Portfolio 2017

PORTFOLIO ANNA SOPHE I GL L I EUDSEN

BACHELOR OF ARTS IN ARCHITECTURE FROM AARHUS SCHOOL OF ARCHITECTURE, DENMARK P r o je cts wit hin t he f ields o f Arts a n d Arc h i te c tu re

PORTFOLIO

Proj e cts wit hin t he f ie l d s o f A rts a n d A rc h i te c tu re

ANNA SOPHIE GILLE-UDSEN

BA OF ARTS IN ARCHITECTURE

AARHUS SCHOOL OF ARCHITECTURE

INDEX 4

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Curriculum Vitae

A House for Knowledge and Acknowledgement

Le Déjeuner sur l’Herbe - Poster

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Light UP!

Unfinished Architecture

Fly Bird, Fly!

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A Moment on the Go

Modernist Analysis

Land Art

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Study Trip Guide Book

We Are All in the Gutter

Biographical Monopoly

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[In]Voluntary Pause

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CURRICULUM VITAE

SOPHIE@UDSEN.ORG +45 30 66 63 30

BRONZEALDERVEJ 42B, 8210 AARHUS V, DENMARK 4\

E D U C AT I O N A A R H U S S C H O O L OF A R C H IT ECTURE | Aar hus, Denm ar k 0 9 / 2 0 1 4 - 0 7 /2 0 1 7 | B a ch e l or of Ar ts in Ar chitectur e A A R H U S S C H O O L OF A R C H IT ECTURE & AARHUS KATEDRALSKOLE | A a r h u s , D en mark 0 8 / 2 0 1 6 | S umme r S cho o l , emphasis on Didactics and Com m unication C H R I S T I A N S H A V N S GY MN A S IUM | Copenhagen, Denm ar k 0 8 / 2 0 11 - 06/2 0 1 4 | H i g h S ch o ol Diplom a, em phasis on Ar ts, Design, S o c i a l Sc i en ce s a n d Math e matics E X T R AC U R R IC U LA R A C T IV IT IES T H E C O U N C IL OF T H E A R C H ITECTURE STUDENTS | Aar hus, Denm ar k 1 2 / 2 0 1 5 - 0 6 /2 0 1 7 | S tu d e n t p olitical associtation at Aar hus School of A r c h i t e c t u r e, F ou n d e r an d C ha ir wom an A A R H U S S C H O O L OF A R C H IT ECTURE | Aar hus, Denm ar k 0 1 / 2 0 1 6 - 1 2 /2 0 1 7 | B o a rd Mem ber NAT I O N AL U N IO N OF S TU D E N TS IN DENM ARK | Aar hus, Denm ar k 0 4 / 2 0 1 6 - 1 2 /2 0 1 6 | B o a rd Mem ber K U L T U R A K V A R IE T | C ha rl o tte n lund, Denm ar k 1 2 / 2 0 11 - 04/2 0 1 3 | B o a rd Mem ber J O B H I S TORY A A R H U S S C H O O L OF A R C H IT ECTURE | Aar hus, Denm ar k 1 0 / 2 0 1 7 | P ro j ect L e a d e r an d coor dinator of the Education Inter nship a t A a r h u s S c ho o l of A rchi tectu re A A R H U S S C H O O L OF A R C H IT ECTURE | Aar hus, Denm ar k 0 4 / 2 0 1 7 - 0 8 /2 0 1 7 | P roj ect e m ployee at Aar hus School of Ar chitectur e ’s c o n t r i b u t i o n to A arhu s 2 0 1 7 : A r chitectur e M oves T H E D A N I S H B U IL D IN G A N D PROPERTY AGENCY | Valby, Denm ar k 1 / 2 0 1 7 | I n tern A A R H U S S C H O O L OF A R C H IT ECTURE | Aar hus, Denm ar k 0 2 / 2 0 1 5 - 0 1 /2 0 1 6 | B l og E d i tor at blog.aar ch.dk Q U A L I F I C AT IO N S R H I N O C E RO S Good P H O T O S H OP Good I L L U S T R A T OR Advanced I N D E S I G N Advanced M S O F F I C E Advanced C O D E : J A V A -, H T ML- & C S S Beginner L AN G U A G E S D A N I S H Native E N G L I S H Fluent

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6 t h s e m e s t e r | S p ri ng 20 1 7

A HOUSE FOR KNOWLEDGE AND ACKNOWLEDGEMENT

Tu t o r | K Ä TT E B Ø N L ØK K E A N DERSEN D e v e l o p e d i n co o rpo rati on w i th | JONATHAN M EIDAL WEITLING

In our Bachelor project we wanted to create a building that could facilitate meetings between people from different cultures. To achieve this quality in our architecture, we built up a narrative on how humans throughout history have been wandering, and have met across established societies and cultures with gifts and commodities produced with techniques specific to their respective cultures. These culture specific skills thereby became valuable trading goods. Therefore, we considered skills within the field of craftsmanship as a value, and the crafts as something that could work across national and linguistic barriers in our project.

We made contextual studies and analyzes, considering our site at Grønnegade 5 in Aarhus, as a potential infrastructural junction, with its very central location in the second largest city in Denmark. We also researched on similar projects and typologies and interviewed staff and users from initiatives trying to facilitate cultural meetings like our project.

We wanted to create a building with different workshops facilitating different craftsmanships across cultures and national borders. A place where one could come and contribute by providing the craftsmanship known from home, learning a new craftsmanship or finding inspiration for alternative unfoldment within a craft one already knows. The house consisted “hard” and “soft” workshops and kitchens. Furthermore, a market place was located between the production areas. This is however, not necessarily a market in traditionally understanding, but a space to meet up with each other, to exhibit your work, to exchange knowledge and to have a dialogue between the crafts, the cultures and the people.

The programme of the house is designed based on the idea of the cultural meeting and the dialogue occurring as a result of the exchange of knowledge and acknowledgement. It is built on the premise that all crafts and cultures each contain a special value, that makes the cultural meeting and exchange lucrative for the individual as well as for the society. It is built on a respect for and the propensity to invest in people who can and will contribute and actively take part in a community, with exactly their particular background, knowledge and skills as their starting point.

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1 s t s e m e s t er | F a l l 2 0 1 4

LE DÉJEUNER SUR L’HERBE - POSTER

To learn how to use the Adobe package, we were assigned to make a poster using Photoshop, Illustrator and InDesign. The project was an independent study and we only had a few days to get to know the software, design and create the poster.

This is the first product of my using the Adobe package. A poster for KulturAkvariet, an association that worked for a transformation of Denmark’s Aquarium’s old building, into a culture house. The event was held in the park next to the buildings the project concerned, and the programme was speeches, music and picnic with nice food. So as a motive I decided to combine a drawing of the old aquarium buildings and a paraphrase based on the Manet painting Le Déjeuner sur l’Herbe.

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FROKOST I DET GRØNNE

med KulturAkvariet

STØTTEFEST JÆGERSBORG ALLÉ 1G VED DANMARKS AKVARIUM D. 16. AUGUST KL. 17-20 VAND, SPECIALØL OG ØKOLOGISK GRILLMAD FRA

Holger Frederiksens Eftf.

Slagteren ved Kultor vet MUSIKALSKE INDSLAG

Tue West Emma Sehested Høeg Henrik Str ube Sara Grabow

Vel mødt!

KulturAkvariet.dk

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5 t h s e m e s t e r | Fa l l 2 0 1 6

LIGHT UP!

Tu t o r | K Ä TT E B Ø N L ØK K E A N DERSEN & THE LANTERN COM PANY D e v e l o p e d i n co o rpo rati on w i th | NANNA SOLBORG BONDE & M ORTEN H A G E M AN N N IE L S E N

For two weeks we had a workshop in cooporation with The Lantern Company, to develop lanterns for the opening parade for Aarhus 2017 - European Capital of Culture.

Our lantern was a study of the inherent characteristics of the different materials, as we tried to work with them instead of against them, when designing the different modules and components. Even though the entire lantern has grown out from one shape, the droplike bent willow twig, the different combinations of this have provided a complex visual expression. This varies depending on the angle one is looking from, when observing the lantern.

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3rd semester | Fall 2015

UNFINISHED ARCHITECTURE Tu t o r | N A C H O R U IZ A L L E N

During the research semester of Fall 2015 we studied openings as an architectural term. Our interpretation of the theme was that openings were not only to be understood as holes in buildings such as doors and windows, but also as a way of understanding architecture as never being finished. Architecture does so to say always contain openings for development according to changes in time and culture.

To embody our research, I developed a book. To be more precise, I made an unfinished book on an unfinished project about unfinished architecture. The concept was to integrate the interpretation of the theme openings, as a method in my mode of expression. So instead of designing a closed book, fixed in a certain chronology, I have put the pages in loose a box. At any time something could be added, removed or rearranged. In the box, I also placed a letter to any future readers of the book, to make sure they were aware of the concept and to invite them to interact and develop the book and the studies it contains.

Thereby the book was assigned the same unfinished character as the architecture we studied - always with the possibility of undergoing changes.

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Spring 2012

FLY BIRD, FLY! Tu t o r | J AN N IE D A M

Fly Bird, Fly! is an art installation situated in a stairwell at Christianshavns Gymnasium in Copenhagen. The installation is a giant mobile, which extends over several storeys. The mobile consists of three stages of birds, developing from being all flat to three dimensional.

When arriving to the room, you can hear the composition Morning Mood by Edvard Grieg playing from above. You might be tempted to have a look, and will then have a sneak peak from beneath, seeing the mobile and the pink light from a distance. When moving up the stairs you will approach the first flat and abstract birds. However, still on a distance from the sources of the light and the music. The further you move upwards, the more the expression of the installation develops. The music gets louder, the light gets more coloured and the birds get more dimensions.

During the development of this mixed media installation, another artwork was developed as I filmed the production of the birds. They are made with plaster on breasts to achieve the depth and dimensions.

The two projects both deal with transition, as I developed them while coming of age. They process the complexity and depth of development.

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NB Videos of both projects can be found on Youtube by searching for Sophie Gille-Udsen

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4 t h s e m e s t e r | S p ri ng 20 1 6

A MOMENT ON THE GO

Tu t o r | N A C H O R U IZ A L L E N D e v e l o p e d i n co o rpo rati on w i th | M ARIE LOUISE LINDINGER

In this project we wanted to enhance the narrative of walking by a path. We wanted to do this by considering the different levels of the activity of walking; To walk, to rest and to explore. The intention was to create an experience for the slow traveller who is on the way; A moment on the go.

The existing paths of the site wrung abruptly and thereby the route of the wandering became a sequence of unnatural and undesired changes of direction. We wanted to extend the natural movement, and just like paths trodden by people cutting sharp corners, we intended to design a desire path which in an organic way would connect the two roads, Costa do Cano and CamiĂąo Regueiro. By connecting these two we wished to gain an untroubled and smooth movement through the site, which could also lead the wanderers passing by to take advantage of the different possibilities of actions and exploration we would create at the site.

We wished to encourage an exploration of the site’s layers; The vegetation, the roads, the river and the ruin. We wanted to design a desire-evoking path, which would connect these contextual layers. But instead of constructing a building with a monumental character in contrast to the refined interaction between the nature and the old ruins, we decided to take a different approach; Site seeing. By creating opportunities for the wanderers passing by, we wanted to make the site itself the experience and the attraction of this site specific moment on the walk. We wanted to create opportunities to walk under the different types of vegetation, to walk in between the walls of the ruin, and to get in touch with the rivers both where the flow of the water is slow and calm, and where there is a more intense and strong stream.

Besides easing the movement through the site and creating possibilities of different interactions with the contextual layers, we wanted to create the possibility of taking a rest during the walk through the site. Therefore, we placed benches at different spots throughout the site, created steps deep enough to sit at close by the river, and designed foot baths in some of the tubs inside the ruin.

Our intention was to design a simple locally based intervention, consisting the two earlier mentioned paths, a plaza as an interface between the two, terraces, foot baths and two canopies. With the use of simple means, such as pavements and levelling, we wished to animate a movement through the site and urge to an exploration of and a stay on the site.

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SITE ANALYSIS AND CONCEPT DEVELOPMENT

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REFERENCES FROM LITTERATURE AND STUDY TRIP ”Instead of speaking of the boundary, the transition, as something which divides, we can stress its role of bringing together” - Søren Thürell ”Det er forskellen i lysets og skyggernes intensitet, der skaber dynamikken, når man bevæger sig igennem passagerne” - Per Kirkeby ”One’s destination is never a place but rather a new way of looking at things” - Henry Miller ”Når den gående kan se målet for sin spadseretur, lægges kursen om for at søge den korteste linje.

Glæden ved de direkte gåture ses tydeligt på byens torve, i sporene efter snevejr og på talløse trampede stier skrånende hen over græsplæner og

landskaber verden over.

At gå lige derhen, hvor man skal, er en naturlig reaktion, der mange gange er i en uheldig og nærmest komisk konflikt med arkitekternes linealer og de deraf følgende retvinklede byprojekter” - Jan Gehl ”Life is a journey, not a destination” - Ralph Waldo Emerson ”Vandringen har sine rødder dybt plantet i rejsekulturens rituelle begyndelse, pilgrimsrejsen, hvor det netop var i vandringen det hellige bestod og ikke så meget målet. Her opstod en sammenhørighed mellem mennesket og verden, og oplevelsen havde en rituel karakter, som også middelalderens overgangsrituelle rejser

indeholdt. Unge, adlen eller håndværkere tog ud i verden, et led i en selvudviklende proces på et givent tidspunkt i livet.

Rejsens dynamik i dag kan sammenholdes med disse tidligste motiver, i det rituelle brud med den normale tidsrytme. Den ’sacrale’ tid og oplevelsen af det anderledes rum.

Rejsen og vandringen i sin grundform er lige så meget en rejse til sig selv.

En samtidig oplevelse af verden omkring os og oplevelsen af os selv inde i os selv, oplevelsen af en helhed... ...en udfordring hvor den langsomme tid sætter ind, krop og sansning, men også en mental oplevelse, da mødet med naturens langsomme tid, opfordrer til refleksion.”

- Jane Willumsgaard

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Wooden construction: Spanish Cedar

Steel constrution

LED lights

Wooden planks: Spanish Cedar Steel constrution Steel pillars

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1 s t s e m e s t er | F a l l 2 0 1 4

MODERNIST ANALYSIS

Tu t o r | M A R T IN WIN T H E R N IE L SEN

For this assignment we were each handed a modernistic piece, for my part SchindlerChace House by Rudolph M. Schindler. We used different analytical tools to understand visionary construction. By producing diagrams in both model and drawing combined with reflections based on sociological theory, I gained another level of understanding of the particular building.

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Excerpt of the written analysis of Schindler-Chace House THE INDIVIDUAL IN THE MODERNITY The view of humanity is always depending on the contemporary. In the traditional society it was given how your life would play out. A son was destined to follow in the footsteps of his dad. With the modern society, this pattern was somehow broken. Society gained a more dynamic structure, which by Anthony Giddens was summarized in three points: 1. The seperation of time and space 2. Disembedding 3. The reflective character of the Modernity

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That every grown-up individual has his own space at his disposal, is a clear expression of the reflective character Giddens highlights in the third point of his theory. Since the fate, as a consequence of Modernity, no longer is given, the personal narrative gains a more central role. One no longer has to anything - the question in a greater extent is whether one wants to.

As a human being one constantly reflects himself in his surrounding, and that results in an increased individualization, since the reflexivity now is more defining to the actions of the individual. This is in opposition to the Traditional society where the group

was beyond the individual and life was controlled by inter alia religious beliefs.

A RADICAL SOCIAL PROGRAMME The Modern society - or the secularized society - is thus a movement against the traditional roles and the old fashioned group mentality. The Modern individual has not entirely let go of old standards, religion and tradition, but these are now up for discussion. New ideas or ways of doing things will be embraced by the Modern individual, in case these represent a more valid perception of reality than the former ideas did. Thus the focus on the individual

in Schindler-Chase House is an expression of a contemporary view of humanity, which Schindler himself apparently has considered being the most valid point of view.

Schindler-Chace House consists of a studio for each grown-up inhabitant of the house. These studios all have sliding doors, that can open up the spaces to the green surroundings.

The guest studio and the two studios dedicated to the men of the two families living in the house, are all placed in the outskirts of the three sections of the house, and thereby these three spaces are entirely intimate.

The two studios dedicated the women living in the

house, are partly intimate, but will eventually work as passages for the men when moving through the house.

The patios, the hallways, the bathrooms and most importantly the kitchen can be characterized as being open, as these spaces are widely accessible amongst all of the inhabitants of the house. Thus there is a contrast between the open and the intimate spaces in a house which however to varying degrees, relates to the individuals. ďżź

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2 n d s e m e s te r | S p ri n g 20 1 5

LAND ART

Tu t o r | M I K A E L H A N S E N D e v e l o p e d i n co o rpo rati on w i th | SOFIE BAK JØRGENSEN, ALEX H J Ø L L U N D E N E V O LD S E N , A S TRID BANG, RAFAËL FREDERIK VAN DE R S C H AA R , A N E H E S TE N E S ME RLI, ASGER AAGESEN & CHRISTINE SKJ ØT P E D E RS E N

The installation is developed with its context as a starting point. The hilly terrain, the creek and the site’s isolation from the nearby path has been focus points when designing the project.

The horisontal lines drawn across the site put the height differences in relation to each other. This is also how the course of the creek is put in relation to the remaining site. The graphic visual character of the installation is in strong contrast to the organic character of the site, and this in combination with the approach to draw the lines all the way out to the path, is providing the connection between the path and the site.

The rhythm and transparency of the work is defining its character as a filter, through which you see through to the other side of the installation. The regularity and rhythm of the installation assigns the natural and organic a systematic to be used by the viewer as an objective for perception of the site.

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NIVEAUER

Opstalt, 1:50

N

I det første møde med sitet stod det klart, at særligt tre fokuspunkter fangede min interesse: 1. Sitets kuperede terræn 2. Åen der løber gennem det 3. Relationen (eller manglen på samme) mellem stien og sitet.

Idéen til værket har sit udgangspunkt i disse tre punkter. Det er tænkt, som et forsøg på at artikulere højdeforskellene i terrænet ved at føre horisontale linjer tværs gennem sitet, og derved sætte de forskellige højder i relation til hinanden. Åens forløb bliver i denne sammenhæng også sat i relation til det omgivende landskab, da den med sin varierende vandstand vil indskrive sig i værket som en højde af dynamisk karakter.

Det sidste punkt, relationen mellem site og sti, behandles i det værkets visuelle karakter, med sit grafiske udtryk, kontrasterer den omgivende natur, ydermere førtes linjerne helt ud til stien. Disse to virkemidler medfører, at en ellers lineær færden på stien bliver brudt i det opmærksomheden ledes til det omgivende.

I løbet af vores arbejde med installationen, opdagede vi desuden, at den bød på flere oplevelser og/eller læsninger end de der var tænkt fra starten. Men hvor de planlagte

Plan, 1:50

kvaliteter alle sammenholder forskellige situationer på sitet, er de uforudsete kvaliteter i en højere grad af en opdelene eller disikerende karakter.

Værkets højde og længde gør det umuligt at passere det på anden måde, end at skulle gå udenom en af dets ender. Det deler på den måde det rum sitet udgør i to, dog ikke totalt adskilte rum. Da ”væggen” trods sit omfang blot er udformet af snore, er det både muligt at se og høre hvad der foregår på den anden side af den.

Desuden kan det opleves, at installationen år karakter af et filter, i det man betrager naturen og rummet på den anden side igennem det. På den måde bliver den lige afstand mellem snorene en regelmæssighed eller rytme, der tildeler det naturlige en systematik og på den måde øger læsbarheden for beskueren.

Vi har i vores arbejde med Michael Hansen i landskabsworkshoppen udviklet en installation, der både opdeler og sammenholder forskellige elementer, i det omgivende landskab. En installation, der i sin enkelthed bliver kompleks, i det den har en alsidighed.

En alsidighed der gør, at den både kan have karakter af en illustration, et filter, et måleredskab eller noget helt fjerde. Vores installation bearbejder altså det landskab den indskriver sig i på flere NIVEAUER.

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2 n d s e m e s te r | S p ri n g 20 1 5

STUDY TRIP GUIDE BOOK

D e v e l o p e d i n co o rpo rati on w i th | FELIX LINDELL & VIKTOR F O RC H H A MME R MOR T E N S E N

At second semester, before heading off for our first study trip, all first year students had to take part in the production of the Study Trip Guide Book. Three of us were, based on our advanced layout competencies, specially pointed out to form an editorial group.

We had to design the templates for the rest of the students, and when they had filled in their material, we were to organize, assemble and print the book. We used a very simple graphic style to make the book easily readable. We did for example insist on using black and white illustrations and a uniform use of fonts and furthermore, we colour coded the different paragraphs about cases we were to visit, based on the different days of our travel schedule. 150 copies were printed and handed out among the students.

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Spring 2016

WE ARE ALL IN THE GUTTER

Article published in Polemik, a critical zine about architecture and architectural education, in the occasion of the foundation of the student political association at Aarhus School of Architecture: The Council of the Architecture Students.

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Polemik #2 front page, 2016

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“... but some of us are looking at the stars.�

Such wrote Oscar Wilde back in 1891. One could, when outlining the current situation at Aarhus School of Architecture, get the impression that the school is run top-down. In the following article I write on the basis of this hypothesis.

I will reflect on how the school and the development of the school CAN be seen and present a suggestion for a solution to this.

Polemik #2 1st spread, 2016

Aarhus School of Architecture is known for its activist past and for its bottom-up approach on the education of architects. The industry knows the alumni

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from our school as being strong and independent workers. Architects from Aarhus School of Architecture are opinionated and engaged in society.

However, in recent years something has changed.

As I said before some might think leadership of the school has shifted from being bottom-up to being top-down. Rather than relying the decision making on the broader mass it has been assigned to very few people. Democracy and influence at the school feels distant, like nothing but a memory.

The democratic bodies of the school come of as

being purely pro forma.

Their role and importance in the management of the school is diluted. The voice of the students, the ones the school revolves around, is structurally muted and consequently overheard.

The school and the management thereof has become opaque.

When the shit hits the fan, we can either choose to be passive and get hit by it, or duck and look for new and better solutions. Possibilities for change has arisen and by acknowledging the current situation opportunities present themselves. During the last year we have seen students

react to the current way of running the school, both when they objected against poor communication and bad planning in connection with the mandatory Juneinternships, when The Council of the Architecture Students was founded and they decided to oppose against the closure of Design as a field of study at the school, and latest at the launch of this magazine.

It is time for us to take back the ownership of the school!

With the foundation of The Council of the Architecture Students the students have been given back their voice. The purpose of the new student political

association is to strengthen communication at Aarhus School of Architecture and to spread the awareness of the interests of the students.

The aim is to make it easier for all involved parties to navigate, if they have an idea or a challenge they want addressed. Now we can work to empower the students and to give room for vigour people full of ideas and initiative. We can bring back the transparency into the decision making bodies of the school. We can applaud decisiveness, creativity and critical thinking by showing the respect to actively consider and taking an approach to a given case. We can and

we will engage - through architecture and through student politics.

I am looking forward to the coorporation and the dialogue with you. No matter if you agree with all of the above or not.

Everyone is welcome in The Council of the Architecture Students for a constructive debate concerning how we can develop our school and our education for the better!

Polemik #2 2nd spread, 2016

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Spring 2016

BIOGRAPHICAL MONOPOLY

When my father turned 50, I wanted to give him a special present. I decided on making my own version of the game Matador (The Danish version of Monopoly) specifically tailored to him. The biographical special edition contains pictures, locations and anecdotes from the 50 first years of my father’s life, in celebration of his 50th birthday.

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Each property is based on a location that has had an important role in the life of my father.

The Chance cards are all anecdotes from the life of my father.

Cars my father has owned during his life, are also included as possible properties.

So are the favorite beers of my father.

The Jail is replaced with the task of making lunchboxes, which my father hates.

The motives of the bills are pictures of my father.

The more the bill is worth, the older he is at the given picture.

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1 s t s e m e s t er | F a l l 2 0 1 4

[IN]VOLUNTARY PAUSE

Tu t o r | L AU R A A LL E N D e v e l o p e d i n co o rpo rati on w i th | RIKKE PALM ERSTON CHRISTENSEN, H A R A L D H ER MOGE N E S B A T OL BJØRKUM , SOFIE BAK JØRGENSEN, J U L I E M Ø L L E R , ID A MA R IE V ISTI M ADSEN & TOBIAS BANG

[In]Voluntary Pause is developed during a workshop with Professor Laura Allen from the Bartlett School of Architecture. It adresses the involuntary pause, when someone is withheld in the middle of a crossroads. A pause which is usually seen as a waste of time.

The concept behind our project was to produce an activity, where the pent up energy of these involuntary breaks would be transferred into the place. The place would then in time be transformed into a space where you would voluntarily stop for a pause. To make this work, it would be necessary to act like a community, investing the energy in the activity. It would not necessarily bear fruit for the first 50 or even 100 years though. So what we were working with was a very long winded activity, rather than a pop-up. An anti-pop-up.

Our idea was to place a small tree close to the traffic light in the middle of the road. This tree would need water to grow, which could be provided by the people having involuntary pauses there. We would install a watering system, which could be activated by waiting people, going into an interaction with this communal project, when they nevertheless are paused by traffic. The watering system would be based on a chain reaction in style with the machines drawn by Storm P. and Rube Goldberg, and for each person interacting, a small amount of water would be “activated” in the machine. Thus when a group had passed and interacted, and enough water had been collected to trigger the chain reaction to complete, the tree would be watered.

In time it would grow big, and facilitate a small spot, a mini park, where you could stop for a voluntary pause under a nice tree.

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