bartlett portfolio_volume 03 by kim walker

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_experiencing architecture

[ARCHITECTURE IN MOVEMENT, BASED ON THE DYNAMICS OF EXCHANGE BETWEEN PEOPLE AND THEIR ENVIRONMENT. DEVELOPING A SOCIAL ECOLOGICAL NETWORK WITHIN THE CITY]

walker the bartlett school of architecture 2010

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the bartlett school of architecture masters in architectural design kim walker, spring & summer terms 2010

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kimberlycwalker@gmail.com www.kimberlycwalker.tumblr.com www.paperspaceinspire.tumblr.com

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foreward, the dynamics of exchange

a place in the City: the exchange square

6 8 10

12 16 28 42

44 46 48

64 66 70 74 78 82 86

public & private spaces in the city uses of the exchange square two different faces of the same place

the script: choreographing movements

six acts of interaction with the environment the en[act]ors, playing six character types the re[form]ers, manipulators of the space

a social exchange: constructing a participatory environment the participants a piece of urban theater

the social ecology: a network of people in space

the corporate personality a walking prop of the surveillance system an exclusive world, money and status personified a crowd advances in the dark passage antagonists become allies a child takes over the grass

exchange of dialogue

appendix

98 104

participantsâ&#x20AC;&#x2122; workbooks filming agreement

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(6%*/)"10#+'*,4*%5+61".% An exchange is the act of giving one thing and receiving another in return. In todayâ&#x20AC;&#x2122;s international world this process of exchange is constantly in motion - be it currency, commodities, ideas, knowledge, or dialogue - everything is moving around the globe with increasing speed. Within architecture, the dynamics of exchange takes place in an ongoing push and pull, give and take, a perpetual rearranging between the built environment and the people within it. A space is not a static thing, it gains its form and shape through the activity held within it in

relation to time. Here, an architecture attempts to slow time down and stimulate a social exchange, creating a new spatial form using a specific activity. By asking a person to stop, step out of their shoes and participate in a space in an unfamiliar way, they become more conscious of the environment around them. As architects we choreograph spaces for events to happen within. The design is shaped by many faces: economical, cultural, climatic, historical, legal, social, trends, personal propensities and so on. The same space is transformed

based on the viewpoint of the particular individual within it: movements and gestures, past learned experiences, purpose for being there, familiarity with the place, age, gender, ethnicity and class all effect how one situates themselves within a space. Architects design using materials and textures and forms to create a certain sense and feel to a space: there is an idea about how the space is expected to be manipulated and used, but never can all the possibilities of how people will react to it be anticipated. It is those unknowns which make a space much more poignant and interesting.

The act of performance in ‘a social exchange’ was utilized to construct a participatory environment,

inserting a spontaneous, counter program into a calculated, formulaic space: the Exchange Square, found within the financial district of the City of London. On the weekend, in the space’s inactive and empty state, a sequence of scenarios were staged mimicking its use in an active, bustling weekday condition. Each act was left malleable, to change and develop as the participants grew more confident and comfortable as a group in the space. The participants were assigned roles to play, with specific actions and behaviours attached, this forced them to experience the space in a way they wouldn’t normally. Through time, this gradient of experience allowed them to

become more aware of each other, how they would move through the space, and how the space affected their actions. There is a relationship between sensing and action; the logic rules developed from the specified human behaviours given to each participant form a response to individual areas in the space, these can be triggered by combinations and patterns found within an array of previous experiences. The fabric in this urban theater was used as an activator and a foil: it directed attention onto certain aspects of the space, it allowed for play to happen, it gave visual form to environmental conditions, it provided shelter and a soft juxtaposition from the hardness of the

city surrounding the group. The green fabric was a prop which allowed people to act in a way they normally wouldn’t - a ‘green screen’ simulating other activities and prompting different behaviours - enabling the participants to test, investigate, and create a new spacial form through activity. The outcomes and events of ‘a social exchange’ are arranged into a social ecological network of the characters in the square, telling the story of this corporate space being taken over and used in an imaginative way. For the narrative sequence, both a specific character and location are paired together - illustrating the experience through their eyes, and expressing their

form of movements, rhythms, and method of engagement with the space. The character is represented as both the individual person who played his or her role in the performance and is symbolic of certain behaviours and traits in today’s society. All the characters are interlinked and related to each other through their physical surroundings. By intimately engaging with the Exchange Square the relationship between the participants and the space is reframed. The performance was a temporary re-articulation of the square yet it created a lasting memory of the space in each of the participants’ minds, changing their experience of it for the future. It made them question how the space is used and challenged

the corporate identity of the place. This provokes a dialogue about the contemporary state of constructing public space in cities - is public really public when it is privately owned? How do we balance public and private desires? How do we create engaging environments that invite all people to stop, slow down, come in and experience them? How do we design for spontaneous activities, to allow for the unknowns to happen? In the end, this project asks more questions than it answers - continuing the process of exchange into the future.

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The financial district in London, known as The City, is all hustle and bustle during the work week, business men and women hurrying about and the street full of open shops, pubs and restaurants. But on the weekend, when these workers aren’t at their offices, it feels as if one stepped into a ghost town: nobody is around and many of the shops are shut. Located just west of Liverpool St. Station in the City, Broadgate was developed as a highly innovative business district in the late 80‘s and early 90‘s. It is advertised on its website as:

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This statement is true in many ways except, if one walks through Broadgate on a Sunday, this ‘dynamic, thriving business community’ has disappeared and the space is not being used as it was designed to be. In Broadgate there are four inter-connected plaza spaces for the city. Yet these seemingly public spaces are actually private, owned and controlled by a corporation with its own legal set of rules and security guards to enforce them for example one must be granted permission to take photographs or film anywhere in Broadgate. One of these spaces, the Exchange Square, is used as the staging ground for a counter program to be introduced and a social exchange to take place.

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EXCHANGE SQUARE

BROADGATE ESTATE THE CITY, LONDON

‘The increasing privatization of the ‘public’ realm raises questions about whether and how London’s public spaces can create the spontaneous possibilities of truly urban places and still continue to be spaces where you feel safe lost in a crowd.’ Questioning the public and private faces of London: ‘if, and how, London can leverage private funding for public-realm projects without relinquishing control to private interests.’ 4N"0B8&O)+#$33& GP!$&Q*."3*/&(7&R)')+'"*I6

EXCHANGE SQUARE

BROADGATE ESTATE

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“I guess I prefer [the square] empty because it feels so bizarre, it’s not built to be empty, its built to be full. And when it’s empty it feels like you own it slightly... but I think it’s a shame, they’re great spaces, but really can be quite ugly as well in the corporate way, very one-dimensional, with everyone perching on this granite. It’s not very soft is it?” Y)08&43!$&0!"/#6

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[2] The recriprocal relationship between form and action.

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[3] The visible and hidden factors within social space which shape a place.

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1 3B 3A

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[4] The temporary reconstruction of a given landscape - making something new out of the ordinary, using a given space in a different way.

2 5 3B 3A

[standing]

3B 3A

[5] Using play - a group of people, props, and the given environment - to make something more by changing the way the space is seen. [6] Seeing a space from different viewpoints, depending on oneâ&#x20AC;&#x2122;s behaviour and way of moving through or within it.

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[1] How we relate to the spaces we inhabit, bridging the gap between thinking about and experiencing architecture.

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It uses human participation and exchange to design a temporary formed space within the exchange square by exploring and being more conscious of:

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The script is a framework for the insertion of a [counter] program in the exchange square.

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The script is set in a sequence of six acts as experienced moving through the plaza. Each act centers around the interaction of a physical form [noun] with a human action [verb].

ACT 1

ACT 2

ACT 3

ACT 4

ACT 5

ACT 6

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SCENE 1

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SCENE 1

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1"*1&&#$1-<* (6%*+#"%01(#+*'(1#&21)* The beginning movement. A compressed space filled with traveling shadows. A set of steps leads into and out of the exchange square, the reformers directing the coming and going movements of the enactors.

[standing]

4 4

3B 3A

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6 1

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[crouching]

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scene two

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Seating bounding a stage. With the stage as focal point, the enactors start as observers in the audience, then become performers and JUMP on the stage, after which they end where

they began, as spectators once more. The reformers position themselves as a backdrop for the action taking place.

3B 3A

[jump] 2

3B 3A

[jump]

[stand] 1

8 [stand] 7

t] [si 1

[stand] 3

3 2 4

[sit]

[stand] 4 [fabric draped over ground]

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1 4

1 5

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,"*(6%*,(6%&* '#/%*,4*(6%*%/.% Moving underneath the elegant, Victorian facade of Liverpool Street Station and grasping onto the vertical fence members, the enactors peer below, watch-

ing as the trains roll out of the tunnel beneath the plaza and come to a stop next to the platforms. The female voice repeatedly an-

nounces the near future arrivals and departures, This view is framed and emphasized by the reformers.

[stand, look into station] 2

2 2 1 1

3 3 6 4

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(6%*-%1"#".*21-Between a large bronze sculpture of a voluptuous woman and a waist high, shiney stone wall, the participants move. The enactors extending the wall up, playing with creating

an inward focused space at this outward looking location. The running water below sounds endlessly, flowing over the hardscape of the fountain.

[sit on wall] 1 4

2 2

5 6

4 3 3

[sit on wall]

4 3 3

5 6

2 [sit on wall]

5 2

[eat]1 1

[stand by 2 sculpture] 5

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1 1 1

6 2

4 5

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scene two

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small space to crawl underneath and feel safe within. The bench enables encounters and developing relationships in between the individual enactors.

6 4

5 1

6 5

scene one [sit]

3B 3A

[sit] 4

[sit]

scene two !

b 6

8 4 1

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(6%*2#"/*(!""%-* 71''1.% The way the buildings are situated creates a wind tunnel effect within the passage. The reformers struggle to situate themselves against the blustering conditions while the enactors interface with the forces of the wind blowing

the fabric against their bodies, creating strange forms and a new awareness of the space.

3B 3A 4

3B 3A

2 2

1 2 4

[all: pause, 5 sec] [standing, fabric above head at diagonal, lower]

[standing, fabric above head at diagonal, higher]

[all: low to ground, sitting or kneeling]

[freeze] [standing, fabric under feet, over head]

5 2

scene one 3B 3A !

3B 3A 6

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scene two !

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[pause, 5 sec]

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The en[act]ors re-enact the ordinary everyday actions which have been developed through the observation of peopleâ&#x20AC;&#x2122;s behaviour within the city. The group is split into six character types with specific actions and movements assigned to each. Their task is to respond to the construct of the physical forms found in each scene through their role.

3A 3B

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The crowd is one, as one it negotiates and manipulates its spatial setting. It cannot be hurried, it moves of its own accord at its own pace, but it can be prompted and encouraged to do as one outside the crowd wishes. The crowd mingles, mixes, blends, weaves and merges; in one moment it is still and close together and in the next it opens up and moves again. Within the crowd there are heads and there are feet: heads of varying heights always scanning what’s around them, and feet, as footsteps upon the ground, standing, swaying, walking, perceiving the surface beneath them.

speed: varies, fast-slow prop: sticks action: use sticks to make noise by hitting against objects and each other’s sticks, hold up in the air

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The small child, eyes wide taking in the excitement of the plaza, sneaks his hand from his mother’s grasp, running, stumbling !"!#$%&'($)*&$!+,$-+,.+/$0)*$ brick wall, placing his hands on the wall to steady himself. The mother, watches, then as instinctual habit, as protector, follows after, gathering her child’s small hand back into her larger one.

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speed: slow-medium prop: camera action: move apart, touch a surface, move back together

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In opposing directions they advance in the square, she drifting towards him, he sliding towards her. Eyes looking straight ahead, they pass with a slight swish, conscious of but paying no attention to the other, continuing on, through the space that the other one just came from, sounds of footsteps trailing behind.

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speed: medium-fast prop: bell action: start in opposite positions, follow the path towards each other, as you cross, ring the bell

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She glides as if in a dream. Elegantly winding her way through the mingling forms of people and objects, eyes skipping around, her skirt sways in that ballerinaesque way. It is as if she is both a part of the backdrop of the buildings all around, and as if she is completely alone and it is only her in this great urban space.

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speed: slow prop: magazine action: read the magazine, glance around, move forward, repeat

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He is on a loop through the property, zig zag, enforcing the written word on the signs. They say: please keep off the grass. please keep out of the water. He pauses to ask: ‘do you have permission?’ He says: ‘this is private property. no -1(.+/$'&$2)'0'/&!2)#$!11'"*,34 He moves on, stopping to survey the scene in front of him and continuing to do his job, upholding the rules of the development and stipulating the public’s use of this urban space.

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speed: slow prop: yellow vest action: move forward, stop, survey the scene, move forward

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The suit is the man or the man is 0)*$56.03$7+$0).5$8'+0*90$.0$,*-+*5$ him. He is always going places, heading somewhere to take care of something. He sees what is in front of him, what he is moving towards. He moves through the space as though he knows it, as though he moves through it everyday, as habit, as second nature, it is his world, his domain.

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speed: fast prop: mobile action: speak on mobile, text on mobile, take long strides

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The re[form]ers become elements in the environment that are no longer inamimate - they play a role as modulators of activity and are seen juxtaposed with the moving participants within the en[act]tor group. There are many ways in which they use the fabric to play with space, enclosing it and temporarily reconfiguring the environment.

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The enactment of the script within the Exchange Square took place on the fourth of July, twenty-ten, a sunny sunday from twelve to three oâ&#x20AC;&#x2122;clock in the afternoon.

The group worked together to explore the space, building a temporary environment in which they responded to not only the existing context and the social and environmental conditions found there, but also to each other. As they became more comfortable and confident with their given roles they pushed both the boundaries of the space and themselves further.

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“It was amazing coming up to the group and everyone was in their black with the green fabric flying around and you kind of realize that it was a group of people doing this thing and, a real performance, and a real change of activity within the space. It was quite shocking in a way, and really quite impressive. So you didn’t really feel that until you saw the other people doing it, you didn’t feel it so much when you saw it all on paper and it was hypothetical activities, you really need the people to make you believe in that kind of thing.” /)08&43!$&0!"/#6

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“Aesthetically, the stair setting, it reminded me of cinematic romance... this ‘we’re passing strangers thing,’ it felt very serious.” M*8%$&4*&,3+*%5$+6&0+(,,"%5& .*3!,&A"3!&/()",$&43!$&(3!$+& ,3+*%5$+6

“The stair was quite good because it was a focused area, easy to manipulate and potentially it could have been even more amazing if the green fabric had literally made a bottleneck and then everyone was meeting at that same time.” ]$//8&43!$&0+(A#6

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â&#x20AC;&#x153;I feel like each scene had a relationship between the fabric and the people and the space that a kid could really enjoy.â&#x20AC;? Y)08&43!$&0!"/#6

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“On a normal day you wouldn’t stand on a flowerbed in the City, you know you’re on cctv, but I thought well we’re not on a normal day, we’re on a day where we’re going to explore this space and use it to the best of our abilities and, yeah we’re just going to stand up there and get good height on the fabric. It really worked well, we got many levels of fabric. It was just this good billowing effect and it worked.” ^*3&4+$7(+<$+6

3!$&+$7(+<$+,&!(/#&3!$&7*'+"0&!(+"M(%3*//8&3(&7+*<$&3!$&,.*0$&7(+&3!$&$%*03(+,&3(&,3*%#& )%#$+&*%#&/((B&#(A%&"%3(&3!$&,3*3"(%\&3(&5$3&"3&!"5!&).&*%#&)3"/"M$&3!$&/"73&.+(2"#$#&'8& #2($1/)8&$)!#$!)8$?/)#!0($'#!)8$9)$#94$9@$#2($A91(0;(8'>

“It was fun to see people take over that grass. Take over that space and make it their own by the improbable act of swinging other people around in a piece of green fabric.” 4X)*%$9&2"#$(6

james: “I think the best thing was kelly recreating the statue on her bit of fabric...” kelly: “cause we were on the grass, and I didn’t think we were allowed to be on the grass... but then we got on the grass anyways, and we were playing with the fabric and they were swinging me around in the fabric and I looked up and the statue had a fabric draped around her, and I was like, oh I’m going to do that to me, and then james took a picture, I didn’t take my clothes off completely like the statue... it was a mock interpretation. That was fun.” 43!$&0+(A#6

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“There wasn’t a definitive start and a definitive end to the acts, it all kind of merged into the break and then merged back out of it.” 4J//"$9&.!(3(5+*.!$+6

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“I think the fabric was really effective on the edge next to the statue. The fabric extended that wall, even though you didn’t really interact with it, it changed the structure of the space, it had a bigger impact.” _*3+"0B&42"#$(6

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â&#x20AC;&#x153;My role changed with the chess pieces, it was asking this man to be engaged with the objects in the space that was part of his path, whereas the other acts he was just on mute with the other characters that were there. But with the chess pieces he comes out of his own bubble - which is his relationship with his phone - and actually engages with the pieces and the other characters then he goes back into it when he leaves the chess set.â&#x20AC;? 4*#*<9&'),"%$,,<*%6

59 3!$&+$7(+<$+,&<*B$&*&3$%3&,3+)03)+$&()3&(7&3!$&5+$$%&7*'+"09&!(/#"%5&"3&*'(2$&*%#& *+()%#&3!$<&A!"/$&3!$8&,"3&(%&3!$&0!$,,'(*+#\&/)08&43!$&0!"/#6&!*,&7)%&3(,,"%5& 3!$&0!$,,&."$0$,&(%&3(.&(7&3!$&7(+3C

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â&#x20AC;&#x153;Combining the green fabric and people with the wind created all these weird, almost creepy forms within this dark passage under the building. It felt like another world.â&#x20AC;? B"<&4#"+$03(+6

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A story of an event now past: the outcomes of the urban theater held within the exchange square is portrayed in a narrative sequence telling about the social ecology of the space through its use in an imaginative way. Both a character and a location from the performance of â&#x20AC;&#x2DC;a social exchangeâ&#x20AC;&#x2122; are paired together, illustrating the experience through their eyes, expressing their rhythm, forms of movement and way of engagement with the space. The character is represented as both the individual person who played his or her part in the performance and is symbolic of certain behaviours and traits in todayâ&#x20AC;&#x2122;s society. All these characters are interlinked and related to each other through their physical surroundings.

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The story begins in the one-dimensional world of the corporation, an entity being given many of the legal rights of a person. He is entering his domain clad in pin-stripes, and, like the rest, moving about the routine of an office worker without engaging in the space: arrival on the train, up the stairs, into the office building, out to the square for lunch, back into the office cubicle, then departing by train at the end of the day. He goes thru these motions monday to friday, on the weekends he does not come to this place.

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The surveillance system monitors the behaviours of people who are on the private property of the broadgate corporation, allowing the public space of the Exchange Square to exist as a private entity by controlling and enforcing the legal rules put in place by the corporation. Such as: no filming or photographing, no going on the grass or in the water. The guard is simply a walking prop of this system, providing a physical presence on the ground to supplement the network of CCTV cameras and security control room situated underneath the square.

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1"*%5+-!'#$%*2,&-/<* 0,"%)*:*'(1(!'*7%&',"#4#%/ A glimpse is taken into the affluent world that is funded by the financial businesses located in the buildings surrounding the square. At dusk, the square twinkles with the glimmer of lights blending with the elegance of the Victorian train station. The lady personifies the exclusivity of this world, the social status and high fashion which is a part of it - becoming an object of desire.

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1*+&,2/*1/$1"+%'* #"*(6%*/1&3*71''1.% A new day arrives with the eruption of a storm: the crowd fills the dark passage. It is chaotic with sounds reverberating off the hard surfaces and the wind blustering about. The space feels like a completely other world as it is situated within the shadow of the building above, the brightness of the outside a glimmering light just visible on either end.

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1"(1.,"#'('* 9%+,0%*1--#%' Out of the passage filled with the crowd come two strangers. They meet situated on either side of the chessboard as opponents but through the playing of the game, they turn from antagonists into allies - seeing each other as individual people and not just part of a crowd. They end up developing a relationship and laughing together on the bench with the chess pieces strewn about around their feet.

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1*+6#-/*(,!+6%'* (6%*.&1'' In the end - the untouchable, perfectly manicured grass, in the very center of the square around which all the characters circulate - is touched by a child. The mother and child play in the soft grass, using the space and disregarding the rules of the corporation. The child discovers a tactile, humane space and within that the unyielding, tough city exterior fades away.

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there before because it is off limits, but if you actually question it... it makes you think.’ 45)89&+$7(+<$+6

KJf&XJ&dJg&hiiY&ZOJgP&PKi& R_ZQi&Jh&PKi&ijQKZ^ci&RkgZNi& ‘It’s such a hard space, and I was constantly ^JfH scared, especially mov‘You could always draw it. Whereas ususlly if you just wander around a square you’d struggle to know how it works, but to have actually engaged with it for such a long period of time, you get another sense of it.’ 4D*<$,9&0+(A#6

‘It made me go to areas of the site that I wouldn’t have gone to before, using the stage for example, and walking on the grass, I mean I never would have walked on the grass around

ing in a sort of erratic way that I wouldn’t normally move in, constantly scared that I was going to fall over on these really shiny hard surfaces and how painful that would be if I were to fall over. And how hard that kind of architecture is, and how the people and the fabric that you introduced in the end are these sort of soft things, there’s nothing soft about that architecture at all except this perfect grass with a fence around it and this beautiful water - that I got to go in to save the

blown away fabric - apart from that, the softness is just so contained and I don’t know why, I mean I don’t get it.’ 4/)089&0!"/#6

‘Yeah, I would see it differently, if nothing else it would just remind me of that and it’ll change, it has a different memory now, a very specific one.’ 4%"0(/*,9&5)*+#6

‘I think the first impression of the space is that it’s quite ugly, I find it quite depressing. I mean its about making money, the square, and they could have any square they want in a sense because they could afford it, and what they come up with is that?’ 4D(!*%%$,9&+$7(+<$+6

fKZP&fJgYX&dJg&QKZ^ciH ‘I’d love to go back there now. I’ll probably tell people, oh there’s this great square by liverpool street - there’s water, you can’t put your feet in, weirdly enough, don’t know why, there’s grass but you can’t go on it, but louise pulls people around on it its so weird there’s grass that you can’t sit on! don’t get that really.’

‘I think while it was good having mother and son, it may have been more interesting to have two kids, because then you could have used the fabric as a placing between two people or the spaces as a plaything between two rather than a sort of responsive figure, as a foil to each other.’

4%*39&+$7(+<$+6

‘Just having more performers would be interesting, and also using larger things, large objects that didn’t involve people, and just leaving them and moving them around. I mean the possibilities are there, you’ve got something you can work with, but yeah, busier, more characters I think adds a lot more contrast to what is going on.’

‘There’s so many things that are difficult and so much of architecture is really serious, but to have a bit playful nature, and I think that’s what the green fabric really brought and people suddenly realized that here’s this prop that suddenly makes it okay to have a bit of fun and use the space in another way.’ 4.*3+"0B9&2"#$(6

/)08&43!$&0!"/#6

5)8&4+$7(+<$+6

‘Is there meant to be a relationship or an interaction between the fabric and the characters? Because the fabric is situated in the space, the people move through the space and are meant to be directed by the fabric - is there a dialogue? What does it say, what is it asking? or is it just a spatial thing? Do you use it for its materiality, or do you go beyond its materiality and use it as a metaphor, by having some type of dialogue with it? Or is it just a thing that responds to its atmosphere by moving, saying something about the space constructed around it.’ *#*<&4'),"%$,,<*%6

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‘I think I would make it a little more performative, especially if you were able to get the same people, you could then ask more of them, have them improvise more and have them play more characters. Talking about the idea of the faux romance that developed between a couple of the characters, you know, stuff like that could be let in from the start, you could take a sort of character descriptor beyond what it was going into the first performance, take it on from what it became through that first performance and give the roles even more scripting.’ #)*%$&4,3"//&2"#$(6

‘I think just allowing it to be very malleable again is important.’

james: ‘Less choreographed.‘

(//"$&4.!(3(5+*.!$+6

kelly: ‘I think generally if you’re given a task, such as, in this scene at some point you are supposed to look over the edge and watch the trains and then the rest of it is, interact with the space. You know your goal is to walk up the stairs and there are these obstacles. If it was a little more vaguely descripted for the actors, not for the fabric people cause you want them to be what’s to manipulate and to see the differences that happen with the different positions and things. It may not be exactly what you expect, but it may be a bit more interesting.’

‘I think the space was amazing, and I think the space would work well to be done again, but the fact that you’ve got london out there, you could probably use another public, or public/private space, either in the city or in central london that would work well. I’d be intrigued to see what another space that is like that, highly populated in the weekday, cause i think there are loads of places like that in london, those places in the city on the weekend that are just dead.’ %*3&4+$7(+<$+6

paul: ‘Randomizing things.’

james: ‘There was a real quality in the way that some people, I think lucy in par-

ticular, were just doing things which weren’t necessarily scripted but were fun...’ kelly: ‘...and were to character.’ paul: ‘You’ve got an idea about how you expect the space to be manipulated or what you expect the space will do and that’s something that you can pursue in the sense that you can never anticipate how people will use it, and all the eventuality or possibilities of how people will react to that space, although you’re deliberately trying to do that with the design, you can’t ever anticipate everyone’s responses.’ kelly: ‘but i think that’s the whole point, isn’t it.’ B$//89&D*<$,&[&.*)/&43!$&0+(A#6

‘If we were going to do this again, and we had a lot more money, a lot more time, a lot more people, and a lot more resources I would make it just massive, such a big event that you couldn’t not notice it. I mean you couldn’t not notice it anyways if you were walking through the square on sunday you would have seen what was going on... but something so extraordinary, just a really big event, an exciting piece of urban theater, I mean I think we did it and it was really awesome but I think that going big, big scale, it’s all just a bit more exciting.’ .*3+"0B&42"#$(6

‘I was quite convinced by the location because it had this artificialness to it but without being, well on the other hand it was quite a common or not special place, it was not very famous architecture or very beautiful architecture, I mean that’s what I liked. So could it be repeated in a different place? I think it could.. I mean for me now it’s kind of hard to separate it from the place I think, hard to imagine. It was good cause there’s not so many places that are that empty on a sunday, at all on some days. It was a place, in the City an urban place that you could find empty, there’s not so many places that get that empty at a normal time.’ W(!*%%$,&4+$7(+<$+6

‘I think to make it just a bit longer, then probably the last hour would be the most productive one, cause people are really into the thing then, the inhibitions are gone, even me, I’m not really that prone to interact... but at the end I was already jumping into the fabric...’ ^"0(/*,&45)*+#6

‘If it were to happen again, I’m interested in it happening in the same place, cause it would lend to being more reflective about things. And I would like to spend more time in a space where something like that’s happened to begin with.’ l*8%$&4,3+*%5$+6&

‘To welcome outside participants, people from off the street, who were watching to join in and be involved. If it could be a bigger thing, more people moving through, interacting and making this feel like this loud really well used space. Using what was learned throught this first time and take that to give more structure to some parts and leave other parts less choreographed. I’d also be interested in getting the broadgate corporation involved in some way, to see how they might react and get their opinion on how the square is used and could be used.’ ]"<&4#"+$03(+6

LM61(*2%*/#/* '1)'*',0%(6#".* 19,!(*',+#,-,.)* 1'*2%--*1'*19,!(* 1&+6#(%+(!&%K*J('* 19,!(*(6%*19#-#()*(,* 4%%-*+,04,&(19-%* 1"/*(13%*71&(*#"* 1*.&,!7*1"/<*(,* &%+,"'(&!+(*'71+%* 2#(6*,(6%&*7%,7-%* 26,*1&%*2#(6#"*#(KKK* #"*1*21)*(61(*),!* /#/"N(*3",2*21'* 7,''#9-%*9%4,&%KL* 4X)*%$9&2"#$(6

4%%/91+3 (6%*2,&39,,3' All the participants were given workbooks with diagrams depicting their movement and actions for each Act and Scene. They were asked to use them to write in, sketch in, record dialogue, anything... as a personal record from their point of view.

if I was a child I would really want to go on the grass. I guess the world of corporate architecture is not really built for kids - the google offices are only really childlike - and pixar with their little sheds. maybe there should be climbing frames in each square. as a kid you donâ&#x20AC;&#x2122;t really want to interact with the architecture its sooo hard. [lucy, child]

[Zayne, stranger B]

act 3 as you feel your emotions write them down. sitting above the train tracks w/ the trains coming out from between my legs. the arches overlooking the train tracks are made of slats of wood. this is such a good thing to do during this thing - the writing down of stuff. yeah’ act 4 The space under the armpit of the woman in the middle we’ve ‘discovered’ the location of the European bank for reconstruction and development. i’m amazed that these toilets are open to the public or accessible to the public rather. I nearly lost my booketlet - But Kim saved it I’m being very serious and acting - (silly!) I wonder if it looks like these people are distinctively a group coming together we’ve grown distant. It’s sad. THIS IS A DRAMA. A TRAVESTY. if only I could express the new emotions I’m feeling.

act 5 We’re changing the rules ‘Kim You’re a failure I can’t work w/this. What do you expect us to do start at two places at once “So unprofessional”’

[louise, stranger A] act 1 i’m finding the subtleties of my character hard to convey. -> ZAYNE IS RUBBISH AT THIS act 2 ‘I’m finding it hard to DRIFT. HOT + windy shy - don’t like jumping. It feels unatural. maybe that’s the point Zayne is writing stuff about me all lies’ act 3 Erotic Filmscript 01: Zayne touched my bottle. Then we had a romantic lean over the station. Like a French Film. I said “It’s kind of Romantic.” He said “yeah” then touched my bottle again. zayne keeps his notebook down his pants. Fact. Act 4 Site of romantic liaison Zayne made a joke Z is getting more distant everyday. He doesn’t look at me like he used to. TRAGEDY I can’t put it in words. Zayne is copying me.Zayne said I violated his romance. Not sure what that means. Feel a bit like a toddler. Very playful - being somebody else. Playtime act 5 We’re changing the rules Kim. I feel like we are really starting to get to know each other. (heart) We sat on the bench It was off plan. But is was nice. I bumped into Lucy alot. [THE TODDLER] ZONE EDGE BOUNDARY [WINDY WOMB] act 6 I made friends with the crowd. They were nice. I miss Zayne. This is emotional WOMB CLOTH WINDY + cold. in the middle of a big hard macho city. The row of material worked really well. Cut off bodies, allows for strange interaction.

4#-0#".*1.&%%0%"( Filming on the development of broadgate is only allowed with a legal agreement, which speaks to the areaâ&#x20AC;&#x2122;s privatization. For this performance an agreement was acquired, this allowed the participants freedom to play with the space as they wished, disregarding the usual rules of the place. The paperwork becomes an element of the project revealing an unseen but felt social boundary that is significant in forming the privatzation of a public space.

100

101

I think that if you are able to get a group of people to have fun and to collaborate, then interesting things develop through that. A group of people working together each bring their individual ways of doing and thinking to the project, adding more layers and complexity and interest. And that was the whole point: to construct a set of guidelines, but leaving freedom for unpredictibility. What comes out of that is so much more engaging: seeing how people make a role their own and the evolution of that through time as they become more conscious of the environment around them, transforming the space through the consideration of the program held within it. It leads to an exchange of more to come in the future. 4B"<6