter and background out most speciﬁc sounds Smell of noise glöggdrowning and candles

General chatter and background noise drowning out most speciﬁc sounds

increase Cold

decrease

Opens door with keycard; covers camera with left hand as habit

strong

In arcade my heels echo louder an Traﬃc

Kids screaming

Smell of glögg and candles Shoes making distinct sound on concrete at stair landing Wet, dirty shoes scraping concrete as stairs are ascended

weak

Woman looking down alm Beggar says h

Bingo salesman!

Looks up at Väven

Revolving door sound; plastic scraping glass

Car

Beggar says heey, I say heey

Smell of wet dirt Big revolving door

Hot dog smell

Car passing

Shoes on wood Looks up at Väven Look into cafe; seems toShoes be many there making distinct sound on concrete at stair landing Dry concrete; hard heel sound

I walk. May

sticks

Man looking strangely at camera

At least 100 on square with me Beggar asking for money Hot dog stand Kids playing with baloons

Man selling BINGO Kids playing with baloons Woman walking slowly with rolling luggage slowing down movement Slows down, tries to pass but can’t

Library guests,

Dooraround 11 19, people in crowd diﬀerent groups hanging out in the foyer mixed

Meeting old woman, seems to be scared of slipping

weak

medium

Meeting one person with Umeå, I h can barely see hisInface

Girl, architecture student, early twenties Enjoying sun with back against the door Passing and meeting over 90 people during the passage Slightly obstructing

Swearing because it feels weird with a camera on the head

Look into cafe; seems to be many there

fast arythmic perceptible

Bicycle passing

Slipping, almost falling; ice on wood Classroom activity

ﬀens in personal space p me Checking with friend if camera is on y. repared. My body stiﬀens Again, meeting two people in the darkness; personcan’t say much about them in interaction p myself up, to keep me m loosing dignity. Meeting my two people in the darkness; can’t say much about them Again, meeting two And people again! meeting two people in the can’tthem say much about them in the darkness; can’t say darkness; much about

abdomen, thigh, calves

Wet steps on wet snow

Dry asphalt; hard heel sound

Almost water; wetter sounds

Wetter snow; wetter sounds Super windy!

The streetlights generate a rhythm of lit/unlit spaces

One student in theatre with computer

Meeting one person with dog in darkness between lights; can barely see his face

Low classroom activity; all sitting silent in front of computer medium obstacle Door

Runner passing me, running in the gravel next to the road

Bicycle passing quickly

minor obstacle

Passing woman talking on phone, looking away

Dark! Less streetlights in this area.

No cars

Door

major obstacle

view

Stairs increases movement speed Sound of heels on concrete ﬂoor perceptible

Heels on wood

Sound of heels on frosted gravel

weak

medium

Snow continoually hitting my face for this walk

strong

Meeting student walking up, he looks down into his phone

view

Walking slowly down stair Snow continoually hitting my face for this walk Meeting student walking up, he looks down into his phone Walking slowly down stair

Opens door with keycard; covers camera with left hand as habit

Opens door with keycard; covers camera with left hand as habit Door

Starts sniveling Slipping in wet snow

Sound heels on concrete ﬂoor Door ofDoor

Slipping in wet snow

Door Turns face away from wind

Meeting friend; ‘Ah, I’m in your walk!

Looks down to not get snow in eyes

Meeting two friends walking in silence

Soft steps on wet snow

Meeting two friends walking in silence

Snow continoually hitting my face for this walk Meeting student walking up, he looks down into his phone Opens door with keycard; covers camera with left hand as habit

Walking slowly down stair

Door Lady with shopping bags

Two young friends talking and laughing

Slipping in wet snow

me sentimental. Maybe I should be slapped, but I couldn’t help thinking about her; what worries her so much? Soft steps on wet snow

Bike passing Bike passing Girl with handbag Woman walking with handbag, making sighing noise Two guys hanging out talking, One with dog Windy! Beep from broken door system Fresh air Woman walking very slowly looking through shopping window Man walking deliberately Young girl walking Three bikes Woman hurrying Man looking weirdly at camera

Wind

Meeting friend; ‘Ah, I’m in

DoorMoods can be contagious. This particular lady’s sigh made

Sound of heels on concrete ﬂoor Girl with nice handbag and band around head

sensor because it is slow at opening

Starts sniveling

Bike wheels on wet gravel

Wind Traﬃc noise

y; they make the mething to direct

Traﬃc noise

Extremely wet and slippery (ice with water on top)

The way random meetings can become weird, uncomfortable situations always fascinated me; I see somebody we know, or Greeting fellow student Two women standing talking in the arcade light; even better, they see me and say my name. I react surprised, seems like they met randomly by how they stand had with already walked past them. We end up standing in some OpensI door keycard; Empty studio... Cough; due to temperature change? Entering arcade on left side; lit, protected Looks strange at studentformation, talking. Wasn’t I in a hurry?

ndow

Door

Wind

Door

Two bikes passing Passing woman walking briskly

Arcade columns; clear barrier and rhythm

Sound of heels on concrete ﬂoor

Soft steps on wet ice

Super windy! Stairs increases movementTraﬃc speednoises

Looks into HH Traﬃc noises

Habitually I enter my keycode while covering the camera. Some movements are ingrained so deep we do never reﬂect on them. Which ones do I overlook?

Waiting and sharing crossing time is a (very light) bond

Overhea

Traﬃ

Places and non-places, elevation and soundscapes

RIVER PROMENADE

PARKING LOT

UNDER BRIDGE

ÅRSTIDERNAS PARK

RÅDHUSPARKEN

Overlaying sightlines

PART III RESEARCH CONCLUSIONS

Mystery and risk Through my research I found many interesting ways technology can affect our movement. It can expand our senses, and help us deconstruct the reality around us to show us that which is hidden or obstructed. It gives us some control over time and place, it allows us to see things partly from the outside of human experience. But there are also many negative effects of technology. It can supress our senses; GPS makes us less worried about how to go somewhere and therefore we read the space around us less. Headphones keeps sounds away, we cannot hear the world around us. The experiences of the world that we have while walking are more and more suppressed by efficient thinking. Through my investigations I noticed that walking with technology removed some of the experience of the world. Technology gives us safety and lucidity by erasing risk and mystery from our world, either as an all-too-powerful safeguard, by eliminating our perception of it, or by completely displacing it outside our lived world.

overall framework for designing a more pedestrian-friendly city, they also seriously hamper designers creatively rethinking what walking can be in the contemporary city, by limiting materials, dimensions and aesthetics in favour of order, efficiency and control. I do not dispute the right of every citizen to feel safe and have ease of access throughout their daily life, nor do I think that this well-made and thoughtful report will have negative effects on the modern city. But I do believe there has to be space for the other walking experiences as well. There has to be layers within the city that offers other experiences, where risk and mystery are allowed. These layers might fill the needs of the kind of walking that is deeply ingrained in the English; the strong desire to temporarily get away, to experience the idea of nature.

The things I appreciated the most form my walks were the rudimentary blind walks and dark walks. They were full of mystery and risk, which had strong satisfactory effects. This kind of perceptive walking are being continuously erased from the urban environments. In London specifically, new guidelines have been released for street design. 1. While they provide a strong

Risk and mystery are concepts I borrow from the patterns of biophilic design, developed by Browning et. al. with support from Terrapin Bright Green LLC.2 They are patterns that fall under the Nature of Space category. Mystery is defined as â&#x20AC;&#x153;the promise of more information achieved through partially obscured views or other sensory devices that entice the individual to travel deeper into the environment.â&#x20AC;?. A mysterious place is full of anticipation; it has facets that are not completely known, but hinted at. Thus they entice us to move forward, to quell our curiosity. Browning et al. claim that the Mystery pattern comes from our

(TFL 2016)

(Browning 2014)

needs of understanding and exploring our environments. A place with good mystery should not make us fearful, or surprise us in unpleasant ways. Anticipation is key; we need to have an idea of what to expect, but it should not be completely revealed to us at first glance. As mystery is eliminated by time and routine exposure, one should work with conditions and activities that are changing and mutable; natural processes spring to mind as strong players. Showing portions of structures, hinting at what might come next, making the basic organization of space clear but still containing unknown and hidden spaces, obscuring parts visually but making us aware of them through other senses etc. might create fruitful places of mystery. When we want to go further, to move around the corner to see what is next, we are in such a place. This exploration, if done well, supports stress reduction and cognitive restoration. Compared to the other patterns of biophilic design, mystery is very much based in movement and thoughtful observation about the environment; much like Ingoldâ&#x20AC;&#x2122;s wayfarer. Risk is defined as â&#x20AC;&#x153;an identifiable threat coupled with a reliable safeguard.â&#x20AC;? Such a space is exhilarating, loaded with tense emotions and thoughts, but safeguards exists which prevents it from descending into fear and real danger. This pattern might at first glance be only for daredevils, but elements of risk motivates all of us to different extents, whether its bungee jumping, peeking where we should not, or playing a game of cards. Risk comes

from perception of a near and present danger. If the pattern is to be successful, however, this danger should be tamed and to a certain extent under control. The roots of this pattern is our childhood; experiences of risk releases dopamine and pleasure responses intended to develop our risk assessment. As adults, risk situations support our general motivation, memory, problem solving and fight-or-flight responses (as long as they do not go too far, in which case they start having negative effects.). Working architecturally with the pattern can mean including spaces where risks are noticeable, but still providing some kind of safety mechanisms. For example, this might be high balconies or catwalks, cantilevers, transparent floors etc. It might have risks of falling and hurting oneself or getting wet. The degree of risk is suitable to different types of people. Thus mystery and risk became my main focus as I went to London to start exploring the site. I was intent on finding opportunities for these kind of places and experiences within an urban setting.

INTERLUDE III A BRIEF HISTORY OF ENGLISH WALKING

We walk in the same conditions. In English wilderness the commoner and the nobleman greets each other. Walking unites us.

Walking, a national spirit The doctors of the 16th century stressed the importance of daily walking to preserve health. Galleries made this exercise possible at all times, indoors. The long galleries became popular in Elizabethan country houses, often located on the upper floor along an entire wing. Here walking was exercised and guests entertained; only later were paintings displayed. The way out to nature came through the garden. From the medieval ages onward, the aristocracy was mostly interested in society, not in nature. Thus gardens were not for walking, but a place to sit and talk, listen to music, smell flowers and eat fruits. It was surrounded by high walls and controlled by keepers. As the world grew safer, the aristocratic residences became palaces rather than fortresses. The walls around the garden came down, and in the Renaissance garden walks could be made, and the Baroque gardens grew even larger. One of the major functions of the aristocratic garden was escape; escape into contemplation, private conversation, courtship.

The English estates traditionally consisted of the park, the garden and the house. The parks were originally areas for hunting, and later became a buffer zone between agriculture and aristocracy. The paths and bushes of the gardens were first forced into pure geometrical forms, imposing architectural control on organic nature. But in the 18th century, with the Romantic movement, the English garden became

more naturalistic. As the world became less dangerous, the walls separating the garden from the park vanished, and they started to become less distinctly separate. The English started to develop a taste for nature, opposed to the artificial gardens of their nemesis, the French. The landscape garden became a symbol for English liberty. Whereas the French formal garden was based on a single axial view from the estate, the English was designed to be experienced through a walk; it was cinematic instead of pictorial. As the garden became more and more indistinguishable from the surrounding landscape, it became unnecessary: it could be found rather than made. William Kent, a famous landscape architect, proclaimed that he had â&#x20AC;&#x153;leapt the fence and saw all nature was a garden.â&#x20AC;? Up until this point travel by foot had been dangerous. The roads were in bad condition and highwaymen and footpads plagued them. Those who could afford it travelled by horse, coach, carriage or wagon, sometimes with weapons; walking meant you were either poor or a robber. At the end of the 18th century, the roads had become safer, and that the boundaries of the aristocratic garden melted into the world was proof of this. Soon, intellectuals started walking. As roads were improving in both quality and safety, walking became a respectable mode of travel. As poets and writers wrote about their love for walking in nature, the ideas spread from aristocracy to the lower classes. Walking for leisure became part of English culture.

The birth of the walking club Access to land always was a class war. Already when the Normans conquered England in 1066, huge parks were set aside for deer hunting, with trespassers severely punished. Usually, there were two types of public access; the commons, areas which were privately owned land that locals could use to gather wood or graze animals, and the rights-of-way, footpaths which everybody had the rights to travel on regardless of whose land it was. During the 18th century, enclosure acts accelerated, diminishing the commons in favor of single landowners farming large areas. In the 19th century the upper-class increasingly sequestered public land, formerly supporting many people, for hunting game. With industrialization, people moved into the cities to work. The lives there were bleak and dirty, dense, squalid, polluted. People wanted to get out of the cities whenever they could, and now the conflict over land stopped being about economic survival and started being about psychic survival. More and more people spent their free time walking. But at the same time, more and more of the traditional rights-ofway were closed to them. In 1815 an act was passed giving magistrates the power to close any path they deemed unnecessary. During these land wars, the administration of Britain was in the hand of landowners.

In 1824 the first walking club, Association for the Protection of Ancient Footpaths, was formed near York. Later, Commons, Open Spaces and Footpath Preservation Society started in 1865, still active today as Open

Space Society. They won a hard-fought battle for Epping Forest near London; in 1793 it was 9000 acres, in 1848 7000 acres, in 1858 it was fenced off. In protest to harsh sentences to trespassers, up to six thousand people came there as a protest. Eventually, the public regained access. As more and more private landowners closed off their land, the number of walking clubs grew. In 1931, they formed the National Council of Ramblers Federation. After some unsuccessful attempts, the National Parks and Access to the Countryside Act was passed, and changed the rules. It meant all councils were required to map all the rights-of-way in their jurisdiction, and once mapped, were considered definite. The burden was put on the landowner to prove that a right-of-way didnâ&#x20AC;&#x2122;t exist, instead of the walker to prove that one did. Since then, the rights-of-way has appeared on the Ordnance Survey maps, accessible to everyone. The National Council of Ramblers Federation, later Ramblers Association and today Ramblers, is still fighting for public access to the landscape. In 2000 they managed to pass an act giving people of Britain the right to roam, that is, the freedom to walk on open countryside away from paths. They recently rebranded themselves after surveys showed that the demographic were shifting from an elderly, retired, white middle class walking in the countryside towards younger, more ethnically diverse membership for whom walking was increasingly an urban activity.

PART IV POTTERS FIELD

To truly understand a place, we must walk it. Eventually it spills its secrets. Every walk teaches us more.

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slow steady medium steady fast steady slow arythmic fast arythmic strong - weak area transition section

The earlier walk-maps of Umeå taught me a lot about what is important and what is not. When doing these walk-map of Potters Field, subjective experiences played a bigger part. By walking to the site from six different destinations, I started to develop the site and its relation to the city. Through the lived experience of its idiosyncracies, I got to know it. I began to understand it. The numerous walks became the basis for the following design.

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A2 A1

A3 RIVERSIDE WEST ENTRANCE A1 ENTRANCE A4 PARK TOWER BRIDGE STAIR A2 LONDON ENTRANCE A5 MORE SHADWELL BRIDGE TUNNEL A3 RIVERSIDE WEST ENTRANCE A4 TOWER BRIDGE STAIR LOW TRAFFIC A5 SHADWELL BRIDGE TUNNEL MEDIUM TRAFFIC HIGH TRAFFIC LOW TRAFFIC EXTREME TRAFFIC MEDIUM TRAFFIC HIGH TRAFFIC EXTREME TRAFFIC

PERCEIVED AREAS B3

B2 S2

B2 S1 B1 S1

S4 S3

B6 S3

B1 B6

S1 GARDEN PERCEIVED AREAS S2 CAFÉ GREENSPACE S3 PARK PLATFORM S1 S4 GARDEN RIVERSIDE PLATFORM S2 GREENSPACE S5 CAFÉ FOREHORE WALL S3 PARK PLATFORM S4 RIVERSIDE PLATFORM BORDERS S5 FOREHORE WALL B1 TOOLEY ST BORDERS B2 MORE LONDON B3 CITY HALL B1 B4 TOOLEY THAMES ST B2 B5 MORE TOWERLONDON BRIDGE B3 CITY HALL B6 MORE LONDON RESIDENTAL B4 THAMES B5 TOWER BRIDGE B6 MORE LONDON RESIDENTAL

AXONOMETRIC AXONOMETRIC

GROUND MATERIAL CONCRETE TILES RUBBER COMPOSITE 1 RUBBER COMPOSITE 2 GRASS PLANTS

ACTIVITIES CHAIR GROUPS BENCHES PLATFORM SEATING

E1 E2 E3 E4 E5 E6

E3 E4 E2

EVENT AREA BUSKER ICE CREAM TRUCK ROSTADE MANDLAR CAFÃ&#x2030; SELFIE AREA

FLOWS AND ACCESS POINTS

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LOW TRAFFIC MEDIUM TRAFFIC HIGH TRAFFIC EXTREME TRAFFIC

N B4

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A5 B5

330

10 째

30 째

B2 50 째

70 째

210

150

PART V MUDLARKING THE THAMES

In the Thames foreshore, I found the mystery I was looking for. Hidden in the mud are secrets. Every object has a story. The risk of the looming tide thrills me.

Thames - a tidal river

h 1300 of London Authority m Port 1.15

1400 1.75

1500 Port of London Authority 2.75

TOWER_PIER

LAT: 51째30'30"N LON: 0째05'18"W

GMT

Time 0542 1210 1821

JANUARY m 6.32 1.00 6.26

Time 0003 0544 1235 1831

m 0.84 6.69 0.80 6.67

0017 0621 1247 1907

1.31 6.08 1.18 6.04

0046 0632 1320 1928

1.02 6.50 0.96 6.46

0058 0709 1333 2002

1.52 5.81 1.39 5.87

0136 0733 1418 2033

1.20 6.30 1.12 6.31

0146 0822 1436 2104

1.73 5.62 1.57 5.81

0241 0853 1527 2143

1.35 6.17 1.22 6.26

0248 0939 1602 2207

1.86 5.66 1.54 5.91

0358 1010 1641 2255

1.37 6.21 1.23 6.33

0428 1043 1707 2309

1.74 5.89 1.33 6.14

0518 1123 1803

1.21 6.38 1.12

0536 1142 1804

1.40 6.21 1.10

0003 0635 1228 1909

6.53 0.95 6.63 0.94

0007 0633 1234 1857

6.44 1.10 6.53 0.94

0100 0738 1322 2001

6.74 0.69 6.85 0.83

0057 0726 1321 1947

6.69 0.90 6.77 0.85

0147 0831 1409 2046

6.89 0.55 6.99 0.80

0143 0818 1406 2035

6.86 0.78 6.95 0.80

0229 0917 1452 2125

6.96 0.52 7.06 0.82

0226 0908 1449 2120

6.96 0.70 7.08 0.74

0307 0957 1531 2157

0307 0956 1532 2204

7.02 0.61 7.18 0.68

0346 1041 1614 2245

7.02 0.55 7.18 0.66

0424 1121 1657 2324

0503 1158 1742

LAT: 51째30'30"N LON: 0째05'18"W

TIMES AND HEIGHTS OF HIGH AND LOW WATERS

1 M

Time 0019 0623 1242 1859

FEBRUARY m 1.26 6.04 1.23 6.00

Time 0111 0711 1344 1959

m 1.04 6.42 1.10 6.22

0054 0710 1322 1953

1.47 5.77 1.45 5.79

0208 0825 1450 2111

1.27 6.18 1.33 6.05

0141 0819 1423 2107

1.68 5.58 1.65 5.72

0326 0948 1608 2234

1.39 6.12 1.41 6.08

0252 0953 1613 2223

1.81 5.67 1.59 5.89

0452 1109 1740 2350

1.28 6.27 1.28 6.35

0451 1104 1725 2334

1.58 6.01 1.29 6.22

0622 1219 1850

0.98 6.58 1.01

0559 1206 1827

1.19 6.41 1.03

0047 0726 1313 1942

6.65 0.69 6.84 0.85

0034 0702 1301 1927

6.58 0.92 6.76 0.88

0133 0816 1357 2025

6.82 0.56 6.96 0.80

0124 0804 1349 2023

6.84 0.75 7.02 0.78

0212 0858 1436 2103

6.90 0.55 7.00 0.80

0209 0901 1435 2113

7.00 0.60 7.22 0.67

0246 0934 1510 2135

6.95 0.58 7.02 0.79

0252 0951 1518 2159

7.11 0.44 7.34 0.55

0318 1003 1541 2201

6.98 0.58 7.01 0.74

6.99 0.56 7.05 0.85

0331 1035 1600 2240

7.17 0.32 7.37 0.48

0347 1027 1610 2226

0341 1030 1606 2223

6.96 0.62 6.98 0.86

0410 1114 1642 2317

7.16 0.31 7.26 0.51

0412 1053 1639 2248

6.88 0.67 6.84 0.86

0448 1149 1723 2352

7.07 0.43 7.04 0.63

6.96 0.57 7.09 0.72

0443 1116 1710 2317

6.74 0.72 6.67 0.91

0528 1220 1808

6.91 0.62 6.77

6.85 0.66 6.90

0514 1142 1742 2348

6.54 0.82 6.47 1.06

0028 0614 1256 1858

0.82 6.68 0.85 6.48

0546 1211 1818

6.31 1.00 6.24

8 M

YEAR 2016 GMT

Time 0551 1203 1816

MARCH m 6.21 1.08 6.15

Time 0047 0653 1314 1928

m 0.88 6.49 1.11 6.17

APRIL

Time 0027 0701 1255 1927

m 1.16 5.95 1.37 5.84

Time 0232 0902 1507 2136

m 1.22 6.12 1.55 5.91

0125 0815 1413 2050

1.38 5.82 1.63 5.76

0310 0949 1608 2220

1.50 6.00 1.44 6.02

0355 1019 1631 2251

1.19 6.22 1.41 6.13

0515 1130 1744 2351

1.02 6.47 1.15 6.40

0449 1104 1722 2331

1.15 6.43 1.07 6.44

0623 1223 1838

0.83 6.70 0.96

0603 1207 1834

0.85 6.86 0.81

0037 0710 1305 1922

6.59 0.74 6.80 0.85

0029 0723 1301 1940

6.81 0.62 7.19 0.64

0116 0749 1341 2000

6.72 0.69 6.86 0.77

0118 0822 1349 2035

7.07 0.41 7.39 0.50

0151 0823 1413 2036

6.83 0.63 6.92 0.69

0203 0911 1433 2122

7.26 0.25 7.50 0.36

0223 0856 1441 2108

6.92 0.56 6.99 0.62

0246 0954 1516 2205

7.41 0.17 7.53 0.27

0254 0925 1509 2139

MAY

Time 0107 0755 1356 2018

m 1.20 6.05 1.49 5.91

Time 0317 0937 1545 2203

m 1.15 6.12 1.52 5.98

0243 0919 1535 2144

1.30 6.18 1.36 6.08

0417 1032 1649 2256

1.05 6.51 1.05 6.43

0423 1043 1653 2305

1.08 6.24 1.34 6.16

0523 1141 1751 2358

0.97 6.42 1.14 6.37

0530 1137 1800 2357

0.80 6.87 0.82 6.77

0617 1228 1840

0.86 6.59 0.96

0650 1233 1910

0.62 7.15 0.65

0042 0704 1307 1925

6.57 0.76 6.72 0.82

0050 0753 1323 2008

7.05 0.44 7.33 0.49

0121 0746 1341 2006

6.73 0.67 6.83 0.72

0138 0843 1409 2059

7.26 0.32 7.44 0.35

0157 0824 1414 2043

6.83 0.62 6.90 0.66

0224 0927 1454 2144

7.41 0.27 7.46 0.24

0231 0858 1446 2119

6.88 0.61 6.93 0.64

6.96 0.52 7.00 0.60

0310 1006 1537 2225

7.49 0.32 7.38 0.22

0305 0929 1520 2152

6.87 0.62 6.88 0.66

16 M

YEAR 201

JUNE

Time 0349 1003 1619 2225

m 0.98 6.52 1.09 6.40

Time 0433 1045 1702 2312

1 6 1 6

0459 1108 1730 2329

0.81 6.76 0.90 6.68

0615 1208 1841

0.68 6.99 0.71

0529 1141 1758

1 6 1

0005 0622 1230 1850

6 0 6 0

0026 0723 1301 1944

6.94 0.54 7.17 0.52

0051 0712 1312 1937

6 0 6 0

0118 0817 1350 2038

7.16 0.45 7.27 0.36

0133 0756 1352 2022

6 0 6 0

0207 0903 1436 2127

7.32 0.42 7.32 0.25

0213 0836 1430 2104

6 0 6 0

0255 0945 1521 2212

7.39 0.46 7.27 0.24

0251 0914 1507 2145

6 0 6 0

0343 1022 1605 2251

7.36 0.57 7.12 0.33

0330 0951 1544 2224

6 0 6 0

0430 1055 1647 2326

7.18 0.71 6.88 0.49

0410 1029 1621 2301

6 0 6 0

0015 0633 1236 1902

1.23 5.97 1.27 5.91

0141 0805 1417 2041

1.15 6.21 1.41 5.94

0056 0728 1327 2005

1.41 5.75 1.51 5.71

0258 0927 1538 2209

1.33 6.10 1.51 5.96

0157 0853 1456 2135

1.62 5.65 1.70 5.73

0426 1050 1712 2327

1.26 6.26 1.34 6.26

0401 1025 1646 2259

1.62 5.92 1.42 6.06

0602 1201 1825

0.97 6.59 1.04

0524 1137 1756

1.21 6.37 1.08

0025 0704 1253 1915

6.57 0.71 6.83 0.86

0006 0635 1236 1905

6.49 0.90 6.81 0.85

0109 0750 1335 1957

6.75 0.61 6.93 0.80

0059 0748 1327 2006

6.82 0.68 7.12 0.70

0147 0828 1412 2034

6.83 0.61 6.95 0.78

0146 0846 1414 2058

7.04 0.47 7.33 0.56

0220 0901 1443 2106

6.90 0.61 6.99 0.72

0229 0935 1458 2144

7.20 0.29 7.46 0.43

0251 0930 1512 2135

6.97 0.56 7.02 0.65

0328 1031 1558 2242

7.47 0.21 7.43 0.26

0325 0953 1540 2209

6.92 0.54 6.93 0.65

0355 1039 1620 2301

7.42 0.44 7.17 0.31

0341 1000 1555 2223

6.81 0.66 6.78 0.70

0517 1127 1729

6.91 0.88 6.59

0451 1108 1700 2336

6 0 6 0

6.97 0.57 6.95 0.71

0310 1018 1540 2225

7.31 0.18 7.49 0.34

0320 0956 1539 2203

7.00 0.51 7.01 0.61

0411 1102 1639 2316

7.40 0.35 7.19 0.35

0358 1020 1612 2236

6.80 0.64 6.77 0.75

0442 1110 1703 2335

7.21 0.62 6.86 0.48

0418 1031 1631 2253

6.72 0.74 6.63 0.77

0000 0605 1203 1813

0.66 6.60 1.06 6.31

0534 1149 1741

6 0 6

0417 1050 1638 2254

6.87 0.59 6.82 0.76

0349 1055 1620 2301

7.35 0.19 7.38 0.36

0350 1021 1607 2231

6.93 0.53 6.91 0.67

0455 1131 1722 2349

7.19 0.55 6.86 0.52

0432 1046 1646 2301

6.63 0.77 6.57 0.85

0530 1143 1748

6.90 0.85 6.52

0458 1106 1709 2326

6.61 0.86 6.48 0.84

0038 0656 1245 1904

0.84 6.33 1.27 6.07

0016 0623 1235 1828

0 6 1 6

0446 1115 1707 2321

6.69 0.71 6.63 0.90

0429 1128 1701 2335

7.27 0.33 7.14 0.47

0420 1046 1637 2257

6.77 0.65 6.73 0.81

0543 1204 1808

6.88 0.81 6.50

0509 1115 1723 2331

6.47 0.91 6.38 0.91

0012 0624 1224 1839

0.70 6.56 1.11 6.20

0543 1146 1753

6.49 1.01 6.33

0127 0751 1335 2007

1.02 6.13 1.47 5.89

0105 0720 1329 1926

0 6 1 6

0517 1139 1739 2347

6.45 0.90 6.40 1.08

0511 1156 1744

7.09 0.55 6.83

0452 1110 1709 2320

6.55 0.83 6.51 0.95

0028 0639 1247 1902

0.75 6.54 1.12 6.16

0552 1150 1807

6.31 1.06 6.18

0059 0724 1317 1942

0.93 6.28 1.38 5.96

0007 0635 1237 1846

0.93 6.36 1.19 6.19

0227 0848 1439 2112

1.16 6.02 1.61 5.85

0208 0827 1435 2041

0 6 1 6

0008 0558 1229 1831

0.64 6.81 0.80 6.50

0527 1134 1745 2347

6.35 0.97 6.28 1.03

0119 0746 1347 2013

1.03 6.25 1.42 5.92

0011 0645 1239 1904

1.01 6.16 1.29 6.00

0204 0830 1426 2055

1.11 6.13 1.55 5.89

0103 0740 1345 1952

1.06 6.27 1.32 6.09

0332 0946 1557 2213

1.20 6.02 1.58 5.94

0320 0935 1549 2157

0 6 1 6

0608 1207 1829

6.15 1.12 6.05

0227 0854 1504 2113

1.11 6.32 1.27 6.16

Produced using Thames Tide 4.0.29 with Harmonic Constants from 2011 PLA Tidal Analysis

TIMES AND HEIGHTS OF HIGH AND LOW WATERS

Produced using Thames Tide 4.0.29 with Harmonic Constants from 2011 PLA Tidal Analysis

1600 Port of London 3.81Authority

1700 4.71

1800 Port of London Authority 5.60

TOWER_PIER

LAT: 51째30'30"N LON: 0째05'18"W

YEAR 2016 GMT

JUNE

me 49 03 19 25

m 0.98 6.52 1.09 6.40

Time 0433 1045 1702 2312

m 1.14 6.12 1.39 6.13

59 08 30 29

0.81 6.76 0.90 6.68

15 08 41

0.68 6.99 0.71

0529 1141 1758

1.01 6.32 1.14

0005 0622 1230 1850

6.38 0.87 6.54 0.93

26 23 01 44

6.94 0.54 7.17 0.52

0051 0712 1312 1937

6.60 0.77 6.72 0.78

18 17 50 38

7.16 0.45 7.27 0.36

0133 0756 1352 2022

6.75 0.72 6.83 0.71

07 03 36 27

7.32 0.42 7.32 0.25

0213 0836 1430 2104

6.83 0.72 6.88 0.67

55 45 21 12

7.39 0.46 7.27 0.24

0251 0914 1507 2145

6.87 0.71 6.88 0.64

43 22 05 51

7.36 0.57 7.12 0.33

0330 0951 1544 2224

6.90 0.70 6.85 0.63

30 55 47 26

7.18 0.71 6.88 0.49

0410 1029 1621 2301

6.89 0.71 6.77 0.66

17 27 29

6.91 0.88 6.59

0451 1108 1700 2336

00 05 03 13

0.66 6.60 1.06 6.31

38 56 45 04

0.84 6.33 1.27 6.07

27 51 35 07

JULY

m 0.91 6.56 1.03 6.54

0544 1147 1817

0.83 6.75 0.81

0155 0820 1414 2053

6.86 0.79 6.91 0.65

7.26 0.60 7.18 0.28

0238 0905 1454 2141

6.98 0.75 6.97 0.57

0333 1009 1550 2243

7.27 0.66 7.11 0.34

0319 0948 1532 2225

7.07 0.68 6.99 0.48

0417 1042 1629 2317

7.15 0.76 6.95 0.47

0359 1030 1609 2306

7.11 0.63 6.96 0.45

0459 1111 1706 2345

6.94 0.86 6.72 0.62

0439 1108 1646 2343

7.06 0.64 6.88 0.52

6.83 0.77 6.66 0.73

0539 1140 1742

6.67 0.98 6.47

0520 1146 1724

0534 1149 1741

6.71 0.89 6.53

0012 0619 1213 1821

0.77 6.39 1.13 6.22

0016 0623 1235 1828

0.82 6.56 1.03 6.40

0045 0702 1250 1908

0.94 6.15 1.33 5.96

1.02 6.13 1.47 5.89

0105 0720 1329 1926

0.92 6.42 1.17 6.27

0126 0751 1335 2012

27 48 39 12

1.16 6.02 1.61 5.85

0208 0827 1435 2041

0.99 6.36 1.24 6.22

32 46 57 13

1.20 6.02 1.58 5.94

0320 0935 1549 2157

0.98 6.42 1.19 6.33

1 PLA Tidal Analysis

0105 0755 1336 2023

7.00 0.61 7.08 0.40

0157 0845 1424 2115

7.17 0.57 7.16 0.29

0246 0929 1508 2202

1.06 6.35 1.05

6.70 0.82 6.81 0.72

0544 1153 1816

0111 0732 1332 2003

6.78 0.71 6.94 0.58

m 1.27 6.06 1.37 6.16

6.46 0.90 6.63 0.84

0008 0657 1245 1925

Time 0445 1052 1717 2326

0022 0640 1246 1911

4 M

LAT: 51째30'30"N LON: 0째05'18"W

TIMES AND HEIGHTS OF HIGH AND LOW WATERS Time 0430 1042 1703 2306

1 M

AUGUST

Time 0638 1234 1913

m 0.88 6.76 0.64

0059 0739 1326 2012

6.90 0.73 6.96 0.42

17 W

7.13 0.72 7.07 0.46

7.20 0.72 7.10 0.39

0300 0938 1513 2214

7.26 0.62 7.14 0.34

0357 1024 1605 2256

7.13 0.77 7.01 0.49

0340 1020 1550 2255

7.31 0.53 7.16 0.29

0433 1049 1637 2318

6.97 0.82 6.85 0.60

0420 1058 1626 2330

7.25 0.53 7.10 0.38

0505 1113 1709 2339

6.74 0.90 6.63 0.73

0500 1133 1705

7.06 0.63 6.97

0537 1141 1741

6.49 1.03 6.37

0001 0541 1208 1748

6.91 0.74 6.75

0006 0610 1211 1816

0.91 6.23 1.22 6.10

0017 0605 1224 1808

0.66 6.70 0.90 6.60

0035 0649 1245 1902

1.14 5.99 1.45 5.82

0055 0656 1309 1901

0.81 6.49 1.08 6.42

0112 0740 1328 2010

1.15 5.95 1.55 5.77

0144 0757 1406 2011

0.96 6.32 1.23 6.26

0222 0848 1433 2120

1.35 5.85 1.72 5.73

0249 0906 1519 2132

1.08 6.26 1.29 6.25

0338 0948 1606 2225

1.41 5.88 1.67 5.88

0401 1018 1639 2247

1.11 6.31 1.16 6.39

0519 1131 1759 2358

1.05 6.50 0.92 6.64

0236 0913 1453 2147

7.18 0.68 7.11 0.32

0318 0952 1530 2225

6.70 0.88 6.81 0.71

0218 0853 1434 2129

0046 0709 1309 1944

7.08 0.67 7.06 0.33

m 1.05 6.53 0.88

6.95 0.80 6.97 0.59

0150 0829 1412 2103

Time 0610 1219 1844

0134 0803 1353 2040

1900 5.98

YEAR 2016 GMT

SEPTEMBER

Time 0138 0809 1354 2044

m 7.09 0.71 7.01 0.38

0219 0851 1431 2124

7.14 0.72 7.05 0.43

Time 0107 0740 1325 2019

m 7.06 0.77 7.01 0.53

0152 0832 1407 2110

7.28 0.66 7.16 0.39

TIMES AND HEIGHTS OF HIGH AND LOW WATERS Time 0155 0821 1404 2050

OCTOBER m 7.07 0.77 6.97 0.57

Time 0123 0805 1337 2043

m 7.35 0.65 7.24 0.39

0229 0855 1436 2120

7.07 0.76 7.04 0.59

0208 0855 1421 2128

7.49 0.54 7.41 0.31

0259 0925 1506 2146

7.08 0.74 7.08 0.58

0251 0940 1503 2208

7.54 0.44 7.51 0.31

0326 0952 1537 2209

7.05 0.73 7.02 0.62

0333 1021 1546 2242

7.47 0.40 7.49 0.41

0353 1018 1607 2233

6.94 0.79 6.85 0.73

0414 1058 1630 2313

7.27 0.46 7.32 0.60

0422 1043 1638 2256

6.74 0.92 6.62 0.91

0456 1132 1717 2346

6.95 0.61 7.03 0.86

0452 1107 1711 2319

6.52 1.07 6.38 1.08

0542 1210 1811

6.58 0.82 6.68

0525 1131 1750 2347

6.28 1.17 6.16 1.24

0027 0635 1259 1917

1.16 6.22 1.07 6.36

0606 1205 1838

6.03 1.29 5.94

0123 0745 1410 2033

1.47 5.95 1.27 6.21

Time 0227 0855 1439 2111

NOVEMBER m 7.02 0.73 7.03 0.64

16 W

Time 0228 0919 1444 2143

m 7.49 0.42 7.53 0.42

YEAR 2016

DECEMBER

Time 0231 0903 1450 2114

m 6.92 0.78 6.89 0.78

Time 0257 0952 1520 2205

m 7.32 0.35 7.45 0.61

0302 0935 1524 2142

6.89 0.81 6.84 0.82

0336 1006 1559 2212

6.80 0.85 6.76 0.88

0343 1036 1608 2242

7.23 0.38 7.34 0.73

0427 1116 1656 2316

7.02 0.51 7.11 0.89

0410 1034 1637 2245

6.68 0.91 6.66 0.98

0510 1152 1744 2351

6.74 0.68 6.80 1.08

0447 1105 1719 2321

6.53 0.97 6.55 1.11

0553 1228 1834

6.44 0.87 6.49

0526 1141 1805

6.38 1.05 6.41

0029 0641 1311 1927

1.28 6.16 1.07 6.22

0005 0612 1227 1900

1.27 6.22 1.17 6.26

0113 0739 1405 2023

1.50 5.92 1.25 6.04

0100 0708 1330 2009

1.44 6.07 1.30 6.19

0208 0845 1508 2121

1.70 5.81 1.35 5.96

0255 0925 1510 2138

7.03 0.73 6.99 0.67

0313 1004 1531 2221

7.44 0.37 7.52 0.51

0323 0953 1542 2203

6.96 0.78 6.87 0.76

0356 1044 1618 2254

7.26 0.41 7.36 0.68

0354 1020 1615 2229

6.81 0.88 6.70 0.89

0440 1120 1707 2328

6.98 0.55 7.07 0.90

0426 1045 1651 2256

6.61 0.98 6.52 1.03

0525 1158 1800

6.63 0.76 6.73

0501 1112 1731 2328

6.41 1.06 6.34 1.18

0008 0615 1244 1859

1.16 6.29 0.99 6.42

0541 1147 1819

6.20 1.14 6.17

0057 0716 1345 2005

1.43 6.01 1.18 6.22

0011 0632 1235 1920

1.39 5.99 1.31 6.02

0201 0829 1456 2111

1.64 5.88 1.25 6.17

0112 0737 1348 2041

1.63 5.83 1.49 6.03

0318 0939 1602 2218

1.67 5.94 1.20 6.24

0213 0820 1503 2123

1.53 6.01 1.29 6.31

0325 0949 1610 2221

1.77 5.84 1.34 6.00

0256 0927 1504 2157

7.14 0.75 7.08 0.49

0235 0920 1447 2154

7.41 0.56 7.29 0.27

0330 0957 1536 2223

7.11 0.76 7.06 0.55

0316 1002 1526 2233

7.46 0.47 7.36 0.25

0400 1021 1606 2244

7.01 0.78 6.96 0.61

0356 1041 1605 2308

7.39 0.45 7.33 0.35

0429 1045 1636 2306

6.84 0.83 6.76 0.73

0436 1116 1646 2337

7.19 0.54 7.18 0.55

0457 1111 1706 2329

6.62 0.97 6.50 0.91

0517 1149 1731

6.89 0.70 6.94

0526 1137 1739 2353

6.37 1.15 6.24 1.13

0008 0603 1227 1823

0.80 6.55 0.91 6.62

0.56 6.80 0.80 6.78

0600 1202 1818

6.12 1.32 5.97

0050 0657 1317 1931

1.10 6.22 1.15 6.32

0033 0628 1247 1840

0.78 6.52 1.00 6.54

0021 0643 1238 1910

1.34 5.87 1.50 5.72

0149 0809 1431 2054

1.40 5.97 1.33 6.19

0029 0659 1255 1945

1.48 5.79 1.50 5.76

0240 0908 1532 2149

1.63 5.91 1.24 6.28

0251 0904 1544 2158

1.68 5.88 1.35 6.32

0429 1043 1704 2320

1.53 6.10 1.11 6.39

0335 0944 1621 2231

1.44 6.17 1.09 6.56

0437 1051 1709 2322

1.63 6.00 1.23 6.17

0116 0725 1339 1947

1.02 6.26 1.21 6.29

0105 0741 1333 2030

1.60 5.64 1.73 5.57

0309 0937 1558 2217

1.54 5.97 1.26 6.31

0134 0814 1420 2119

1.78 5.64 1.69 5.85

0404 1024 1652 2303

1.52 6.12 1.06 6.51

0415 1023 1657 2304

1.38 6.22 1.02 6.70

0531 1139 1801

1.33 6.31 1.00

0450 1054 1731 2334

1.21 6.49 0.88 6.84

0538 1147 1805

1.38 6.25 1.06

1.40 5.77 1.68 5.60

0218 0836 1453 2111

1.25 6.08 1.35 6.19

0223 0911 1546 2205

1.84 5.61 1.76 5.80

0439 1057 1732 2333

1.39 6.26 0.98 6.63

0338 0951 1627 2237

1.73 5.83 1.36 6.27

0520 1128 1806

1.27 6.40 0.86

0525 1126 1808

1.06 6.62 0.78

0011 0623 1225 1849

6.56 1.13 6.53 0.88

0602 1154 1843

0.96 6.82 0.72

0014 0632 1236 1856

6.40 1.11 6.51 0.92

0209 0850 1438 2137

1.63 5.67 1.84 5.64

0334 0958 1618 2233

1.35 6.09 1.25 6.31

0427 1039 1707 2317

1.59 5.94 1.29 6.26

0559 1200 1843

1.08 6.61 0.66

0456 1105 1736 2341

1.30 6.28 0.97 6.74

0001 0619 1218 1857

6.75 1.04 6.61 0.74

0003 0633 1221 1917

7.05 0.84 6.97 0.60

0052 0709 1305 1931

6.70 0.95 6.71 0.79

0031 0710 1249 1945

7.08 0.75 7.10 0.59

0058 0722 1319 1942

6.62 0.93 6.69 0.85

0355 1006 1636 2248

1.62 5.80 1.60 5.94

0500 1118 1749 2349

1.25 6.35 0.97 6.61

0536 1146 1813

1.19 6.40 0.93

0030 0656 1249 1934

6.92 0.85 6.83 0.52

0603 1203 1848

0.97 6.71 0.72

0047 0706 1259 1936

6.88 0.92 6.75 0.71

0055 0736 1311 2013

7.29 0.68 7.23 0.47

0127 0751 1342 2009

6.81 0.83 6.84 0.73

0122 0810 1341 2038

7.24 0.56 7.31 0.53

0138 0806 1359 2023

6.75 0.84 6.78 0.85

0508 1119 1743 2352

1.33 6.14 1.18 6.34

0623 1222 1903

0.99 6.69 0.63

0017 0640 1239 1921

6.72 0.92 6.77 0.70

0116 0742 1329 2015

7.05 0.78 6.91 0.53

0035 0708 1252 1951

7.11 0.77 7.02 0.53

0125 0746 1335 2011

6.93 0.84 6.86 0.69

0143 0830 1358 2101

7.43 0.54 7.42 0.41

0159 0829 1416 2043

6.89 0.78 6.90 0.74

0211 0903 1431 2124

7.32 0.42 7.43 0.54

0215 0848 1436 2059

6.81 0.81 6.82 0.87

0049 0721 1312 1958

6.92 0.78 6.91 0.42

0250 0927 1513 2134

6.83 0.81 6.85 0.86

31 W

Produced using Thames Tide 4.0.29 with Harmonic Constants from 2011 PLA Tidal Analysis

31 M

0158

0822 1408 2042

6.97

0.78 6.97 0.65

Produced using Thames Tide 4.0.29 with Harmonic Constants from 2011 PLA Tidal Analysis

The foreshore around Potters field, and its access points

F3 F4 F5

F2 LONDON BRIDGE PIER

F3 CUSTOM HOUSE PIER

F4 TOWER MILLENIUM PIER

F5 THE QUEENâ&#x20AC;&#x2122;S STAIR

Padlocked at all times Access through public space

Accessible all day Access through public space

Padlocked at all times Access through public space

Padlocked at all times Access through restricted

F1 THE ANCHOR BREWHOUSE Accessible during day hours Access through private property

F2 LONDON BRIDGE PIER Padlocked at all times Access through public space

F3 CUSTOM HOUSE PIER Accessible all day Access through public space

F4 TOWER MILLENIUM PIER Padlocked at all times Access through public space

F5 THE QUEENâ&#x20AC;&#x2122;S STAIR Padlocked at all times Access through restricted space

6,5 m

20 m

160 m

Perfect concrete tiling

Large, dirty debris

Medium, clean debris

Medium clean natural stones

Medium natural stones with growth

Small, clean natural stones

Clean small stones and sand

Clean pebbles and sand

HIGH TIDE

LOW TIDE

On our side of the wall, order and cleanliness reigns. On the other side is muddy chaos, disparity, heterogenous conditions ever changing. All that separates us from this completely different reality is a 600mm thick wall of concrete and brick.

Bringing the Thames into London The river thames runs through the heart of London, but is far separated from the lives and hearts of the Londoners. Redesigning river walls to allow greater biodiversity will give foothold to the life of the thames and invite it into the lives in London.

Renewing natural romanticism A green riverbank full of life would provide recreational spaces much sought for in a buzy urban environment. As the built increasingly erases the natural, new forms of nature must arise. The vegetation can also increase air quality.

Checking the water at the edge The Thames is increasingly flooding. The walls along the edge of the river have the potentual to absorb much rainfall and reduce flooding. It may also filter the water going into the river from pollution, which otherwise runs straight down on impermeable surfaces.

1. Physical habitat structure

size and dimensions of wall wall inclination construction material wall age

2. Nutritional resources

amount of sediment & humus delivered wall moisture decomposing wall materials

3. Microclimate

exposure to wind, sun and rain wall management (heated etc.) local urban climate

4. Accessibility

accessibility to species dispersal vectors location relative to source habitats

5. Disturbances cleaning and maintenance pollution extreme weather conditions

Steel wall

Concrete and brick wall with wood piling

Concrete wall with complexity

Concrete and brick wall with wood

Concrete wall

Brick wall with wood

Potential species in river walls

Golden Samphire

Gypsywort

Enteromorpha Intestinalis

Hemlock

Cladonia

Hydrosera Triquetra

Bladderwrack

Lecanora

Purple Loosestrife

Silvergreen Bryum

Ragworm

Rhizoclonium

Cockle

Laugurus

Hydrolapathum

Freshwater Shrimp

Copepod

Sea Barley

Two-Lipped Door Snail

Tubifex Worms

ACCESIBILITY status

projection

method

FRAGMENTED

CONNECTED

INTERVENTIONS

In its current shape, the foreshore is a fragmented space in the city. At numerous places, it is interrupted by quays extending into the river, or by deeper water dug to allow boats to anchor. This fragmentation hinders free movement throughout the foreshore and makes it a more dangerous space, as you can easily be cut oﬀ by the rising tide, drenched or drowned.

If the foreshore were to be stitched together, this would allow for longer, safer walks along it. Thus the potential of using the foreshore would extend from specialized, informed users to larger groups of people. It would consolidate the now isolated pieces into a strong layer in the urban fabric with new potentials, opportunities and experiences.

To connect the divided foreshore, I propose a series of interventions at strategic locations. They would be simple stairs, ﬁtting into the current system, but also providing new experiences. Additionally to making movement along the foreshore as ﬂuent as possible, they would also serve to ease the access to the foreshore and give it visibility and some footing in the ‘clean’ city on the other side of the wall.

SUPPORT

EXPLORER CLUB

USAGE DIFFICULT Descending into the foreshore can be done without much support, but getting the most out of the experience requires tools, equipment and know-how not in possession of the average person. Thus it is diﬃcult to experience all the foreshore has to oﬀer.

Support in very rudimentary and functional terms will increase the potential of usage and experiences in the foreshore. This supoort must be accesible and easy to use, and open to everybody.

F3 F4 F5

rest

ricte

d ar

The Thames Explorer Club will have equipment rental (boots, raincoats, trovels etc.) as well as educational functions to spread knowledge about the foreshore. There will also be galleries, both curated by archeologists and open-source, providing the users to display what they have found.

SUPPORT

EXPLORER CLUB

Support in very rudimentary and functional terms will increase the potential of usage and experiences in the foreshore. This supoort must be accesible and easy to use, and open to everybody.

F3 F4 F5

restr

icte

d are

Intervention; a new kind of river stair

Dangerous

Invisible

Unknown

Inaccessible

The foreshore is dangerous because of the tides; they may catch you oﬀ-guard and trap you below, cutting of the exits, and drenching or even drowning the unsuspecting stroller.

While walking the boardwalk, the foreshore is not easy to see. This is because of the quay wall being designed with a height and depth that prevents causually looking over it. The wall functions as ﬂooding protection and can thus itself not be opened up.

The current conditions hides the foreshore completely behind the quay wall. There is no sign of anything happening on the other side, and consequently many are not aware of the world just on the other side of the wall.

Many access points are permanently locked or locked during certain times of the day. Further, many require climbing over walls and fences, and walking down far too steep or high steps.

Knowledge - Information

Visibility - Platform

Awareness - Vertical Elements

Access - Accessible stairs

The intervention will contain information about what to be aware of before descending. It will have information about tide times, where to be careful, diseases etc.

The interventions will include an easily accesible platform, allowing quick ascent and descent upon the wall. It should integrate into the boardwalk ﬂuently, and allow views down onto the foreshore.

The new stairs will be easy to descend, provide sure footing. The angle will be within regulations, there will be a handrail and suﬃcient height and depth.

Dangerous

Invisible

The foreshore is dangerous because of the tides; they may catch you oﬀ-guard and trap you below, cutting of the exits, and drenching or even drowning the unsuspecting stroller.

Unknown

Knowledge - Information

Visibility - Platform

The intervention will contain information about what to be aware of before descending. It will have information about tide times, where to be careful, diseases etc.

The interventions will include an easily accesible platform, allowing quick ascent and descent upon the wall. It should integrate into the boardwalk ﬂuently, and allow views down onto the foreshore.

The current conditions hides the foresho ly behind the quay wall. There is no sig happening on the other side, and conse are not aware of the world just on the the wall.

Awareness - Vertical Ele

Vertical elements will help make the visible. They will rise above the wall, something is happening on the other s mark the interventions in the city and them.

The foreshore is dangerous because of the tides; they may catch you off-guard and trap you below, cutting of the exits, and drenching or even drowning the unsuspecting stroller. The intervention will contain information about what to be aware of before descending. It will have information about tide times, where to be careful, diseases etc. While walking the boardwalk, the foreshore is not easy to see. This is because of the quay wall being designed with a height and depth that prevents causually looking over it. The wall functions as flooding protection and can thus itself not be opened up.

High tide

The interventions will include an easily accesible platform, allowing quick ascent and descent upon the wall. It should integrate into the boardwalk fluently, and allow views down onto the foreshore. The current conditions hides the foreshore completely behind the quay wall. There is no sign of anything happening on the other side, and consequently many are not aware of the world just on the other side of the wall.

Section 1:50

Plan 1:50

Dangerous

Invisible

Unknown

Inaccessible

Contained

The foreshore is dangerous because of the tides; they may catch you oﬀ-guard and trap you below, cutting of the exits, and drenching or even drowning the unsuspecting stroller.

Many access points are permanently locked or locked during certain times of the day. Further, many require climbing over walls and fences, and walking down far too steep or high steps.

The wall is a clean break with the dirt below. The experience of the muddy foreshore is completely separated from the nice, organized boardwalk above.

Knowledge - Information

Visibility - Platform

Vertical elements will help make the interventions visible. They will rise above the wall, showing that something is happening on the other side. They will mark the interventions in the city and help identify them. The intervention will contain information about what to be aware of before descending. It will have information about tide times, where to be careful, diseases etc.

The interventions will include an easily accesible platform, allowing quick ascent and descent upon the wall. It should integrate into the boardwalk ﬂuently, and allow views down onto the foreshore.

Awareness - Vertical Elements

Access - Accessible stairs

Framework - Materials for Growth

The new stairs will be easy to descend, provide sure footing. The angle will be within regulations, there will be a handrail and suﬃcient height and depth.

In addition to allowing descent and ascent to and from the foreshore, the intervention will also invite the foreshore up onto land. The materials used will catch water and allow vegetation to grow.

Many access points are permanently locked or locked during certain times of the day. Further, many require climbing over walls and fences, and walking down far too steep or high steps. The new stairs will be easy to descend, provide sure footing. The angle will be within regulations, there will be a handrail and sufficient height and depth. The wall is a clean break with the dirt below. The High tide experience of the muddy foreshore is completely separated from the nice, organized boardwalk above. In addition to allowing descent and ascent to and from the foreshore, the intervention will also invite the foreshore up onto land. The materials used will catch water and allow vegetation to grow. Section 1:50

Plan 1:50

The foreshore, while obscure and slightly dangerous, is still regurarly walked by some people. In the following pages, I document three walks I went on. They have varying degree of contact with the muddy mess. They were vital for developing an idea of what the foreshore is and can be used for. The uses became the basis upon which a programmatic design response was sketched.

Beachcombing with Fiona Beachcombing is a special walk arranged by walk. com. Guided by tidal archeologist Fiona, people from all walks of life gently stroll the foreshore looking for treasures to take home.

Knee-deep at Deptford Creek At low tide, Deptford Creek Education Center outfits its visitors with waders and sticks and leads an assemblage of curious eyes, feets and hands down into the mud, to experience a creek full of life.

Mudlarking with the Mud God A day with Steve Brooker is a day well spent. The mudlark par excellence knows everything about anything you can find down there, and teaches you how to â&#x20AC;&#x2DC;readâ&#x20AC;&#x2122; the foreshore like an expert.

Knee-Deep at Deptford Creek At low tide, Deptford Creek Education Center outﬁts its visitors with waders and sticks and leads an assemblage of curious eyes, feets and hands down into the mud, to experience a creek full of life.

A programmatic design response

everybody

some

few

inside Archeologist Oﬃce 80 m2

Mudlarkers Club 60 m2

Classroom 80 m2

Changing facilities 200 m2

Cafeteria 300 m2

Gallery 300 m2

Information 120 m2

outside

Washing and drying 60 m2

Gathering point 60 m2

Observation platform 60 m2

Foreshore access 200 m2

Cafeteria 300 m2

Classroom 80 m2

Society of Mudlarkers Club 80 m2

Information and equipment rental desk Find recording desk Lobby and waiting area Information display

Meals and drinks servery Dishwasher Crockery returns Drinsk bar with mixer, toaster, food containers etc. Food storage Rotisserie Cooker rings Water boiler and steam machine Pot and pan washer Stores/oﬃce; catering size refrigerators and feezers instead of cold store Staﬀ toilets Bar counter Customer toilets Seating area

Material storage Seating and tables Projector Hands-on opportunity

Lounge area Small kitchen Display cases Storage

Gallery 300 m2 Display cases etc. Area curated by public Area curated by archeologist Archive, storage Gift shop

Walkways and pools 400 m2

Quay walls 150 m2 Reception 120 m2

Changing facilities 200 m2 Cloak room Male and female changing room Lockers Showers Washing room (Dirt and mud) Toilets Equipment storage; boots, raincoats, walking sticks, trovels and buckets

Archeologist Office 80 m2 Offices Storage Small meeting room Staff room Examination area Careful cleaning area Delicate storing

TITLE the Passer-by

DESCRIPTION The passer-by is anybody who passes through the site. The passer-by is en route to another location, and is not planning to stop before arriving.

OPPORTUNITIES

WALK-LINES

Will walk a straight uninterrupted path. May not wayﬁnd (GPS). May not hear (headphones).

walking past site

Deliberate, focused, straight

Needs clear direction in vision and movement.

a person who happens to be going past something

the Stroller

Pools and walkways Quay walls

The stroller its anybody who happens to ﬁnd him/herself on the site without aim or ambition, e.g. a tourist, an evening stroller, a time-killer etc.

Information Cafe Gallery Foreshore Observation Platform

watching the foreshore

Pools and walkways Quay walls

The beachcomber has come to the site for the speciﬁc activity of walking the foreshore and look for remains. S/he is still open to explore the site, driven by interest.

visiting cafeteria

visiting the gallery

Needs an area that draws in, that has suspense, that surprises.

a person who takes a leisurely walk

the Beachcomber

Archeologist Oﬃce Mudlarker’s Club

Will walk however s/he pleases. Will wayﬁnd. May not hear (headphones)

visiting info center

Curious, investigative, whimsical, directionless

Gathering Point Washing and Drying Changing Facilities Classroom

Information Cafe Gallery Foreshore Observation Platform

exploring the pools Gathering Point Washing and Drying Changing Facilities Classroom

Will wayﬁnd. Will investigate surroundings actively. Will touch and engage with conditions. Will use all senses.

Archeologist Oﬃce Mudlarker’s Club

exploring the foreshore visiting the gallery exploring the pools learning and preparing

Deliberately curious, hands-on, engaged

a person who walks along beaches looking for things

the Mudlark

cleaning and drying

Needs areas that oﬀer diﬀerent levels of engagement with ground and foreshore.

Pools and walkways Quay walls

The mudlark is a member of the Society of Mudlarks. They are around ﬁfty experienced mud men, serious hobbyist who spend much of their free time on the foreshore. Of the ﬁfty, twenty are very active on the foreshore, while the rest go sometimes but mostly meet, chill and discuss.

Information Cafe Gallery Foreshore Observation Platform

Gathering Point Washing and Drying Changing Facilities Classroom

Archeologist Oﬃce Mudlarker’s Club

Will move straight to speciﬁc areas. Will ignore or take many spatial conditions for granted. Will stay for extended duration at club area.

cleaning and chilling

meeting and preparing

Systematically curious, habitual, knowledgeable, feels at home

a person who scavenges in river mud for objects of value

the Archeologist

exploring the foreshore

Needs semi-private areas for meetings. Needs ease of access. Needs connection to foreshore.

Pools and walkways Quay walls

The archeologist works at the club. They are 3-4 educated tidal archeologist, spending their time doing research, manning the information desk, educating and guiding, and curating the exhibition.

Information Cafe Gallery Foreshore Observation Platform

Gathering Point Washing and Drying Changing Facilities Classroom

Archeologist Oﬃce Mudlarker’s Club

Will move regularly between speciﬁc areas. Will work intently with delicate objects. Will spend entire days at the club.

informing, teaching, guiding, curating, administering

Routinely habitual, dutiful, buzy, knowledgeable, feels at home

Needs private area for focused study. Needs separated area for rest and breaks.

a person who studies history through discovery and exploration of remains, structures and writings

the Thames

Pools and walkways Quay walls

The ancient Father Thames has been in London since its foundation and knows every brook and jetty. "Kingdoms may come, kingdoms may go, whatever the end may be; Old Father Thames keeps rolling on, down to the mighty sea."

Information Cafe Gallery Foreshore Observation Platform

Gathering Point Washing and Drying Changing Facilities Classroom

Archeologist Oﬃce Mudlarker’s Club

Will move regularly between speciﬁc areas. May do unpredictable things. Will bring water and dirt. WIll bring life.

rising

wetting sinking

Somewhat predictable, lingering, wet, might go crazy

Needs to be contained at certain areas. Needs to be stopped at certain areas.

turning an ancient river-god Pools and walkways Quay walls

Information Cafe Gallery Foreshore Observation Platform

Gathering Point Washing and Drying Changing Facilities Classroom

Archeologist Oﬃce Mudlarker’s Club

PART VI THAMES EXPLORER CLUB

About the project The following pages contain some of the drawings produced to present the master thesis design project, adapted from poster to book format. Following my investigations into the foreshore and its uses, it became clear to me that a building was an important and interesting part of a design response. Its functionality would fill many needs for descending into the foreshore; learning, exhibiting, cleaning etc. Additionally, the project became an experiment in how to work with dirtyness and the tidal conditions of the Thames, to create a space rich in mystery and risk. Thus the design gesture has it roots in bringing the river into the building. The river wall seemingly penetrates the boardwalk, allowing both people to walk down into the foreshore and, through the same spaces, the river and its life to move into Potters Field and the building itself. Through the design, it was important to be respectful to the current park and its conditions. The site strategy tries to reshape the park without disturbing what already happens there. Instead it strives to strengthen these activites, while adding many more new experiences that make use of current flows and situations.

I. the canal

II. the recesses

III. the te

carefully slices through the park, introducing the river and separating an open space into more controlled, deďŹ ned areas.

generates tidal conditions through a pool ďŹ&#x201A;ooded twice daily, while enhancing current event space through a square integrated in the landscape.

invites vis bringing t site.

a pool g current grated in

III. the terasse

IV. the building

invites visitors down to the river, while bringing the river back up into the building site.

ties the elements together, strengthening them, without dominating the site.

100

101

102

103

104

Ground floor 1 :500

105

106

Second floor 1 :500

107

108

Third floor 1 :500

109

110

Fourth floor 1 :500

111

112

Elevation N 1 :500

113

114

Elevation S 1 :500

115

116

Elevation W 1 :500

117

118

Elevation E 1 :500

119

120

Long section 1 :500

121

122

Short section 1 :500

123

124

Pool section 1:500

125

Passing the building; sensing the mystery within.

126

From bottom to top; the inside of the shaft.

127

PART VII BIBLIOGRAPHY

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Ihde, Don. Experimentell fenomenologi: en

introduktion. Göteborg: Daidalos, 2001. Ingold, Tim. “Against space: place, movement, knowledge.” In Being Alive, by Tim Ingold, 145-155. New York: Routledge, 2011. Ingold, Tim. “Up, across and along.” In Lines: a brief history, by Tim Ingold, 72-103. London: Routledge, 2007. Jacks, Ben. “Reimagining Walking: Four Practices.” Journal of Architectural Education, 2004: 5-9. Jacks, Ben. “Reimagining Walking: Four Practises.” Journal of Architectural Education, 2004: 5-9. Johansson, Sara. Rytmen bor i mina steg: En rytmanalytisk studie om kropp, stad och kunskap. Uppsala: Uppsala Universitet, 2013. Johnson, Mark. The Body in the Mind: The Bodily Basis of Meaning, Imagination, and Reason. Chicago: The University of Chicago Press, 1987. —. The Meaning of the Body: Aesthetics of Human Understanding. Chicago: University of Chicago Press, 2008. Kujundzic, Nebojsa, and William Buschert. “Instruments and the Body: Sartre and Merleau-Ponty.” Research in Phenomenology 24, 1994: 206-215. Lefebvre, Henri. Rhythmanalysis: Space, Time and Everyday Life. London: Continuum, 2004. Merleau-Ponty. Phenomenology of Perception. Routledge, 2002. —. The Visible and the Invisible: Followed by Working Notes. Northwestern University Press, 1968. Nathalie Cohen, Gutav Milne, Elliot Wagg. “The

Thames Discovery Programme: Public Engagement and Research on London’s Foreshore.” UCL Archeology International vol. 15, 2012: 99-106.

Wunderlich, Filipa Matos. “Walking and Rhythmicity: Sensing Urban Space.” Journal of Urban Design, 2008: 125139.

Plas, Geert. What Are The Health Benefits Of Cycling And Walking? April 17, 2013. http://epthinktank. eu/2013/04/17/what-are-thehealth-benefits-of-cycling-andwalking/. Reynolds, Jack. Internet Encyclopedia of Philosophy - Maurice MerleauPonty. n.d. http://www.iep.utm. edu/merleau/ (accessed 11 18, 2015). Solnit, Rebecka. Wanderlust. Penguin, 2001. Stamp, Jimmy. Fulton Center review: a vision of New York’s cold future. September 24, 2014. http:// www.theguardian.com/ artanddesign/2014/nov/24/ fulton-center-review-a-vision-ofnew-yorks-cold-future (accessed February 7, 2016). TDP. THames Discovery Programme. n.d. http://www.thamesdiscovery.org/ (accessed February 9, 2016). Tharakan, Koshy. “Questioning the Body: From Technology towards a Sense of Body.” Kritike Volume Five Number Two, 2011. Verhage, Florentien. “The body as measurant of all: Dis-covering the world.” Symposium: The Canadian Journal of Continental Philosophy 12 , 2008: 166-182. Wikipedia. Thames Discovery Programme. n.d. https://en.wikipedia.org/wiki/ Thames_Discovery_Programme (accessed Februari 9, 2014).

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I wandered lonely as a cloud That floats on high oâ&#x20AC;&#x2122;er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed--and gazed--but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. William Wordsworth

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Ramble on.

133

ahead anticlockwise around clockwise cross-country down downwind eastbound homeward left leftwards

ramble saunter skulk somnambulate stagger stalk stride stroll strut stumble swagger

speed spring sprint skip zoom swing whisk stride streak trotwalk jump

punch shove hug burst glide shrug pluck sway hang lumber heave

trudging peregrinating hurrying tresspassing marching exploring escaping strating stepping climbing window-shopping

non-linear northbound over passing right rightwards southbound upupwind westbound windward

totter trudge waddle wade walker pedestrian rambler passer-by straggler wayfarer wanderer

zigzag waltz clim tumble run fly meander tiptoe grow wriggle polka

drag bend saunter droop stager swagger sway slouch waddle sneak slouch

cloud-gazing rambling ritualing

with to windward direct advancing oncoming ahead up forward into towards bound for

walking hiking ramblin bolt flee chase dart dash flick hurl hope

shuffle skate cat-walk waddle grapevine moonwalk bear-walk slither prance rub jab

plod loiter heave edge drigt creep amble chop mold graceful smooth

from all sides amble careen falter flounder limp lumber lurch meander parade prowl

gallop hurry bounce propel rush sail camper plummet scramble smash soar

duck freeze balance swing push fall shake slowmotion turn straighten kick

fluid balletic dainty gentle lithe supple fluent feline walking sauntering meandering

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