November 2012
Hide and Seek: The dubious nature of plant life in high security spaces
by Adam Walker-Smith
Figure 1. High security area, with selected plant life Source: 5 Broadgate, London EC2: Design and Access Statement. 2010
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Hide and Seek by Adam Walker-Smith
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Contents 1. Research Summary
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2. Photographic Reconnaissance
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3. Appendix (A)
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- Selected Academic and Architectural Research
4. Appendix (B) - Index, Acknowledgements and About the Author 4
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Figure 2. Secure space, with integrated plant life Source: Sainsbury’s Nine Elms: Design and Access Statement. 2011
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1:Research Summary
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Research Summary Hide and Seek (H&S) follows the aspiring
certain areas and make other points appear
photojournalist Adam Walker-Smith and
less ‘fortress-like’, led to what could
the paranoia that plagues him during his
only be described as an intense scepticism
attempt to expose the way vegetation is
regarding the ‘innocence’ of all plant life
used to enforce and disguise security
within these environments.
apparatus in London’s highly secure financial and commercial spaces.
Driven by a twinned sense of injustice/ anger 2 and the photojournalist’s natural
Informed by extensive research into the area of Crime Prevention Through
in society, Walker-Smith resolved to expose
Environmental Design (CPTED 1 ), Walker-
the practices of CPTED by documenting key
Smith’s realisation that high security
examples of ‘suspect’ organic life in
areas strategically deploy vegetation to
secure spaces like Canary Wharf and the
hide security design, guide users away from
City of London.
1 Predicated on the notion that crime is partly the result of opportunities presented by the physical environment, CPTED is a landscape design approach powered by the belief that it is possible to create spaces that encourage certain behaviours whilst discouraging others. A key part of CPTED strategy is the blending of ‘hard’ techniques (e.g. fences, walls, CCTV) with the ‘soft’ (hedges, living walls, trees, flower beds) to make fortified spaces appear more open and amenable for public use, whilst also simultaneously fulfilling the ‘design out’ crime strategy. See Appendix A for a fuller definition of CPTED.
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desire to expose the hidden forces at work
However whilst H&Ss thrust is a certainly
2 One of the problems for Walker-Smith was that the discovery of CPTED had shaken his conception of his own free will (he had always felt rather proud that his behaviour in public reflected his own preferences and not those of his environment - he proudly maintained that he never looked at advertising on the tube or in the newspaper for example).
compelling evidence-based thesis, it has
techniques are potentially double-edged,
also been put forward that the work in
when his images are viewed en masse they
practice can be read as a merciless smear
overwhelmingly “shear the wood from the
campaign against all plant life, because
trees by challenging everyday organic
of its tendency to view anything plant-
appearances, on the whole.”
like as ‘suspect’. The eventual work is a series of Additionally, perhaps as a pre-emptive
reconnaissance images of CPTED-aligned
response to the implications that the
plant-life which are framed by the
work might have on how plants happily
photojournalist’s
existing outside of a CPTED context are
into the landscape design strategy;
also viewed, it has been pointed out
uncompromising and provocative, H&Ss 4
that the way in which the Walker-Smith
disconcerting evidence challenges the
photographs his ‘suspects’ makes them look
viewer into questioning the nature of the
guilty 3 , regardless of whether they are or
urban environment and the more sinister
not, and thus turns the photojournalist’s
aspects of security design that might be
role from one of identification to
concealed from them.
extensive research
indiscriminate persecution. Walker-Smith has gravely noted in a statement hastily issued after hearing of the aforementioned complaint, that this is the difficult nature of the game; however, whilst in the most exceptional circumstances his 3 Walker-Smith photographed using a flash gun on full power in order to illuminate the plants he saw as being part of the CPTED strategy.
4 The title ‘Hide and Seek’ not only describes the process that Walker-Smith took to locate and illuminate ‘suspect’ vegetation; it refers to the tactics the photographer had to use with the security guards at the specific locations in order to photograph without harassment; it was also chosen as a media friendly positioning that would spark other photographers to have a go at the ‘game’, in order to further raise awareness of the nature of plants in secure spaces.
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2:Photographic Reconnaissance
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“Making this project really took me to the edge of things. I’m still getting back to normal, although it’s taking some time. It’s all a bit subjective though, isn’t it?” Source: Promotional interview with Adam Walker-Smith. 2012
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Figure 3. Circular hedge arrangement 13-08-12/11:00:18 51 ° 30’19.50” N, 0 °01’28.17” W
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Figure 4. Entrance ornamentation 22-08-12/15:31:38 51 ° 30’05.12” N, 0 °01’04.39” W
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Figure 5. Suspect hedge design 11-08-12/11:51:01 51 ° 30’19.72” N, 0 °01’28.91” W
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Figure 6. Natural surveillance 01-09-12/09:54:59 51 ° 31’03.05” N, 0 °05’05.76” W
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Figure 7. Courtyard detail (in Canary Wharf) 15-11-12/07:01:32 51 ° 30’21.28” N, 0 °01’21.60” W
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Figure 8. Abnormal plant species 04-09-12/09:01:44 51 ° 31’00.02” N, 0 °04’43.48” W
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Figure 9. Growth container 20-08-12/11:31:14 51 ° 30’11.21” N, 0 °00’46.34” W
Figure 10. Wide tree trunk 30-09-12/11:56:26 51 ° 30’20.51” N, 0 °01’37.87” W
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Figure 11. Car park ornamentation 24-08-12/11:28:25 51 ° 30’03.40” N, 0 °01’15.31” W
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Figure 12. Perimeter delineation 22-08-12/14:17:12 51 ° 30’08.03” N, 0 °00’45.53” W
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Figure 13. Street level entrance 03-08-12/15:45:54 51 ° 30’55.01” N, 0 °04’46.85” W
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Figure 14. Typical park scene (in roof garden above underground tube station) 11-08-12/13:50:59 51 ° 30’12.16” N, 0 °01’08.47” W
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Figure 15. Ground cover 14-09-12/10:02:32 51 ° 30’31.44” N, 0 °01’04.19” E
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Figure 16. Park entrance 01-10-12/10:00:55 51 ° 31’50.50” N, 0 °05’50.21” W
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Figure 17. Anti-climb paint 01-10-12/13:53:09 51 ° 31’47.32” N, 0 °05’47.83” W
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Figure 18. Extended root 30-09-12/14:51:54 51 ° 30’20.84” N, 0 °01’33.94” W
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Figure 19. Faultline 30-09-12/14:57:03 51 ° 30’20.95” N, 0 °01’34.03” W
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Figure 20. Control panel 30-09-12/15:17:15 51 ° 30’21.13” N, 0 °01’37.86” W
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Figure 21. Roadside arrangement 29-08-12/08:47:35 51 ° 30’10.45” N, 0 °01’09.29” W
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Figure 22. Tree on public walkway 06-10-12/12:55:32 51 ° 31’16.20” N, 0 °04’46.08” W
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Figure 23. Living wall 01-09-12/12:29:36 51 ° 31’05.14” N, 0 °05’12.91” W
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Figure 24. Light switch 06-10-12/12:24:46 51 ° 31’06.14” N, 0 °05’01.71” W
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Figure 25. Battery 02-11-12/09:42:15 51 ° 30’59.94” N, 0 °04’58.60” W
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Figure 26. Grass patch 06-10-12/17:57:40 51 ° 31’12.34” N, 0 °04’51.14” W
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Figure 27. Edge of car park 30-09-12/15:58:06 51 ° 30’12.43” N, 0 °01’23.85” W
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Figure 28. Dense shrubbery 30-09-12/15:56:08 51 ° 30’12.80” N, 0 °01’24.59” W
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Figure 29. New growth 01-09-12/10:26:57 51 ° 31’05.21” N, 0 °05’10.35” W
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Figure 30. Intermediate growth 01-09-12/10:43:44 51 ° 31’04.76” N, 0 °05’09.22” W
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Figure 31. Tree plot 06-10-12/17:09:29 51 ° 31’11.05” N, 0 °04’39.96” W
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Figure 32. In the bushes 06-10-12/16:56:50 51 ° 31’10.86” N, 0 °04’39.94” W
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Figure 33. Tree lights 15-11-12/13:32:10 51 ° 30’20.95” N, 0 °01’21.57” W
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Figure 34. Flower bed 15-11-12/15:34:16 51 ° 30’11.75” N, 0 °01’06.89” W
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3: Appendix (A) Selected Academic and Architectural Research
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Figure 35. Key factors influencing human behaviour Source: COI: Communications and Behaviour Change. 2009
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“There are many different social psychological models that seek to explain human behaviours. Broadly speaking, the factors in most of them can be split into three levels: Personal (‘micro’) factors which are intrinsic to the individual, such as their level of knowledge or their belief in their ability to change their behaviour and their habits. Social (‘meso’) factors which are concerned with how individuals relate to each other and the influence of other people on their behaviour. Environmental factors over which individuals have little control. These include both local and wider environmental factors.” Source: COI: Communications and Behaviour Change. 2009
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Figure 36. Projected crowd movement in high security area Source: 5 Broadgate, London EC2: Design and Access Statement. 2010
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“In the same way that capital punishment does not lead to lowercrime societies, high security does not guarantee safety, and the experiences of people who live like this are far more difficult to unravel, with complex emotional consequences.� Source: Ground Control: Fear and Happiness in the Twenty-First-Century-City. 2012
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Figure 37. Key concepts behind CPTED Source: CPTED: A Review and Modern Bibliography. 2005
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“Planting should not impede natural surveillance and must not allow the possibility of hiding places. It can be used advantageously to prevent access into private and semi private areas, but defensive planting is about selecting the right type of plant material for each situation; for example, open-branched and columnar trees are best where surveillance is important. Climbing plants are useful to cover walls subject to graffiti, and thorny plants can help keep people away in vulnerable areas.� Source: Design Out Crime: Creating Safe and Sustainable Communities. 2004
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The Key Concepts of CPTED The six key concepts of CPTED are as follows:
offend, given the increased potential for intervention, apprehension and prosecution. Different types include natural (e.g.
1.Territoriality – a design
resident’s self-surveillance opportunities,
concept directed at reinforcing a sense
as facilitated by windows), formal or
of ownership in legitimate users of
organised (e.g. police patrols) and
space, thereby reducing opportunities for
mechanical surveillance strategies (e.g.
offending by discouraging illegitimate
street lighting and CCTV).
users. Different forms include symbolic barriers (e.g. signage) and real barriers
3.Access Control – a design concept
(e.g. fences or design that clearly defines
focused on reducing opportunities for crime
and delineates between private, semi-
by denying access to potential targets
private and public spaces).
and creating a heightened perception of risk in offenders. Access control includes
2.Surveillance – a design concept
aimed at promoting informal or natural
formal/organised (e.g. security personnel)
surveillance opportunities for residents
and mechanical strategies (e.g. locks and
and their agents. If potential offenders
bolts).
perceive that they can be observed (even if they are not), they may be less likely to
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informal/natural (e.g. spatial definition),
4.Activity Support – a design
concept involving the use of design and
6.Target Hardening – a design
signage to encourage intended uses of
strategy focused on increasing the
public space. Activity generation and
efforts that offenders must expend in
support seeks to place inherently ‘unsafe’
the commission of a crime. This is the
activities in ‘safe’ locations. Similarly,
most long-established and traditional
‘safe’ activities serve as magnets
approach to crime prevention. It is
for ordinary citizens who may act to
directed at denying or limiting access
discourage the presence of criminals.
to a crime target through the use of physical barriers such as fences, gates,
5.Image/Management – a design
locks, electronic alarms and security
and environmental maintenance approach
patrols. Crucially, excessive use of
aimed at promoting a positive image of
target hardening tactics can create a
the built environment, ensuring that it
‘fortress mentality’ and imagery, whereby
continues to function effectively and
residents withdraw behind physical
transmits positive signals to all users.
barriers. Encouraging this means that
The physical condition and ‘image’ of the
the self-policing capacity of the built
environment is significant because of the
environment is damaged, effectively
effects it has on crime and the fear of
working against CPTED strategies that rely
crime (which have long been acknowledged
on surveillance, territoriality and image.
and of which an extensive body of research now exists). Naturally, much research
Source: CPTED: A Review and Modern Bibliography. 2005
suggests that the routine maintenance of the urban environment will also significantly assist in reducing crime.
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Figure 38. The delineation of private and public space, with tree Source: 201 Bishopsgate Landscaping Illustrations. 2006
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“Territoriality – a design concept directed at reinforcing notions of proprietary concern and a ‘sense of ownership’ in legitimate users of space, thereby reducing opportunities for offending by discouraging illegitimate users. Different forms include symbolic barriers (e.g. signage) and real barriers (e.g. fences or design that clearly defines and delineates between private, semi-private and public spaces).” Source: CPTED: A Review and Modern Bibliography. 2005
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Figure 39. A living wall, with structural support Source: 201 Bishopsgate Landscaping Illustrations. 2006
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“The rationale behind the design is the representation of a postglacial alpine landscape which informs the public realm at ground level and the design of the elevated green terraces. It also defines the approach to planting on the roof of the building. The retreat of glaciers in northern Europe brings in its wake the creation of a rich tapestry of ecotones and biodiversity which this scheme will emulate. It is proposed that within the ecotones identified above, only species native to the Alps should be used.� Source: 5 Broadgate, London EC2: Design and Access Statement. 2010
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Figure 40. Tree pit detail Source: Devonshire Square Landscaping Illustrations. 2005
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“An air of deliberate parody clings to everything - a tactical simulation - like an undecidable game to which is attached a specifically aesthetic pleasure, the pleasure in reading and in the rules of the game.� Source: Jean Baudrillard: Selected Writings. 1988
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Figure 41. Main courtyard plan, with trees Source: Devonshire Square Landscaping Illustrations. 2005
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“It’s, like, there are things in life which really get to you. Don’t they?” Source: Promotional interview with Adam Walker-Smith. 2012
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Bibliography (A) Selected academic titles
Atkinson, R (ed); Helms, G (ed). 2007. Securing an Urban Renaissance - Crime, Community and British Urban Policy. Bristol: The Policy Press
Budge, M; Deahl, C; Dewhurst, M; Donajgrodzki, S; Wood, F. 2009. Communications and Behaviour Change. London: COI Publications
Colquhoun, I. 2004. Design Out Crime: Creating Safe and Sustainable Communities. Oxford: Architectural Press
Cozens, P; Saville, G; Hillier, D. 2005. Crime Prevention Through Environmental Design (CPTED) - A Review and Modern Bibliography. Property Management, Vol 23 No.5, pp.328-356.
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Ekblom, P. 2012. Design Against Crime: Crime Proofing Everyday Products. Colorado: Lynne Reinner Publishers, Inc
Halpern, D; Bates, C; Mulgan, G; Aldridge, S. 2004. Personal Responsibility and Changing Behaviour - the State of Knowledge and its Implications for Public Policy. [Internet] Available from: <http://webarchive. nationalarchives.gov.uk/20100125070726/http:/ cabinetoffice.gov.uk/strategy/work_areas/ personal_responsibility.aspx> [Accessed 1st June 2012]
Johnson, B. 2009. Londonâ&#x20AC;&#x2122;s Great Outdoors: A Manifesto for Public Space. London: Mayor of London
Larice, M (ed); Macdonald, E (ed). 2007. The Urban Design Reader. New York: Routledge
Lynch, K. 1960. The Image of the City. London: The MIT Press
Minton, A. 2012. Ground Control: Fear and Happiness in the Twenty-First-Century-City. London: Penguin
Moor, M (ed), Rowland, J (ed). 2006. Urban Design Futures. New York: Routledge
Moughton, C. 1996. Urban Design: Green Dimensions. Oxford: Butterworth Architecture
Poster, M (ed). 1988. Jean Baudrillard: Selected Writings. Oxford: Polity Press
Venhuizen, H. 2010. Game Urbanism: Manual for Cultural Spatial Planning. Amsterdam: Valiz
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Bibliography (B) Selected environmental design reports, drawings and view assessments
Edco Landscape Design. 2006. Merchant Square Landscape Design Guidelines Building C â&#x20AC;&#x201C; Rev A. [Internet] Available from: <http://idoxpa. westminster.gov.uk/online-applications/ applicationDetails.do?activeTab=documents&keyVal =IUF189RPN2000> [Accessed 1st June 2012]
Environ UK. 2005. Townscape and Views Assessment of 201 Bishopsgate and the Broadgate Tower. [Internet] Available from: <http:// www.planning2.cityoflondon.gov.uk/onlineapplications/applicationDetails.do?activeTab=ex ternalDocuments&keyVal=ID1I8JFH51000> [Accessed 1st June 2012]
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Francis Golding. 2004. Leadenhall Tower: Townscape and Visual Assessment Vol.1. [Internet] Available from: <http://www. planning2.cityoflondon.gov.uk/onlineapplications/applicationDetails.do?activeTab=ex ternalDocuments&keyVal=HSZ9GHFH51000> [Accessed 1st June 2012]
Grimshaw. 2006. Excel London - Phase 2 Venue Extension; Reserved Matters Application; Design and Access Strategy. [Internet] Available from: <http://pa.newham.gov.uk/online-applications/ applicationDetails.do?activeTab=externalDocument s&keyVal=J6UWCYJY98000> [Accessed 5th June 2012]
Make Limited. 2010. 5 Broadgate, London EC2: Design and Access Statement. [Internet] Available from: <http://www.planning2. cityoflondon.gov.uk/online-applications/ applicationDetails.do?activeTab=externalDocument s&keyVal=LDD5E1FH0K900> [Accessed 1st June 2012]
Skidmore, Ownings & Merrill, Inc. 2006. 201 Bishopsgate Landscaping Illustrations. [Internet] Available from: <http://www. planning2.cityoflondon.gov.uk/onlineapplications/applicationDetails.do?activeTab=ex ternalDocuments&keyVal=IWS5ANFH51000> [Accessed 1st June 2012]
Rolfe Judd Ltd. 2011. Sainsburyâ&#x20AC;&#x2122;s Nine Elms: Design and Access Statement. [Internet] Available from: <http://planning.lambeth.gov. uk/online-applications/applicationDetails.do?ac tiveTab=externalDocuments&keyVal=LO5TUQBO0AY00> [Accessed 5th June 2012]
Whitelaw & Turkington. 2005. Devonshire Square Landscaping Illustrations. [Internet] Available from: <http://www.planning2.cityoflondon.gov. uk/online-applications/applicationDetails.do?ac tiveTab=externalDocuments&keyVal=JLU299FH0K900> [Accessed 1st June 2012]
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4: Appendix (B) Index, Acknowledgements & About the Author
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Index Figure 1. High security area, with selected plant life
Figure 12. Perimeter delineation
Figure 2. Secure space, with integrated plant life
Figure 13. Street level entrance
Figure 3. Circular hedge arrangement
Figure 14. Typical park scene (in roof garden above underground station)
Figure 4. Entrance ornamentation Figure 5. Suspect hedge design Figure 6. Natural surveillance Figure 7. Courtyard detail (in Canary Wharf) Figure 8. Abnormal plant species Figure 9. Growth container Figure 10. Wide tree trunk Figure 11. Car park ornamentation
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Figure 15. Ground cover Figure 16. Park entrance Figure 17. Organic barrier Figure 18. Extended root Figure 19. Faultline Figure 20. Control panel Figure 21. Roadside arrangement
Figure 22. Tree on public walkway
Figure 33. Tree lights
Figure 23. Living wall
Figure 34. Flower bed
Figure 24. Light switch
Figure 35. Key factors influencing human behaviour
Figure 25. Battery
Figure 36. Projected crowd movement in high security area
Figure 26. Grass patch
Figure 37. Key concepts behind CPTED
Figure 27. Edge of car park
Figure 38. The delineation of private and public space, with tree
Figure 28. Dense shrubbery Figure 29. New growth Figure 30. Intermediate growth
Figure 39. A living wall, with structural support Figure 40. Tree pit detail Figure 41. Main courtyard plan, with trees
Figure 31. Tree plot Figure 32. In the bushes
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Acknowledgements To all those who have believed and supported: you know who you are, thank you very much.
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About the Author Adam Walker-Smith is an aspiring photojournalist from London with a keen interest in the development of the environment around him.
Hide and Seek marks the first serious body of work that he has undertaken since deciding to take up investigative photography full-time. He desperately hopes to be given the opportunity to produce more in the UK where he is resident, once he has fully recovered from this project.
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