Between Body and Space by Peter Vadim Juhl Nielsen

Master Thesis by Peter Vadim Juhl Nielsen, University of Copenhagen, SCIENCE, Faculty of Science, 2014. Education: MSc. Landscape Architecture and Urban Design. Supervisor: Bettina Lamm, associate professor - Department of Parks and Urban Landscapes, SCIENCE. Co-supervisor: Karen Arnfred Vedel, assistent professor, Department of Arts and Cultural Studies, KUA. Title: Between Body and Space - A situational approach to discovering processes and connections of places

Table of contents: Intro Method Case studies Bishop and Diamond Stepping Out of Place The meaning of lamps, rails and ruderal species Break in the Promenade Discussion Conclusion References

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Intro Purpose This thesis explores how interrelations between body and space can be used as means to realize qualities and connections of surrounding elements. Background Working as a dancer and choreographer for 22 years, I have noticed how body movements and the surrounding elements influence each other through situational interrelations: Senses are activated, feelings are evoked, reflections are formed, and social rules are followed specific for each situation. In connection with studies in landscape architecture I have developed interest in how to play with these interrelations, with a view to get more familiar with places and their elements and thereby discover specific existing qualities, characteristics and capabilities of places. This has led to four case studies trying out various body movements in various situations. The case studies are documented on film and have developed into four short films. The whole process is described and analyzed in this thesis.

Focus The descriptions and analyses of the

interrelations between body and space in this thesis represent a perspective, that can be explained as a mix of two ways of viewing the body and defining place: One way relates to a humanistic/phenomenological perspective on how places are given meaning through the bodyâ&#x20AC;&#x2122;s perspective on reality. The other way is seeing the body and places as social constructions. The mix of the two views arises in situations of interacting with the surroundings, where they both influence the body movements: The senses, feelings and reflections, that directly influence the experience of space, are influenced by the social constructions and vice versa. In this sense the focus of the thesis is on how senses, feelings, reflections and social constructions emerge, affect, influence, change and develop as results of interrelations between body and space. Problem definition What happens in the interrelations between body and space? In what ways can these interrelations be described and analyzed through body movements? How can these descriptions and analyses be of use in discovering qualities of places?

Method Intro to the section In this section I start by briefly outlining my process of exploring how the interrelations between body and space can help discover qualities, characteristics and capacities of places. It is then clarified how this process has implied a perspective on the body and places, which contains two ways of viewing the body: the body as experiencing and the body as a social construct. The connection between these two views are explained in relation to how they both influence body movements simultaneously, and in this sense can be said to represent one perspective. This perspective involves a focus on how senses, feelings, reflections and social structures are changing and developing in the meeting between body and space, and how these changes and developments are ways to gain knowledge of, identification with and give meaning to spaces. This non-static approach is a way to discover processes and connections of particular locations, which in this thesis define the concept of place: Place is therefore defined as changing and developing through processes and connections particular for each location. In this section I will also explain how I have used film as media to document and represent the process. The process of exploring has involved

choreographing, dancing, filming, editing and composing music, which has led to me having six different perspectives on the interrelations between body and space. They are all represented in the descriptions and analyses and each perspective is explained in this section. Finally it is explained how the interrelations are categorized as various aspects of response, which is used for analyzing what happens between body and space in various situations.

from all six perspectives and are focused on my own experiences of the interrelations. The descriptions and analyses emphasize how the body experience, perceive and recognize the places through senses, feelings and reflections under the influence of social structures. This methodical approach indicates two ways of viewing the body: one is viewing the body as experiencing the interrelations; and the other is viewing the body as a social construct.

the realization of the social field (Rendtorff, J. D. 2004, p 299).

Outline of process To explore interrelations between the body and the surrounding elements, various body movements have been tried out in various situations. This has led to four case studies with each their bodily approach to space. For the case studies six different locations are explored. The movements are recorded on film in order to document the process on one hand, and on the other hand to create short films that tell their own narratives of the interrelations. For each case study one film is made. To emphasize points in the films, music is composed for three of them. I have taken part in the whole process with a few exceptions. This has resulted in me having six different roles, with each their perspective on the interrelations: landscape architect, choreographer, dancer, film photographer, editor and music composer. For all the case studies descriptions and analyses are made

Body as experiencing The first way of viewing the body in my own experience is to feel the interrelations between body and space in the present, and experience how the body becomes one with the situation. It is an immediate and direct way of experiencing the situation. In this way it is experienced how the senses, feelings and reflections immediately are parts of the body, its movements and the whole situation. In this sense the body is not seen as an objective anatomical and physiological construction, but is understood as intentionality, where the world is given meaning through the body’s perspective on reality (Rendtorff, J. D. 2004, p 299). This body view relates to a phenomenological way of viewing the body. Phenomenology in general emphasizes how feelings can capture bodily dimensions of the human life experience, which helps to get deeper into

In this sense the narratives, stories and feelings are a part of the meaning that is given in the meeting with the world. Merleau-Ponty puts further focus on the body when he says:

“For that reason phenomenology will not exclude that emotional realizations in the metaphorical and narrative expression from the bodily symbol structure of the lifeworld that is manifested through narratives, stories, feelings, etc. may have important implications for understanding the social world.” (Rendtorff, J. D. 2004, p 299).

“I am not in front of my body, I am in it, or rather I am it (Merleau-Ponty, M. 1945, p 150).” (Rendtorff, J. D. 2004, p 299). In this sense the experience of the world is made in the intimate interaction with things and other bodies in the social space (Rendtorff, J. D. 2004, p 299). So the way the phenomenological view is understood and used in this thesis is a way to get deeper understandings of the surroundings through narratives and feelings experienced through the body. 5

Body as a social construct The other way of viewing the body is how the body is marked by the social rules and constructions of various cultures: social agreements and unwritten codes on social issues are marked on the body. This influences how to behave in certain situations, and it influences and restricts the body and consequently its movements. Also material settings are defined directly or indirectly by social behavior, which presupposes certain ways of moving and not moving the body. This body view relates to Michel Foucault’s perspective on how the body is seen as a social construct. In relation to this view Don Ihde writes: “… the cultural or socially constructed body. It is the body of the condemned in Foucault, the body upon which is written or signified the various possible meanings of politics, culture, the socius. (…) It is the body that can be female, of a certain age, from a certain culture, of a certain class, and thus have a cultural perspective as the embodied and enculturated particular being we are.” (Ihde, D. 2002 p 70).

Foucault believes that the object of power is the body: The power that works everywhere in our discursive and material surroundings disciplines the body. Like this the body is disciplined to think, speak, live, work and

dream in certain ways (Thau, C. 2007, p 173). In the case studies of this thesis it is felt how the various surrounding social constructions influence the body movements. Through movements the social constructions are challenged as attempts to understand them. In this way the social and cultural rules of the surroundings are experienced consciously in the body. Both views The above describes how the body movements are influenced by both immediate experiences and social constructions. In the case studies it is experienced. In this sense the two views on the body are connected and influence each other and thereby the descriptions and analyses of the case studies. As an example I will give an excerpt from one of the case studies: Staying in an open, undefined and wildly overgrown space of an abandoned goods yard evokes playful feelings of excitement and vitality and curious desires to gratify the senses, which influence the movements to be large, wild and playful. These movements seem to cross the limits of existing social rules. Apprehensions of standing out, offending locals or being perceived as crazy emerge. This influences the movements in restrictive ways. In this example the space is interpreted as being wild and abandoned, which evoke certain feelings and thereby influence

the immediate experience. The feelings influence the movements that express the immediate social rules of the performers internal to the situation. These movements seem to cross the limits of existing social rules or social rules that exist as an external factor. This also influences the movements. The interpretation of the social space is based on a certain cultural and social perspective which determines the space as wild and abandoned and the limits of social rules: the former social function of the space is lost and vegetation has taken over (being from another culture not knowing the former function of the area would probably inspire other interpretations). Like this the social constructions of a culture influence the immediate experience of feelings and vice versa, which both influence the body movements. Don Ihde connects the two ways of viewing the body when he says that for there to be a marked cultural body (a foucauldian body), there must be a body that is markable (a Merleau-Ponty body) (Ihde, D. 2002 p 70). In this sense he believes that the two views are two aspects of the body. Gain knowledge Definition of place This combined perspective on the body focuses on movement: intentionality, development of feelings, narratives, situations, body movements, interaction

and challenge of social rules. This means that knowledge gained of physical locations is knowledge of how they are able to change situations: change the feelings, body movements, intentions and the social rules. Therefore the suggestions made in this thesis for developing places will be pointing to how they can develop through inherent processes and connections. Place in this sense is seen as non-static processes and connections to the surroundings. Film To document the movements the process is recorded on film. This media is chosen because of the possibility to represent various movements. From the recordings smaller narratives have been made, that emphasize characteristic expressions, aesthetic values and challenges of the situations. Especially the movements of the performers are in focus, because they express the feelings of the situations. P e r f o r m e r s

look fluent; in other cases they have been cut to emphasize contrasts; and for all the narratives, except one, music has been added to emphasize certain atmospheres. In all cases it is attempted to stay true to the situations. And in cases that do not stay true to the situations, new narratives about the places have emerged, which reveals possibilities and capacities of the places that are not discovered in the process of filming and moving in the space. In this sense the process of creating the films is as important as the films for becoming more familiar with the places.

The situations consist of what happens between the performers, film photographer, passersby and material settings. The connection between these elements has an influence on what is captured on film; it is not only how the photographer perceives the performersâ&#x20AC;&#x2122; perception of the space, but also how the situation develops between the elements, including the photographer and what it reveals to the photographer. In this sense the photographer is affected by the other elements of the situation and vice versa. Therefore the photographer alone does not control what to film. The whole situation, including the photographer, determines what to film. In this sense the film recordings say something about the whole situation. However, the smaller narratives are manipulated in different ways: e.g. it has been necessary to cut out reactions from passing people because of film rights; in some cases the films have been cut in ways that make the movements

The six roles The development of the process is described through various perspectives â&#x20AC;&#x201C; all with focus on the interrelations between body and space: The Landscape Architect describes the spatial elements, the characteristics and the atmosphere through influence on senses, emotions, feelings, thoughts, ideas and imagination. The Choreographer and

E d i t o r s S p a c e

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dancer describe how the spatial elements, the characteristics and the atmosphere affect the body movements and how the perception of the space is changed when the movements are explored and developed. The Film Photographer, editor and music composer describe how the motives and the way of filming captures the movements, certain characteristics and atmospheres, and how the perception of the space is communicated through the films.

Response The interrelations between body and space are in this thesis categorized as various aspects of response, which is used for analyzing what happens between body and space in various situations: Senses are activated â&#x20AC;&#x201C; senses are seeing, hearing, smelling, tasting and touching; elements are recognized, which determines certain functions, or not recognized, which opens up to interpretation; certain elements are physically compared to the body like the strength of a bridge or the gravity defeating quality of a lamp; certain constellations of material elements pull or push the body in certain directions; feelings are evoked â&#x20AC;&#x201C; in this definition feelings are anything from suspicions to emotions; social relations occur between things and other bodies; reflections are made; and atmospheres are felt.

Landscape architect Feels and senses the response in the present situation. Creates visualisations from all perspectives.

Musician Communicates the response.

Choreographer Describes how the response affect the body movements. Creates an imaginary situation to imagine and communicate the movements.

Film cutter Communicates the response.

Dancer

Film photographer Frames the present response.

Describes how the response is felt and sensed in the moment. And how the movements change the perception of the space

Case studies Intro

Space

Affect

Response Wake senses Recognition Physical comparison Imagination Wake atmospheres Wake feelings Emotions Social interaction Pull/push in directions Reflections

Affect

Body movements

What happens in the meeting between body and space is explored through body movements on six locations with various characteristics and atmospheres. Four locations are situated close to each other in an area in the northern district of Copenhagen. The area is a mix of housing, offices and industry. The large amount of offices and industry means there are very few social activities in the public space, it seems disconnected and dominated by cars. The purpose of choosing these four locations, is to see how they can attain a higher degree of connection and become more pedestrian friendly, which could help open up the area for its residents. The remaining two locations are chosen because of their contrasts to the four locations described above, as a way of putting the locations and the body movements into perspective. They are pedestrian areas situated in the space of Copenhagen Harbour. The case studies have three purposes each: one is to find qualities of the places specific for each case study, and the other is to try out different ways of exploring them with body movements. The third is to create narratives of the case studies in short films. 9

Bishop and Diamond Bispebjerg Hospital

Case study In continuation of the DSB-area there is a bridge under which a few rails used to continue to the other side. Today they end under the bridge out of function. The bridge seems to tie together all the rails from the DSB-area, and therefore becomes a bottleneck between the DSB-area on one side and Mimersparken on the other. The DSB-area is a private area, and Mimersparken is a public park. In this sense there are no connections between these two areas today. In the future it is expected that the DSB-area will get new more public functions, like housing or a public park. This means that the space under the bridge will be used as a transit space between the two areas. This case study explores how existing qualities of the space under the bridge can be kept in this future scenario: The same series of movements is

Colony houses

LersĂ¸parken

S-train line

DSB-area KTK-area Office buildings Industry buildings

Social housing

Bridge

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Rails on the DSB-area A

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Plan view showing the bottle neck effect of the bridge. N 100m 200m

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Plan view under bridge 0m

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done under the bridge and outside The Black Diamond. These different and contrasting locations are chosen to experience what happens to the movements in different surroundings and to see if it emphasizes the qualities of the space under the bridge. The following descriptions and analyses relate to the interrelations between the choreography and the surroundings. This means that: the spatial-analyses describe spatial and social factors that have the potential to influence the choreography; the movement-analyses describe changes in the choreography that relate to the situation; and the film-analyses describe how the film compares the two places, and shows the interrelations between the choreography and the surroundings. In this section it is also described how the film tells its own narrative of the situations. The film is filmed and edited by Proffect

Production. This means that the descriptions and analyses of the filming and editing are not made from first hand experience.

Spatial analysis

space feels closed and very defined by the pillars and the top of the bridge, but there is also an openness to it, because of the free access from one side of the bridge to the other. It is abandoned and in decay and therefore full of opportunities.

Under the bridge Entering the space under the bridge, there is a sudden shift in the atmosphere. It is darker and colder. In between the pillars it is even darker. It smells damp and the sounds from the outside are damped. There are no people and no activity besides the wind, which is also quieter. The litter covering the surface, the smell of dirt, broken fences, graffiti and a provisional clubhouse indicate activity though. Bicycle parts, barrels, bottles, plastic wrappings and indefinable metal pieces are scattered all over the surface. The

Pillars Four lines of pillars are carrying the bridge suggesting three smaller spaces. On one side two lines are made of concrete. The pillars look cold and dismissive; they are grey, made by machines, square and connected in straight lines. They are only there for functional reasons, replacing the original brick pillars. It leaves them with no aesthetic consideration to the surroundings and it creates a feeling of aggressiveness. On the opposite side two lines of pillars are made of bricks indicating the original

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Perspective section of the bridge. To the left the brick pillars are connected by curves. The concrete pillars stand to the right and on the outside of the brick pillars.

construction, emphasized by the original rails that lie unfunctional in between. The brick pillars are brownish red, seems warmer, more texture, less machine, more human. They are wider, heavier, more organic and connected by curves formed by hand. The extra width at the bottom makes them

appear even heavier. They create a feeling of safety, a sanctuary. They are just wide enough to create small resorts between each other, as opposed to the brick pillars that are too narrow to do that. The differences between the concrete construction and the brick construction intensify both and create

a tension that fills up the space. The pillars have constantly been carrying the bridge since they were built. This indicates great strength and stamina that is recognized and evokes feelings of strength and stamina in the body.

Concrete pillars. The clubhouse and one of the boys hiding is just to the right of the middle. In the outer right and left side the openness and light are shown.

Directions The pillars stand in four lines in a direction from one side of the bridge to the other. At first they create an intention of moving along this direction. But inside the space they create many different directions and smaller spaces. The opportunities, tension

Brick pillars. The rails lay behind the pillars

and differences in between and behind the pillars creates a sensation of uncertainty and curiosity which stimulates the imagination. Together with the feelings of strength and stamina, the spaces appear inviting. Like this the body is pulled in various directions.

Summary of spatial analysis - Bridge

Activate senses

Atmosphere Tense Energetic Playful Open Exotic

Looks darker Feels colder Smells damp, dirt Sounds quieter Colours (pillars, vegetation) Material (pillars, surface) Impressions - litter

Reďż˝lection

Materials indicate activity Space is full of opportunities Concrete pillars made by machines Brick pillars made by hand Heavy and old rails Original bridge construction History Trains from all over the world Old looks heavy and robust Concrete seem more fragile Social interaction Graďż˝itti indicates movement Unknown social rules Unknown functions Abandoned Decay History Quick, cheap solutions Safety, sanctuary, resorts Tension Strength and stamina Clubhouse

Recognition/unknown Recognize the construction of a bridge Functions under bridge is unknown

Physical comparison Strength and stamina

Pull/push in directions Line of pillars - from one side to the other Small rooms made by pillars Open/closed

Wake feelings

Blind aggressiveness Warm, safe, sanctuary Tension (contrasts) Open/closed

The Black Diamond As a comment and a contrast to the space under the bridge and vice versa, the space outside The Black Diamond has been chosen because it is aesthetically coherent, intentional, finished, taken care of and everything seem tamed: the building has a simple and minimalistic facade made of glossy black granite matching the lower part made of glass. The surface of the space outside the black diamond is made of rough paving stones and the edge of the harbour is made of rock. The granite, the paving stones and the rock have similar heavy and grounded qualities, and in combination they express a grounded calmness. The building even matches the water, because of the mirroring effect from the granite and glass. Like this the faรงade towards the harbour mirrors the water, because it is tipped towards the water.

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Contrasts There are contrasts though: The tipped vertical line from the building breaks the horizontal line made by the water and ground, and the large scale of the building is a contrast to the surrounding flat ground, which make the building look majestic. Because of the tipped shape towards the water the building resembles a part of an enormous ship. Because of the reflection of the water it looks like the ship is moving. This is experienced as a contrast to the feeling of heavy and grounded calmness.

Open space The space is open towards the harbour and the sky. It is closed towards the building, but the mirror effect takes in the whole harbour space and opens up the building. The fact that it is a library and a place for cultural communication makes the building accessible to the public. This adds to the openness of the building and it feels welcoming. The long views towards the Opera, Islands Brygge and Christianshavn make the relatively small space in front of the black Diamond part of an enormous space, where all the sounds from the harbour area are extended and mixed together

because of the large space. The water connects the elements of the whole area both directly and by its distinctive smell.

Outdoor cafe with parasols and flower pots Glass doors Edge

Dancers

Water Paving stones Cafe chairs

Plan of space outside The Black Diamond. 0m

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Dancers in front of The Black Diamond. The glass mirrors the water, the opposite buildings and a sightline to Christianshavn.

Summary of spatial anlysis - Black Diamond Activate senses

Atmosphere Relaxed Calm Open Lively Tame

Smell of water Mirror effect Sound of water activities Sounds extended, mixed together Rough paving stones Rock Glass

Recognition/unknown Building, library. Harbour Functions - water activities Cafe

Physical comparison Heavy, grounded calmness

Reďż˝lection

Ship Reďż˝lection of the world Intentions of passing people High maintanence and care No room for change Surplus of resources Recreational values

Social interaction Place of culture communication Accessable building Water activities Reserved, withdrawn Annoyed Change of movements Avoid Not disturb Not get involved

Pull/push in directions

Along the harbour promenade In and out of building - doors

Wake feelings Heavy, grounded calmness Majestic Reservation, withdrawn Annoyance Openness Relaxed Welcoming Lively Tame

The Bridge vs. The Diamond The space outside The Black Diamond indicates that all details have been thought of and are still very carefully taken care of. There is no room for change it seems. This indicates a surplus of resources and high maintenance and care, which is absent under the bridge. On the other hand the more extreme and unintentional contrasts of the space under the bridge seem to create more energy and tension due to the possibilities and opportunities that lie in the space. Therefore it appeals more to the imagination while the space at The Black Diamond appeals more to recreational values.

Plan illustrating various directions and spaces made by the pillars - the warm spaces made by the bricks and the cold spaces made by the concrete.

Section illustrating the dancersâ&#x20AC;&#x2122; expressing the tension of the meeting between the coldness and warmth and between the dancers and the boys/young men. 0m

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The direction- and room making effect of the pillars.

Body movements The movements The idea behind the movements is that one movement naturally follows the other in a flow. When a flow stops because of the limitations of the body a counter movement is made that takes the energy from the former movement and puts it into a new flow. In this sense the focus is mostly on what parts of the body to move in which order, and less on how it looks and what it expresses. The series is made in a dance studio in front of a mirror without any connections to the space under the bridge or outside the Black Diamond. When the movements are carried

Small space in connection to a concrete pillar. Graffiti indicates movements. Ivy randomly climbing the concrete. Photo is taken in summer.

out, they are as close to the studio version as possible. In this way it is possible to notice how the situations change the energy and feeling of the movements, and how the movements express the atmosphere of the space.

Directions Because the movements are made in front of a mirror, the whole series of movements have a direction towards the mirror. In this sense the mirror can be said to be the recipient of the movements. This unconsciously influences the choice of directions in the

space under the bridge and outside The Black Diamond. Under the bridge it feels natural at first, in this sense, to direct the movements along the pillars in the direction from one side of the bridge to the other. But during the execution of the choreography the smaller spaces present additional

Dancing between the concrete- and brick pillars. Because of the movements the dusty surface is discovered, which gives a unique bodily sensation and affects the movements.

directions. This gives new meaning and directions to the movements. Together with the tension of the contrasts and the opportunities, curiosity and unexpected connections, that lie in the arbitrariness of the decay, it appeals to the imagination and nourish creative thoughts and ideas. This creates energy, which is felt in the body and expressed in the movements. The new directions and meanings make the whole series of movements more compact and whole, which makes the movements more precise and direct. At The Black Diamond it feels natural to direct the movements towards the open space with the building in the background. Like this the whole harbour space becomes the recipient. As opposed to the location under the bridge there are no defined directions; it is one open space with an endless number of directions all merged together. This creates an exciting sensation of being out of control when executing the movements. In order to stay focused and in balance, great attention is given to the ground surface. Material The layer of dirt on the surface under the bridge makes it easy to execute the movements of the choreography, and the dusty character of the surface is discovered. The material of the pillars is felt in the interaction with them: at first the concrete

appears smooth, but after interacting with them it is realized that they are very rough, as opposed to the bricks that appear opposite. At The Black Diamond great attention is given to the surface of the space, because the feet get stuck when trying to turn around. Interaction with the lower glass surface of the building is done carefully, in order not to break the glass. Movements close to the water have to be very controlled in order not to loose balance and fall into the water. All in all the movements are much more restrained at The Black Diamond. Group of locals At the day of the film recordings a group of local young men were using the clubhouse under the bridge and had occupied the space between the concrete pillars. Apparently it was their hang-out place. In the middle space the female dancer and I wanted to go through the movements before the film crew arrived. We tried to ignore the group, but felt intimidated by their non-stop calls of a clearly sexual manner towards the female dancer. The space under the bridge is situated away from everyday activity in a neighbourhood known for high crime rates and gang activities. Not knowing if it was a gang and being unfamiliar with their social rules, I was worried that the group would feel provoked by my movements, because they could be perceived as sensitive and

effeminate, and I was worried about the female dancer. There were clearly tensions between us. When the film crew arrived they got worried that their equipment would be stolen. We discussed if we should go through with the shoot or not because of our worries. We decided that the only way to go through with it was to ignore all of our worries and give it everything we had. So we did. During our performance the group of locals were not talking, though they seemed very aware of us. In these moments our tensions were expressed through the movements as an answer or comment to the group. After our performance the group was clapping and shouting positive things like “you are so cool”, “great”, “nice”, etc. They started to show great interest in the film. One of them even asked if he could be in the film. He did a part of our dance sequence to show he knew how to do it. All in all it was a positive experience releasing some of the tension between us.

Diagram showing how the space looks while moving.

A cultural experience It is July, the sun is shining and the whole harbour space is full of life: people sitting at the cafĂŠ, strolling along the promenade and enjoying various kinds of water activities. The library is well visited. Most people walking past us while we dance do not pay any attention to us â&#x20AC;&#x201C; as if they are satiated with cultural experiences and we are just one experience more, one of many. The only contact between them and us is when they try to avoid us, because they do not want to disturb or get involved. The only direct attention we get is a few people, who seem annoyed with us and walk in between us, forcing us to change the movements. Energy The calm and recreational atmosphere of the space seems to curb the movements. The energy is low, because the elements and design of the space are already made and does not seem to appeal to the imagination. The movements do not seem as unexpected as they did under the bridge, and this seems to take away the curious and exciting feeling of uncertainty that exists under the bridge. In this sense the space does not encourage certain movements as much as the space under the bridge did.

In the interaction with the glass and paving stones body movements are limited.

Summary of body movements - Bridge

Change, development

The social interaction, the movements and the atmosphere develops from being tense to release of tension. The material settings change by presenting new directions and meanings. The dusty surface reveals itself in moving clouds. All is changing in the situation.

Activate senses

Atmosphere From tense to release of tension

Dusty surface Rough concrete Smooth bricks

Energy Compact, whole Precise, direct Easy Express tension Comment on tension Release tension

Explore unknown functions - clubhouse, stage

Physical comparison

Reďż˝lection Appeals to imagination Nourish creative thoughts and ideas New directions are explored, which gives new meanings

Movements

Recognition/unknown

Pull/push in directions Along lines of pillars Smaller spaces presents new directions

Wake feelings Tension (contrasts) Curiosity Social interaction Energy Looking for common ground Compact, whole Ignore Ignore Intimidation Intimidation Worry Worry Tensions (group) Tension Release of tension

Summary of body movements - Diamond

Change, development

Atmosphere changes between being calm and of annoyance. Movements change from being out of control to controlled. People use the area in various ways - cafe, promenade, water.

Atmosphere Calm Annoyed

Activate senses Rough surface Fragile glass Endless directions

Recognition/unknown One cultural experience out of many

Physical comparison Reďż˝lection Does not appeal to the imagination Reďż˝lections of the library

Endless number of directions

Wake feelings

Movements Out of control Get stuck Control Restrained

Pull/push in directions

Social interaction Cafe Promenade Water activities Library No attention Avoid Annoyance Change movements Calmness

Exciting sensation of being out of control Control

Film The purpose of the film in this particular case study is to show the contrasts of each place and put the atmospheres of each

place up against each other. In this way the film emphasizes how the movements are influenced in different ways by the interrelations between the space and the body.

Camera perspectives at The Black Diamond Emphasis is on the reflections of the building, because it is a crucial part of its identity, and because libraries in general contain material that reflects the world. One perspective along The Black Diamond shows how it

fades into the surroundings due to the mirror effect of the granite. Elements from far away are reflected in the building. Another perspective shows how the tipped angle of The Black Diamond makes it possible to reflect and take in the opposite buildings, the water and the activities in it. The tipped

angle also anticipates a movement towards the water, and together with the movements of the reflections the building resembles a small part of an enormous ship. All these perspectives show: the grounding feeling of the granite, paving stones and rock; the feeling of a moving ship; and the building

disappearing in the surroundings because of its reflections. The endless directions of the whole harbour space are made visible in the reflections.

Under the bridge Emphasis is put on how the smaller rooms change the directions. For this purpose three cameras are used. One is on a stand and partly panning through the space, partly still. The second is handheld from one position. The third is still. They are all placed under the bridge. The first camera is panning from one exit of the bridge to the other, showing the entrance of the girl and following her when she passes the brick pillars. It ends in a motive where the brick pillars are in the right side of the picture and the concrete pillars in the left. This shows how the space is connected through the exits and by the pillars. And it shows that the space is much brighter and more open than first expected. Together with the contrasting fact that the space is closed and quieter than the outside, it shows a feeling of being protected and thereby the space under the bridge resembles a sanctuary. The pillars add a spiritual feeling to the space. The second camera shows the part of the space dominated by the concrete pillars. With these two cameras all the contrasts are introduced: the much bigger space outside vs. the more structured and closed space inside, the brick pillars vs. the concrete pillars and the sacred feeling vs. the dirt and litter. The third camera focuses on the brick pillars. It is close to the ground and therefore also focuses on the surface covered in dirt.

The second camera focusing on the concrete pillars.

The third camera. It also shows the position of the first camera to the right and the second to the left.

4 The first camera follows the girl from arriving to leaving giving an overview of the space focusing on the bricks and leaving the clubhouse out.

Two sequences showing the continuity of the movements from space to space

Sequence

Cut It is cut in a way that emphasizes a narrative structure: Two persons pass each other through the space under the bridge and at The Black Diamond. When they meet they dance together in unison movements. They leave the spaces separately in opposite directions. The shifts between the bridge and The Black Diamond are cut in a way that connects the series of movements in continuity. The two persons wear the same clothes in both spaces. This emphasizes that the aim is to do the same in both spaces, and any changes are therefore determined by the situation. The shifts between the two spaces also make their differences appear clearer and stronger.

Summary of ďż˝ilm - Bridge Atmosphere Spiritual Dirt Contrasts

Activate senses Dirt Light Music - spiritual

Recognition/unknown Bridge Unknown functions

Physical comparison Bright, open

Reďż˝lection Sanctuary Spiritual feeling Contrasts Narrative

Pull/push in directions Along lines of pillars Smaller spaces presents new directions

Wake feelings Social interaction Dancers Cameramen

Harmony Spiritual Contrasts Sanctuary

Summary of �ilm - Diamond

Activate senses Re�lections Fade Water and its activities Endless directions Music

Atmosphere Calm

Recognition/unknown Don’t know it’s a library

Physical comparison Re�lection Ship Contrasts Endless directions Clearer and stronger differences

Pull/push in directions Endless directions

Wake feelings Social interaction Material 36

Spirituality

Spirituality The music of the film focuses on the spiritual aspects of the spaces: The space at The Black Diamond is just outside the huge glass facade. Behind the glass façade is one huge atrium that spans from the floor to the top of the building. This high ceiling and huge room creates a sense of spirituality. Also the space under the bridge gives associations to spiritual rooms and sanctuaries, because of the large space and the ceiling held by pillars. The base of the music is samples taken from non-western spiritual music with roots in parts of Asia, Africa and Australia. This symbolizes the two space’s connection to various cultures: the library with all its books and cultural events and the space under the bridge with its connection to Mjølnerparken and Den Grønne Trekant, both social housings with residents from around 38 nationalities. The music is not cut to fit the different scenes or vice versa, but is an independent layer determining the spiritual ambience of the film. Any original sounds are removed

Conclusion The conclusion is a summary of the reflections, qualities and possibilities discovered in the process. Re�lections/qualities The bridge Decay and abandoned = full of opportunities Contrasts creates tension, causes energy Gra�itti indicates movements Directions and smaller spaces appeals to the imagination, nourish creative thoughts and ideas, gives new meanings Sanctuary Narrative - meeting place Release tension Black Diamond Re�lection of the world High maintenance and care No room for change Recreational values Does not appeal to the imagination Endless directions Out of control/control

Possibilities, developments in the future One of the qualities of the space under the bridge is that it is ‘out of the way’ as a sanctuary and therefore attracts groups of people, who would not normally meet. This function will probably be lost in the future if the space becomes a transit between a public park and a more public function of the DSBarea. It seems possible to keep the other qualities of the space though: To keep the qualities of the smaller spaces and directions pulling and pushing the body in various directions, some of the different expressions and contrasts can be kept in order to maintain the inspiration and the excitement: the old rails, graffiti, concrete, bricks, openness and closedness. The space between the brick pillars and the space between the concrete pillars could even be kept more or less the way they are. This could invite a variety of people to stay in the space and thereby create opportunities for meetings between people. In this way the place could be constantly changing – the situations would always be different. Together with the connection to wild nature from the DSB-area, the feelings of opportunities and imagination could be kept. This could maintain the quality of inspiration and tension felt in the body, and like this the space would keep its potential of releasing the tension between people. 38

The Black Diamond Working with the space at The Black Diamond pushed the contrasting qualities of both places into extremes and like this they were emphasized. To emphasize the qualities of the space under the bridge, some of the qualities of the space at The Black Diamond could be introduced. E.g. the calm feeling of coherence could be integrated in the surface of the middle space (the space between the concrete space and the brick space) by matching it with the surface of Mimersparken and the DSBarea. This would connect the space to the surroundings, include the surroundings and add to the variety of experiences under the bridge.

Case study For this case study two places have been chosen which, for different reasons, invoke feelings of awkwardness while remaining there. Movements are made to ascertain which elements cause the experience of awkwardness, with the purpose of making the places less awkward to stay in. The following descriptions and analyses relate to the experience of being out of place. This means that: the spatial-analyses describe elements that cause the experience of being out of place; the movement-analyses describe how movements are influenced by this experience; and the filmanalyses describe how the film partly captures these elements and partly changes the atmosphere to being less awkward.

A Bispebjerg Hospital

Stepping Out of Place Colony houses

LersĂ¸parken

S-train line

DSB-area KTK-area Office buildings Industry buildings

Social housing

Bridge

100m

200m N

1:5000

Plan of crossroads N 0m

1:1000 20m

The differences are emphasized: the carelessness of The Corner to the right; the abandoned family house on top; to the left the disciplinary rigorousness of the mosque, that are under construction symbolized by the unfinished sketch on the roof; and the strictness of the corner of the social 40m housing area in the bottom. The plan is an interpretation of how the space is perceieved and is therefore not an accurate representation of reality. Kollektivhuset

Bispebjerg Hospital

1:5000 0m

100m

LersĂ¸parken

200m

Colony houses

DSB-area S-train line

Industry buildings

Office buildings

The Corner

The Corner with a view towards Bispebjerg Hospital and -Church shown respectively to the left and the right side of the traffic light. The mosque/ culture house to the left and the abandoned family house to the right.

Spatial analysis The Corner From the DSB-area there is an exit towards a block of office buildings and a residential area. A short and steep road goes from the exit and ends in a crossroads. At first the crossroads seems insignificant, anonymous and unimportant, because nothing is done to make pedestrians feel comfortable. The great numbers of passing cars audibly and visually dominate the space. It is just a place to pass as quickly as possible it seems. Taking a closer look, it appears that it might be one of the most aesthetically accidental places in the area. At the same time it seems to express a great lack of care and lack of consideration towards pedestrians. Especially on one corner this may have an impact, because it seems to provoke a rather destructive energy. Lack of care The Corner in itself is dominated by the colour grey: the asphalt, metal fence, flagstones, paving stones, traffic lights and kerbs. A few of the older flagstones are yellow. The distribution of grey and yellow flagstones seems to be of no discernible order. In addition the asphalt replacement of paving stones on a small piece of the surface seems to have no visual orientation, but is put only where it is practical and needed. This indicates a practical, functional, time saving and non-aesthetic replacement of flagstones and paving stones. Also the dark green street sign in the middle of the space has been broken and put together with light grey metal, that does not seem to follow the aesthetics of the sign, but rather has the sloppy look of being put together in a

hurry. All vegetation is kept away. So apart from consisting of dead, hard and mostly grey metal and stone surfaces without any vegetation, the space also indicates a shortage of resources and a lack of care. Surroundings The fence marks a sharp border between public and private. On the other side of the fence there is a block of relatively large buildings housing private companies and government buildings. The area is therefore inaccessible for locals. The buildings seem larger and more dominant because of the uphill direction away from the corner. The street view in all four directions, respectively 80-, 300-, 400- and 500 meters, is dominated by fences, housing and private companies bordering on the footpath. So pedestrians do not seem to have any business on the corner or its surroundings unless they are walking the long distance from one housing to another, or if they are taking a walk in the DSB-area. In one direction it is possible to look beyond the street over the DSB-area and LersĂ¸parken towards Bispebjerg Hospital with Bispebjerg Church behind it. These long views make the space of the corner feel even smaller and more insignificant. Because the space is so open, many facades with windows are visible. But it is impossible to see what is behind the many windows. They are just too far away. Together with the cars this creates a feeling of being looked at or even watched. The openness also means there is no protection against wind or sun. On one hand the openness makes the corner very vulnerable, and on the other hand it makes the corner a part of the grand space with all its elements surrounding it, which is unique and rare in a city as dense as Copenhagen.

Inclusion/exclusion All in all it does not feel comfortable to stay in the space, and there are no apparent reasons to stay, except perhaps the view towards Bispebjerg. One exception is the anticipation that the mosque and community-centre being built on the opposite corner will be a local, regional and perhaps even national spiritual and cultural meeting place. This will affect the surroundings because it opens up for pedestrians, and there will be reasons to use the space in connection with the mosque. On the other hand some people will probably feel excluded from the mosque, which would make remaining in the space of The Corner feel even more out of place.

The Corner with the block of office buildings behind the fence. The border of the social housing area in the right side of the motive.

The border of the social housing area and the pile of waste to the left and the mosque to the right. The fences borders on the pedestrian area along the social housing and the bike lane along the mosque and onwards, indicating no activities targeting pedestrians

The KTK-space On one hand the block of office buildings separate The Corner and The KTK-space, because of the absence of access. On the other hand it has a deep influence on both spaces and therefore connects them.

Bispebjerg Hospital

Closed The other side of The Danish Nature Agency is bordering on the KTKspace, which makes it impossible to enter the space from that side. On the three remaining sides continuous wood constructions 6-7 meters tall are situated along the border of the area, which seem to make the KTKspace physically closed around itself, except there is no roof. This means that many sounds are shut out or deadened. In this sense it is a contrast to The Corner. Open Through a gateway under the wood construction a long view reveals another part of the KTK-area. Many social activities are going on in that area, which attracts people Bridge both locally and regionally. An exit through the wood construction to the street has been made opposite the gate. The area between the gateway and the exit, which is the area of the performance, functions as a transit space between the street and the social activities. This means there are no obvious reasons to stay in the space. Staying in the space even creates a feeling of being in the way and an urge to explain 46 or excuse.

Colony houses

LersĂ¸parken

S-train line

DSB-area KTK-area Office buildings Industry buildings

Social housing

100m

200m N

1:5000

Ga tew

ature Ag Danish N

that an effort has been made to include more of the public into the area: a mini sportsfield is marked on top of the old asphalt; two metal goals and two basketball goals are cast into the asphalt; and metal bars are built into the wood construction of the open shed. On the other hand, for people not playing sports or working out, this will add to the excluding factors of the area.

ency

Exclusion Furthermore, not being part of the social activities that goes on in the area creates a feeling of being left out or not fitting in, which makes it even more awkward to stay in the space. However, it appears

Exit to Haraldsgade Plan of the KTK-space with the two goals and the slope going in from the exit.

Section of the KTK-space 0m

10m

20m 1:500 A

20m N

Wall

1:500

The KTK-space with the gateway to the left, the exit to the right and one of the goals in front of the slope.

Slope Gateway Open shed

The KTK-space with the goal to the left and the slope coming in from the right. Through the gateway the housing is visible on the other side of the KTK-area.

The Danish Nature Agency lies behind the wall.

Summary of spatial analysis - Corner

Activate senses

Atmosphere Grand space Diversity (mosque)

Sound of cars Sight of cars Smell of cars Grey colours Dead, hard, grey surfaces Long views

Re�lection Provoke a destructive energy No visual order practical, functional, time saving and non-aesthetical Sloppy look Shortage of resources Lack of care Pedestrians have no business in the area No connection between buildings Mosque as cultural and social meeting place

Social interaction

Inaccessible surroundings Being watched Open Diversity Social (mosque)

Recognition/unknown Traf�ic light Waiting for green light Passing

Physical comparison

Pull/push in directions Walk across the pedestrian crossing Footpath

Wake feelings

Insigni�icant Unimportant Anonymous Being watched Open Vulnerable

Summary of spatial analysis - KTK

Activate senses

Atmosphere Exclusion Closed

Long view Hard asphalt Wood constructions Metal goal Quiet

Recognition/unknown Transit space Multi sports �ield

Re�lection Exclusion/inclusion Urge to excuse or explain

Physical comparison

Pull/push in directions Slope, exit and tunnel

Social interaction Closed Social and cultural activities Transit space Connection to surroundings Urge to excuse or explain

Wake feelings Closed Exclusion Open Being in the way Urge to explain or excuse Left out, not �itting in Awkward An effort to include Not annoyed

Body movements

A series of movements expressing indecision, which way to go and whether to stop or continue

This case study explores how it feels to stay in these two spaces. Movements that feel out of place are done in the spaces; normal movements are developed into exaggeration through improvisation. One person is starting from a neck movement and one person is starting from an arm movement. This means that nothing is choreographed before the film recordings. Indecision The KTK-area is an entrance and therefore a space where people are either coming or going. Remaining in the space with that in mind feels like being indecisive of whether to stay or go. This is symbolized in the movements: indecision whether to sit down, lie down, move very energetic, stand still, which direction to move in, continue or stop the movements.

Inhibitions As the performers are not playing sports, working out or being part of the social activities of the area it feels awkward to remain in the space, especially when people are passing. It is the busiest space of the area, with people coming and going, and therefore it is the space where most interference with others take place. This means that when moving in the space there is a consideration of passing pedestrians and cyclists. Also the surface is hard asphalt and therefore does not give in to the body movements, which is hard on the joints.

One direction.

Change of mind. Looking for another direction.

Another direction.

Can not decide which way to go.

Stopping.

All directions are possible.

A series of movements expressing indecision. The first three photos show a direction and intention whereas the last three show a giving up and indecision of which way to continue the movement.

Direction.

Giving up.

Can not decide what to do.

Trying to get out of it/regression.

These factors inhibit the movements. As a contrast the long view and the openness in general open up the body. People passing by are minding their own business. It seems as if they are used to various kinds of events in the area. As opposed to the space at The Black Diamond, no one seems to get annoyed. The Corner When staying in the space of The Corner: The noise from the cars causes potential conversations with strangers to be reduced. The noise makes it hard to think clearly. Together with the smells, dominated by the exhaust emission from the cars, this causes irritation. The dead, hard and grey surfaces and absence of vegetation evoke feelings of destruction and aggression. The shortage of resources and the lack of care evoke feelings of inferiority. The experience of being watched, and the fact that there is no protection against wind and sun, evoke a feeling of vulnerability. When moving When moving in the space the irritation and aggression together with the inferiority and vulnerability create restricted and inhibited inwards and tense movements. On the other hand the connection to the surrounding grand space, with its great variety of elements, seems as if it would evoke feelings of capaciousness, but the fact that everything is fenced in, inaccessible and the aesthetic connection between the elements appears to be non-existent evokes opposite feelings, which are expressed in small and

limited movements. However, when defying these rather tense feelings and instead letting the grand space take over, the movements become more free and loose. By playing with the surrounding elements in this way it is possible to release some tension. On the other hand it can attract negative attention: In the situation one man in a car was shouting very aggressively towards me when I started to move more freely. Sequence

Sequence

Small neck movements affecting the arm and the rest of the body only a little.

Larger neck movements causing larger movements in the rest of the body.

Summary of movement - Corner Change, development

Movements change from being inwards and tense to being more free and loose. Social interaction changed when movements became more loose - shout from a car. The atmosphere changed between being tense and open - mostly tense. The feelings developed into a release of tension because of larger movements.

Activate senses

Atmosphere Tense/Open

Noise from cars Exhaust emission Dead, hard and grey surfaces

Recognition/unknown Crossroads

Reďż˝lection

Physical comparison

No aesthetic connections

Pull/push in directions Towards LersĂ¸parken - grand space Pedestrial crossing

Social interaction Movements Restricted, inhibited Inwards and tense Small and limited Outgoing, larger vs. being watched, vulnerability Free and loose

Aggressive shout from a car Cars Negative attention Watched from buildings Sharp line between public and private

Wake feelings Irritation Destruction and aggression Inferiority Watched Vulnerability Restricted Inhibited Capaciousness Release tension

Summary of body movement - KTK Change, development Movements change between inhibited and open. The awkwardness gets smaller when realizing that people are minding their own business. The atmosphere change from closed and exclusive to more open and a feeling of being more included.

Activate senses

Atmosphere Closed to open

Hard asphalt Metal goals Long view

Recognition/unknown Transit space Goals

Reďż˝lection

Physical comparison

Either coming or going Hard on the joints

Pull/push in directions Interference with others

Movements Indecisive Inhibited Hard on the joints Open

Social interaction Stay or go Minding their own business Indecision Awkward Consideration Inhibition

Wake feelings Indecision Awkward Consideration Inhibition Openness

Film The film Before arriving at the two spaces – the KTK-space and The Corner – various surrounding/connecting landscapes are introduced to give an impression of the various aesthetic expressions of the surroundings that are contrasts to the two locations. In the beginning of the film there is a scene from the DSB-area with the green area and Lersøparken in the background. Later there is a scene from Haraldsgade and a square with a playground and benches. Spaces where it would not feel awkward to stay. Camera, KTK-space For all scenes the camera is placed in one position and not moved. The motives are shot from various angles, trying to capture the closed atmosphere of the space and still show the two views from the space towards The KTK-area and towards the street. Furthermore one motive shows the contrast between the Nature Agency and the KTK-space. From all angles and in all motives there are reminders of how the functions of the space are defined by: the transit area with the yellow slope that cuts into the surface from the exit and into the middle of the space; the sport goals; the metal bars; and the exits. This emphasizes the awkwardness of the movements on one hand and on the other hand it shows that even though it feels awkward it is open to interpretation.

The DSB-area. The connection to Lersøparken is blocked by the S-train line.

The path from the DSB-area to The Corner. The family house is in the left side. The office buildings block the connection to the area behind them.

Haraldsgade just outside the KTKspace.

Camera, The Corner Three main motives of the corner are represented in the film. The first motive of the film is taken from the opposite corner where the mosque is being built. The motive is dominated by dead hard surfaces of stone, metal and glass to give an impression of the characteristic materials of the area surrounding the corner. The large office buildings behind the corner are in focus. But also the cars and streets are dominating the picture, which indicates that it is a landscape primarily made for cars. This emphasizes how insignificant the corner looks in relation to the relatively large buildings and the street. The many windows of the facades and cars indicate the feeling of being watched and the inability to see who is watching. Passersby observing the performance will most likely not notice the camera on the opposite corner. Without the camera to explain or give a reason for moving in the space, the experience of being out of place is emphasized.

The entrance to the KTK-space on the corner is dark and it is not possible to see what is on the other side of the building.

Contrasts In the second main motive of the corner the careless details of the corner are clearly shown. The long view towards LersĂ¸parken and Bispebjerg Hospital is also shown in this motive. This is done to emphasize how the contrast between the grand open space and the corner makes the corner even more insignificant. It also emphasizes the contrast between the recreational, lively, colourful, soft, calm and relaxing character of LersĂ¸parken and the careless, dead, hard, noisy and grey character of the corner. The abandoned and forsaken family house is on the right side of the frame and the building site is on the left. The different aesthetics and functions of the buildings together with the fences indicate a lack of aesthetic connection.

The metal goal, the slope, the metal bars and the long view through the KTK-area.

The exit to Haraldsgade through the open shed.

The metal bars under the open shed, a basketball goal and the Danish Nature Agency behind the wall.

Vitality The last motive of the film shows how the mosque introduces an Arabic inspired aesthetic wrapped in a Scandinavian rectangular box. This indicates an aesthetic connection, which brings a bit of vitality into the otherwise lifeless surroundings with fences following the footpath for as long as the eye can see. Happy and easy sounds In general the intention of the music is to express the emotional faรงade that is put on top the desire to express irritation and frustration. This is translated into happy, relaxed, easy and straightforward music with a twist of disharmony. The disharmony is not a big contrast, but still it underlines the opposite easiness. Like this the music changes the perspective of the movements that express the frustration, and makes them look happy and easy. In this sense the music is also out of place. The Corner with the office buildings behind it.

The Corner from a closer angle with Bispebjerg Hospital in the background.

Wiev from The Corner with the mosque to the right.

Summary of �ilm - Corner Atmosphere Happy, easy Tense Open Disharmony

Activate senses Dead, hard surfaces Stone, metal, glass Long view Music

Recognition/unknown Crossroads Mosque

Re�lection

Insigni�icant corner Careless details Contrasts Lack of asthetic connection Arabic vs. Scandinavian architecture Music changes perspective of movements

Social interaction Large of�ice buildings - sharp line between public/private Cars Feeling watched Out of place Vitality

Physical comparison Grand space - free, loose

Pull/push in directions Fence Crossroads Grand space

Wake feelings Feeling watched Out of place Vitality Lifeless Emotional facade - music Irritation Frustration Happy, relaxed, easy Straight forward

Summary of �ilm - KTK Atmosphere Open Closed

Activate senses Long view Exits Asphalt Goals

Recognition/unknown Functions are de�ined

Re�lection

Physical comparison

Contrasting spaces Contrast - Nature Agency Development in situation

Social interaction Indecisive Nature Agency - watched Goals Metal bars

Pull/push in directions Exits Slope

Wake feelings Awkwardness Indecision

Conclusion Reďż˝lections/qualities The Corner Provoke a destructive energy Sloppy look Pedestrians have no business in the area No aesthetic connection Grand space opens up movement Movements from tense to free - shout from man Atmosphere change from tense to open Music tells a more positive story KTK-space Exclusion/inclusion Hard on the joints Either coming or going Contrast - open/closed Welcoming environment - awkwardness smaller Contrast - Nature Agency Movements change between inhibited and open Long view opens up

Possibilities, developments in the future In both places more openness and connection to the surroundings would make them seem more welcoming and open up the body movements. The body would feel more relaxed. In this sense it is not about changing the spaces themselves, but changing or opening up for clearer connections that can be understood by pedestrians, residents and people, who are not a part of the internal social activities of the KTK-area. The places themselves contain inviting qualities: the open space of The Corner and the welcoming environment of the KTK-area. By making use of these qualities it could be possible to create a connection between the places: by breaking through the block of office buildings, a pedestrian path between the places could connect them. This path could continue to the DSB area and thereby connect the places with the open and green space. With the path pedestrians would have reasons to remain in the public space without feeling awkward. The path could connect to other paths that leads to the surroundings; e.g. the green bicycle path. From this path small temporary or more permanent projects could be connected and thereby connect to each other; e.g. the mosque would probably get more integrated with the surroundings.

The meaning of lamps, rails and ruderal species

A Case study The huge DSB-area lies flat as the lowest area of its surroundings. Like this the terrain goes up from the DSB-area towards Bispebjerg Hospital LersĂ¸parken and Bispebjerg Hospital on one side. On the other side it goes up towards a landscape of industrial buildings, office buildings and a residential area. In this perspective the DSB-area appears as the physical centre of a much LersĂ¸parken larger space, and it visually connects the surroundings. But today there is no physical connection, because of its function as storage space for DSB and because of the S-train line. This case study explores how the area can connect the surroundings, by getting a new function as a public park, and how to integrate and make use of some of the qualities of the area with this future function: A series of movements is made over a period of four days in interaction with the surroundings. This is done to experience what happens to the movements, when they are integrated and adapted deeper and deeper into the surroundings, and to experience how various situations on the same location create various perspectives on the interrelation Bridge between body and the place. The following descriptions and analyses focus on how the B body movements are integrated with the surroundings. This means that: the spatialanalyses describe the material settings that influence the body movements in general; the movement-analyses describe how the movements are influenced by various situations; and the film-analyses describe

Colony houses

S-train line

DSB-area KTK-area Office buildings Industry buildings

Social housing A

100m

200m N

1:5000

Kollektivhuset Bispebjerg Hospital

100m

LersĂ¸parken

200m 1:5000

how the space and movements are captured on film, and how the filming and editing become much more structured when trying to express a longer and deeper experience.

Spatial analysis Borders The large space surrounding the DSB-area is not physically coherent, because an S-Train line goes through the middle of the space bordering on the DSB-area, separating one side from the other. Towards Bispebjerg and Ă&#x2DC;sterbro the larger space

Bridge

Colony houses

DSB-area S-train line

Industry buildings

seems to go on forever. Even the 110 meter long and 40 meter tall Kollektivhuset, situated around 1 km. from the area, appears only as a distant point, rather than a border. The industry buildings seem on one hand to define one border of the DSBarea, because nothing else appears as walls in the otherwise flat and vegetative landscape. However, some of the abandoned buildings could easily be perceived as part of the area, because they add to the expression of decay, desolation and opportunities. Towards NĂ¸rrebro the DSB-area is connected under a bridge. So the only physical obstacle to making the DSB-area connected and coherent with the surroundings is the S-train line.

Office buildings

Undefined space The DSB-area appears undefined because it does not seem to have a centre in itself: up to 30 tall, narrow and malfunctioning industrial lamps are spread evenly in the space; the wild and untamed ruderal and pioneer vegetation have taken over most of the area; and the unused rails hidden under the vegetation express reminiscences of

Kollektivhuset is in the right upper corner of the photo as a distant point. To the left part of an industrial lamp is shown.

The industrial buildings function on one hand as a border and on the other hand as a part of the area.

forgotten connections to the rest of the world. Like this being a former goods rail yard with the present expression of decay and desolation, which indicates a wealth of yet unknown opportunities just waiting to be discovered, marks it. The lamps The heavy, robust and vertical lamps, with their defined and identical shape, are the only objects that stand out in the otherwise flat area. The lamps therefore seem to spatially define the area, as centres of smaller, connected spaces. In this sense they feel like magnets, holding the space and the surroundings together.

Verticality vs. horizontality Ruderal and pioneer species are growing in between the rails, practically covering the whole surface. The about 1 meter tall grass is dominating the area visually, but when taking a closer look a variety of vegetation reveals itself in between the grass. The rails are hidden behind vegetation, and in some places they have been levelled with the ground. Like this the space expresses a gravity defeating verticality in the shape of the lamps and the vegetation, which makes the lamps look even stronger and the rails look even heavier.

Sounds The sounds add to the sense of being a part of a much bigger space: the distant sound of church bells, probably from Bispebjerg Church; the distant sounds of cars and ambulances; dogs barking; distant voices; the sound of the wind in the vegetation; and the much closer sounds of birds and insects. The sounds are carried around by the wind, and it seems impossible to define the exact origin of them, which adds to the feeling of the space being undefined and connected to the surroundings.

Rails levelled with the ground. The photo is taken in spring.

Summary of spatial analysis Atmosphere Wild and untamed Unde�ined Open

Re�lection

Activate senses Sounds - distant and close Smell of vegetation Grass Soft, bouncy surface Dirt - smell, feeling Rails Lamps - metal, paint Space seems to go on forever

Former connection to the rest of the world Wealth of opportunities

Recognition/unknown Industry No functions largely Storage space for DSB

Physical comparison

Centre of a much larger space Heavy Gravity defeating

Pull/push in directions Lamps - horisontally Gravity defeating verticality

Social interaction Open Unde�ined Wild and untamed Industry Storage S-train

Wake feelings Open Unde�ined Decay Desolation Wildness

Wild and untamed ruderal vegetation and a few shrubs and pioneer trees.

Body movements In the following description qualities are explained that would add a variety of experiences to a public park. Some of the qualities are connecting the surroundings and others are internal to the DSBarea.

Senses The wild and untamed nature, the smell of the dirt and the sounds of the animals have a deep impact on the body and opens up for a desire to indulge the senses in wild and unrestrained ways. Simultaneously the abandoned industry buildings and the sense of decay and desolation appear to allow destructive behaviour. Realizing the size of the objects evokes feelings of being very small, insignificant, outside social control and left to the

power of nature. The composition of these sense impressions and stir of feelings encourage large, wild, untamed and aggressive movements. On the other hand there are so many small details in the plants, insects, autumn colours and sounds, which require small, poetic, reflective, inwards or almost no movements in order to grasp them and not destroy them.

Playful The wealth of opportunities comprised in the space appears to create a desire to explore opportunities in movements. This creates an excitement and a curious anticipation of what is going to happen. It feels as if anything could happen because of the possibilities of exploring all kinds and sizes of movements. It takes away focus from the more negative feelings, and creates possibilities for using the destructive and aggressive movements in playful ways.

Playful and intense improvisation in the middle of the open space and wild vegetation.

The lamps The lamps have been standing staunchly in the exact same position since the end of the 19 century, even though they have lost their original function â&#x20AC;&#x201C; as if they are guarding or protecting the area. They appear to be left alone to starve and now only the skeletons remain. In this sense they evoke empathy and a physical comparison is taking place between the body and the lamps. This appears to evoke desires to comfort and bring life and warmth into the lamps, which creates vital and comforting movements in contact with the lamps. th

Improvisation Using the movements evoked by the area a series of movements is made through improvisation. The series is not strict, which means that every time it is done, changes can happen. In this sense it will

Concept diagram of how the area is perceived when moving in it. It shows the smaller spaces around the lamps and the accidental connection between the lamps determined by the vegetation.

Model of a lamp.

There is a desire to put life into the lamps. Here it is symbolised graphically by adding arms to the lamps.

always have elements of improvisation, and it will always change according to the situation. This way of choreographing feels congenial, because of the playful and explorative feeling of the area.

Example of letting go to the space.

New social layer When improvising and using the different movements encouraged by the space, it seems easy to let go of social inhibitions and surrender to the situation at first. The space becomes an incentive to move unrestrained. But then a train passes with passengers watching, or people walking their dogs, kids from the social housing pass through

the area or DSB-workers work, also watching. And suddenly there is a feeling of being watched, which was not there before. Focusing on that inhibits the movements due to considerations of social issues. In this sense there is an apprehension of standing out, offending locals or being perceived as crazy. On the other hand many situations reveal themselves as potential functions of a public park.

Materials Three ways of discovering the materials are represented: the duo who interacts with the materials in aggressive and very physical ways and thereby explore how the materials limit the movements; the more poetic and calm way by the flower-picker who transforms the material; and the more examining way by the climber, who lets the

Examining a rail with his back.

Sheltering and protecting function of the grass.

Stones, dirt, asphalt and grass intensely discovered.

Quietly examining the vegetation.

materials dictate his movements. The more movements are happening, the more physical details of the objects seem to be discovered: the rusty and peeling surface of the lamps; the sheltering function of the grass; the soft and bouncy consistence of the vegetative surface; the grounding, stable and connecting function of the rails; and the rough structure of the rocks lying between the rails.

The duo by the lamp

The duo discovering the open space

The flower picker by the lamp

The flower picker discovering the plants

The climber by the lamp

The climber discovering new objects

Summary of movement

Change, development

Movements starts by being large and develop into a shift between large and small and poetic. Choreography develops. Feelings of destruction develops into playful feelings. The social interaction is different each day - DSB-workers, people walking. The feeling of the social rules become more and more familiar. Development from feeling safe by the lamps to letting go of the lamps.

Activate senses

Atmosphere Playful

Re�lection

Smell of dirt Sounds - animals, human Rusty lamps Sheltering grass Soft and bouncy surface Grounding rails Rocks

Wild nature vs. industry Sense of decay and desolation Left to the power of nature - urban, ruderal Wealth of opportunities Awareness of existing social rules

Movements Large, wild, untamed, aggressive Small, poetic, re�lective, inwards Explore opportunities in movements Loose series of movements Changing Inhibit movements

Social interaction Destructive behavior - in playful ways S-train People passing DSB-workers Watched Inhibit movements Apprehension of standing out, offend locals, being perceived as crazy

Recognition/unknown Lamps, industry Wild nature unknown

Physical comparison

Lamps, grass - gravity defeating Skeleton

Pull/push in directions Towards lamps Lamps as centres S-train line Industry buildings

Wake feelings

Wild, untamed Small, insigni�icant Out of control Playful Excitement Curiosity Letting go Aggression Destruction Empathy Comfort Vitality

Film Intro The footage is filmed and cut to emphasize the narrative aspect of the discovery, which is a development from being dependent on the safe feeling provided by the lamps to letting go of the lamps. This demonstrates that when the space is more familiar, it opens up to new discoveries e.g. the rails and flower picking, which again opens up to even more discoveries like the variety in vegetation. It also shows that when the space feels more familiar, the body tends to express itself more varied and relaxed. Handheld camera One camera is used for shooting this film. For some shoots the camera is handheld and for others it is still. The handheld camera is dynamic and moves together with the bodies and the objects. Like this it focuses on movements: how the situation makes the photographer move, and how the photographer makes the space move. In that way it becomes instantly analytic and shows a personal perception of the situation: another person would probably have filmed it in a different way. The photographer also has an influence on where the body movements take place: the performers move for the camera. In this situation everyone is in contact with each other, this and improvisation makes room for unexpected things to happen. The sequence with the flower-picker e.g. was filmed in one shot and only the beginning was planned â&#x20AC;&#x201C; that he picked flowers was not planned, so everything he does after he lies down is improvised. Following him unplanned and intuitive in this way could probably

Sequence with the flower picker filmed in one shot by handheld camera.

only be done with a handheld camera. A scene like that, going fluently from one part of the whole space to other parts of the whole space, appears to give a more coherent and continuous impression of the connection between the space and the movements than fixed motives do. Still camera The still camera is fixed on one part of the space. This part is its own space, because it makes its own sense, apart from the whole space. Thereby it represents a smaller space in the space. The many various motives represented in the film are a collection of spaces that, when combined, together represents a manipulated version of the whole space. In these fixed motives the body movements take focust because the eye automatically follows the movements. For the performers too the focus is on their own movements, rather than on the interaction between their movements and the photographer. And because the movements become a part of the motive, it changes. Therefore the fixed motives are chosen both because of the meaning of the space and because of the movements. In some shoots the movement of the vegetation takes as much attention as the movement of the dancers. In one shoot the scene goes on for a few seconds after the dancers disappear. For these seconds the attention is drawn to other aspects of the motive.

This motive shows the partition and contrast between industry and wild nature and how this makes the vegetation seem even more wild and the industry more rigid and closed. The first photo expresses passive surrender to the industry. The second expresses active cooperation between bodies and industry.

Just small changes gives different expressions.

Continuous movements Because there was only one camera, the idea for the cut/narrative had to be more or less planned before filming. And it meant that the sequence of movements had to be more or less the same for every shoot in order to make them fit together in the cutting.

Sequence

Two sequences showing how the cuts continue the movements.

Summary of �ilm

Activate senses

Atmosphere Playful

Music Dirt Rocks

Recognition/unknown Rails Lamps Industry Not functions - opportunities

Physical comparison

Re�lection Narrative - lamps - safety feeling - letting go New discoveries More varied and relaxed Coherent and continuous impressions Manipulated version of the whole space Changing motives Cut to �it the music and vice versa

Social interaction Dynamic Improvise with each other Industry Lamps Rails

Pull/push in directions

Wake feelings Intuitive Playful, loose, relaxed, light

Sound In general the music has a playful, relaxed, loose and light character to match the area and the choreography. The playfulness is emphasized in the communication between heavy and rhythmical industrial sounds on one side and light and harmonic sounds on the other. In between, light drums connect all the sounds to a whole. Like the film the music develops, so the more of the landscape that is discovered the more layers of music: in general a new layer of music is added when a new scenery or performer is presented. In a few scenes the music is abruptly taken away to give focus to the original sounds from the recordings. These moments seem to sharpen the attention on the actions of the performers: in one scene the flower-picker picks his first plants. In another scene the rails are introduced. In this sense the film is cut to fit the music, and this means that the music has great impact on how the film is perceived. It is mixed with the original sounds from the shoots.

Conclusion Reďż˝lections/qualities Wealth of opportunities Former connection to the rest of the world Wild nature vs. industry Decay and desolation - opportunities Left to the power of nature Narrative of lamps - from safety to letting go Narrative - discover more and more, unpredictable Large and small movements Feeling of destruction develops into playful feelings Contains many functions Closed by industry and S-train

Possibilities, developments in the future

The surroundings are connected visually, the rails connect the area to the world, the sounds connect the surroundings, and the lamps connect the area and the surroundings. In this sense the area is very well connected. On the other hand it makes the space very undefined and confusing. These qualities have liberating and uncontrolled effects on the body movements, which are qualities that could be kept in a public park. The only thing that separates the area is the S-train line. This does not take away the feeling of connection, but it creates a feeling of exclusion. This could be solved by a path going under or over the line connecting the area with LersĂ¸parken. The path could continue from the path suggested in the case study Stepping Out of Place. In this way there would be a connection from Bispebjerg to the KTK-space and the feeling of inclusion would rise. As a public park many of the qualities could be kept. By keeping the rails, the lamps and areas with the expression of wild vegetation, the space would express opportunities and in this way inspire the imagination. The contrast between wild vegetation and industry would also be kept like that, and would still evoke playful feelings. The almost endless visual connection to the surroundings would evoke feelings of being left to the power of nature. The narratives of the lamps, rails and

discoveries would also be kept. In this sense, as a starting point, very little would have to be done: taking away its private function and laying out a path would establish it as a huge playground. From there it could develop in many directions with the help from its users.

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Case study This case study is done with as little preparation as possible, to see how performers and film photographer immediately interpret the space through their own movements. The only preparation is that the performers are told to express their perceptions of the space through body movements, including their voices. The space is chosen at the day of the shoot, and the only criterion is that it has to be a part of the same harbour space as The Black Diamond. This is done to see how another perspective of the same space will add to the understanding of it. At arrival the camera is switched on. So the performers and film photographer do not get time to take in the space before the shoot. The idea is to capture the first hand impressions of the space. The film photographer, in this case myself, is also improvising. This means that the following descriptions of the movements are second hand, and the descriptions of the filming are first hand. The experiences of the spatial qualities, the movements and the filming are all simultaneous. Therefore they influence each other equally as opposed to the other case studies, where larger degrees of preparation were involved. This means that the following analyses focus on the immediate experience of the space and how they differ or agree with the analyses of The Black Diamond.

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Dome of Visions

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The two benches

The buildings shown are those that have a role in shaping the space of the harbour as perceived from the two benches.

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Spatial analysis Situation The space around two benches is chosen. It is situated on the promenade opposite Søren Kierkegaards Plads, with a clear view towards Bryghuset, Tøjhusmuseet, Dome of Visions and The Black Diamond. The only pre-experience of the space is the view from The Black Diamond. At the day of the shoot a run was arranged including Søren Kierkegaards Plads as a place of arrival; there were speakers, singers, big screens, dj´s, booths, etc. The Prime Minister Helle ThorningSchmidt was speaking. The space on the opposite side of the harbour was therefore occupied by a huge group of people making noise, which could be heard in the whole harbour space between the two bridges Langebro and Knippelsbro.

ist

Plan of the space. The two benches facing the water. Behind them is the slope leading to the unfinished bridge. Hedges are signaling private space in front of the house.

The space around the two benches seen from the water.

Water Section of the space.

Bench Slope

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House 20m

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The two benches The promenade along the harbour is not continuous: it is broken in several places by canals leading to Christianshavn among other things. The space chosen is on the harbour promenade close to the corner of one of those canals. On one side of the benches a bridge is being built from this corner to the opposite corner. On the other side of the benches a part of the harbour edge is being rebuilt. A bit further down the promenade a building is being renovated. Together with the noise from the run, these three construction sites create a noisy and disturbed atmosphere in the space. At the same time the space feels calm, partly because of the open connection to the large harbour space, and partly because the two benches have no other function than being a place to relax in connection with a stroll on the promenade. All objects have clear functions: the benches are for sitting, the bridge is for connecting and the promenade is for walking. This adds to the calm feeling. As a contrast the functions of the water are open to interpretation â&#x20AC;&#x201C; waterskiing, kayaking, sailing, swimming, sightseeing, exercising, etc. So in spite of the noise, the benches are open for relaxing breaks in the promenade. The harbour space The two benches are placed close to the edge of the harbour, facing away from passing pedestrians and cyclists. Sitting on them feels as if leaving the promenade and becoming part of the whole harbour area between Langebro and Knippelsbro. This is because of the direct access to the water area, that connects its surrounding objects. The edge of the harbour is not even raised a few centimetres as it is in front of The Black Diamond. Â It was probably made like this for practical reasons to get direct access to the ships. This functional design creates a

Langebro in the background. One construction site in the outer left side. Another construction site behind the temporary fence. The view is from the slope.

Knippelsbro in the background. The construction of the bridge is faintly seen behind the performers.

Panorama view of the harbour space showing Søren Kierkegaards Plads, The Black Diamond, Bryghuset and Tøjhusmuseet as closest to the two benches.

The fence marking the construction of the harbour edge.

Bryghuset and Tøjhusmuseet.

feeling of being part of Søren Kierkegaards Plads. Especially in front of Søren Kierkegaards Plads the edge is broken up with plateaus in different levels going from street level and down towards the water, which draws attention and focus to the water. This creates an opportunity for people to be close to the water and to be part of the calmness of the whole harbour space. Many people are sitting on the plateaus relaxing, and even though they are relatively far from the two benches, it seems they are watching and following our improvisation. But they are just too far away for us to see if they are looking back at us. This is characteristic for the whole harbour area, that it feels like one huge space. From anywhere on the promenades on both sides of the water, the opposite smaller spaces become stages with large and unique buildings as scenery and frames. It is possible to observe the movements of people in those spaces without them knowing it. But it seems that everyone is aware of the possibility of being observed and observing simultaneously.

The Black Diamond.

Materials There are many similarities with The Corner: grey, hard and dead surfaces, the feeling of being exposed and watched, and that the space is a small part of a bigger space. But as opposed to The Corner the feeling by the two benches is relaxed and calm. Because there are no cars, great efforts are made to make the space aesthetically thorough and optimal for pedestrians and it is close to the water. The wood of the benches adds softness to the space, and because of its bouncy material, it gives in to the body and invites to move more freely than on the hard surface of paving stones.

The two benches.

The crowd of SĂ¸ren Kierkegaards Plads, Bryghuset behind Dome of Visions and TĂ¸jhusmuseet feels like part of the space of the two benches. The materiality of the benches invites to free movements.

Summary of spatial analysis Atmosphere Noisy, disturbed Calm Open

Activate senses Long views Sounds - extended Construction site - noise Grey, hard, dead surfaces Soft, bouncy wood

Recognition/unknown Promenade Benches

Reďż˝lection

Physical comparison

Water is open to interpretation Aesthetically thorough

Heavy, grounded

Pull/push in directions Promenade Benches

Social interaction Relax Promenade Open Becoming a part of the harbour Functional design Looked at Communication

Wake feelings Calm Open Relax Being looked at Vulnerable, inhibited Heavy, grounded Free

Body movements Instructions The performers are given a very short intro. They are told to explore the space and the situation and express their interpretation through body movements including their voices. During the shoot, after the first hand impressions, they are given various instructions: communicate without words; imitate the surroundings; and act in contrast to the surroundings, each other and themselves. E.g. one instruction is to move in slow motion. Another is to use very deep and slow voices while moving very fast. The instructions are given to create a sort of icebreaker; the performers did not know each other or the space beforehand. The ideas for the instructions are given by me in the situation as a part of the improvisation.

After the instructions What we do before and after the instructions is interesting, because it is purely our own expressions. The instructions are also executed personally. So even though the performers are told what to do, they do it according to the situation. Before the instructions the endless directions of the harbour space make it hard to focus. After the instructions it seems we have created a deeper connection with each other and the space; we are more aware of each other and communicate more than before the instructions. They seem more comfortable with each other, the space and its objects. This results in a joint expression. This is shown in a simple sequence of sitting next to each other in various ways on a bench. The sequence develops from carefully and slowly sensing each otherâ&#x20AC;&#x2122;s movements to physically interacting with each other. The motive is with SĂ¸ren Kiergaards Plads in the background. This

is because the connection to the crowd of people feels so intense, and the large space and its objects express the calmness and depth that is searched for. It is not clear whether it is the photographer, the performers or both who decide to calm down and study the motive in depth. But an unspoken agreement between everyone involved is clear. Development The whole session develops from an eager desire to explore and express the space and each other into what looks like restlessness or a desire to move on. The development can be divided into four stages: first hand impressions, non-focus and the desire to explore; given instructions and breaking the ice; joint expression and agreement; and restlessness. Characteristic for all stages is that most movements are directed towards SĂ¸ren Kierkegaards Plads. Fewer movements are exploring the space behind the benches.

Stage 1: first hand impressions

Exploring the fence.

Exploring the bench.

Exploring respectively the atmosphere and the fence.

Stage 2: directions

Move slow.

Communicate without words.

Moving very fast while using the voice very deep and slow.

Stage 3: joint expression

Carefully sensing each other.

More physical.

Very physical.

Stage 4: restlessness

A sequence of restlessness and satiety with the situation.

Summary of movement analysis

Activate senses

Change, development Development from eager to restlessness. Deeper and deeper connection with the situation - each other. Situation gets more and more quiet. More and more comfortable.

Atmosphere

Directions Directions - moving around

Developing from eager to restelessness

Promenade Bench

Physical comparison

Reďż˝lection

Deeper and deeper connection with the situation Aware of each other, communicate Joint expression Natural with a break Personal Situation gets more and more quiet

Recognition/unknown

Movements

Social interaction

From slowly sensing to physically interacting Directed towards S.K.Plads Personal

Connection to crowd on S.K.Plads Promenade Passing people Bench Construction sites

Pull/push in directions Promenade Bench

Wake feelings Comfortable Eager desire to explore Restlessness Agreement Satiety More and more comfortable Intense Calmness Depth

The situation The whole situation consists of what happens between the performers, photographer, crowd of people, passing people and space. The connection between these elements has an influence on what is captured on film; it is not only how the photographer perceives the performersâ&#x20AC;&#x2122; perception of the space, but also how the situation develops between the elements, including the photographer and what it reveals to the photographer. In this sense the photographer is affected by the other elements of the situation and vice versa.

Recordings

Therefore the photographer alone does not control what to film. The whole situation, including the photographer, determines what to film. In this sense the film recordings say something about the whole situation.

Film Six sequences The aim of the film is 1: to translate the situation into a shorter version and 2: to draw the attention to the various expressions of the situation. For this purpose the recordings are separated into six sequences: first hand impressions; communicating with voices without words; slow motion; sittingon-bench sequence; laughing sequence; and restlessness. These six sequences are then cut

Diagram showing the principle of how the film is cut.

Six sequences

Scenes

New order

The six sequences:

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First hand impressions.

Communicating without words.

Slowmotion.

Sitting-on-bench sequence.

Laughing sequence.

Restlessness.

1. Sitting-on-bench sequence. Sensing cooperation between each other.

2. Laughing sequence. Loose and relaxed.

3. Slow motion. Intense concentration.

4. Moving very fast.

5. Sitting-on-bench continued.

6. Laughing sequence continued.

7. Slow motion continued.

A sequence of 7 scenes emphasizing contrasts and differences in expressions. At the same time it shows development and continuity in three scenes: in the sitting-on-bench sequence they have changed places; the laughing sequence carries on; and the slow motion sequence develops.

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into smaller scenes that are put together in a new order. E.g. a very intense slowmotion scene, where everyone is very concentrated, follows a very loose and relaxed scene, where everyone is laughing. This shows the differences and contrasts of movements and expressions. To indicate the chronology of the situation, the film starts with scenes from the first sequence and ends with scenes from the last. The film also shows the development of each sequence. Sound The reverb and acoustics of the harbour is unique: the sounds are reflected in a way that extends them into each other to a degree where it is still possible to separate them. Like this it is possible to recognize the voices of the speakers on SĂ¸ren Kierkegaards Plads, but it is not possible to hear what is being said. The sounds get muddled as opposed to the sounds of the DSB-area where the sounds are much clearer. This is because the soundwaves are not stopped in most of the harbour area, due to the large water surface. In this sense the sounds indicate what kind of space they are in. In order to capture this soundscape there is no editing in the sound and no extra sounds have been added to the film.

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Conclusion Differences and similarities with analyses of The Black Diamond As by The Black Diamond the many directions make it hard to focus. Getting more and more used to the space helps the body to get more and more focused and in control. As opposed to the space at The Black Diamond, the benches played a large part in focusing the situation. And even though the movements were done closer to the water, they felt more free because of the material of the benches. At the benches the space felt more as a part of the whole harbour space than it did at The Black Diamond. One of the reasons for that is that The Black Diamond offers many functions for the public and therefore attracts attention away from the harbour space, and/or because the attention was drawn towards SĂ¸ren Kiergaards Plads in the situation with the benches. This also means that the many directions were more intense at the benches than at The Black Diamond. Another reason for the extra energy at the benches is the more unpredictable character of the immediate and nonprepared situation. This sharpens the senses, and the situation is therefore felt much more intensely, as opposed to many of the situations from the other case studies. (The situation under the bridge is by far the most intense). The calmness is felt in both places because of the aesthetic thoroughness and the connection to the water.

Reďż˝lections/qualities Water is open to interpretation Aesthetically thorough Deeper and deeper connection with the situation Aware of each other - communication Joint expression Situation gets more and more quiet. comfortable Various expressions Development of situation - eager to restlessness Long views - endless directions One big space Calm feeling

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Discussion The case studies show how body movements are immediately and unconsciously affected by surrounding elements, and how this immediate influence is intentionally played with through body movements. In this section it is analyzed and discussed which elements have been changeable and could be be played with through body movements. Most of the elements are illustrated in parameters that can connect with each other in various ways.

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Including/excluding Including and calm atmospheres open up the movements and the body can relax, as opposed to excluding and tense atmospheres that inhibit the body movements and tense the body. The balance between inclusion and exclusion takes part in determining the energy felt in the body: very calm atmospheres like the case of The Black Diamond give little energy, as opposed to very tense atmospheres, like the case of The Corner, that builds up tension in the body. Tension creates energy in the body, but too much tension makes it hard to express the energy; the body has to be able to relax to express the energy and release the tension. In tense situations the performers try to find solutions that will release the tension by discovering ways to change the situation

through body movements, and in most cases they succeed in different ways: Intentionally ignoring certain elements, changing the movements and/or playing with elements of situations. These are ways to change the influencing factors and see how the places would be if the constellation of elements were different; e.g. in the situation of The Corner, the restraining factors are ignored, and by opening up to the open space, tensions are released. In this way the solution to the tension is found by playing with the elements through body movements.

Including, calm atmospheres Calm

Controlled

Clear functions

Limited interpretation

Controlled/abandoned An element that creates inspiration is the amount of possibilities that lie in a place. In the case studies the amount of possibilities is connected to how much the places are controlled: The less control: the more possibilities; the fewer restrictions on the body; and the more it inspires the imagination and nourish creative thought and ideas; e.g. the space under the bridge feels full of opportunities, because it apparently no one controls it, and therefore the space invites to play and explore and could develop in many directions. But because of the presence of

Atmospheres of interaction between energy and release Release of tension

Excluding, tense atmospheres Tense

Abandoned

No clear functions

Open to interpretation

the group of locals, materially expressed by the clubhouse, the place feels controlled by them and restrictions are placed on the body movements.

Combine parameters When combining parameters, it is possible to see how they influence each other, and this presents a more diverse perspective on the places. Thus combining the two parameters above may tell if e.g. the exclusiveness is connected with control or abandonment.

Inclusion

Black Diamond

Calm Low inspiration

Calm High inspiration

Benches

DSB-area Under bridge

Controlled

Abandoned

KTK

The Corner

High tension Low inspiration

Exclusion

High tension High inspiration

Explanation of diagrams The diagram shows how the situations develop in each place. E.g. the DSB-area feels very welcoming and uncontrolled at first, but staying in the space reveals excluding elements, like the presence of the DSB workers, who are also reminders that the area is private and controlled. In the space under the bridge the whole situation changes with the presence of the group of locals. In the KTK-space the welcoming atmosphere is discovered. On The Corner the connection to the open space is discovered. At The Black Diamond and the benches the atmosphere is very controlled and therefore difficult to change. This shows not only how the places change, but also how much they are able to change. In this sense these parameters can be used in developing a place into being more or less changeable. Connected/not connected Another parameter, concerning social and cultural issues, is the degree of connection to the surroundings: the space at The Black Diamond is well connected to the library, the harbour space, SĂ¸ren Kiergaards Plads, and many different kinds of people are using the space as opposed to the space under the bridge, that has lost its function of connecting the DSB-area and Mimersparken and therefore seems like a dead end. The more connection, the less

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focused body movements and vice versa: in the space at The Black Diamond there are many connections that actively respond - passersby, cafĂŠ people, water activities, library, harbour space - as opposed to under the bridge, where there is only the connection to the group of locals; the litter and the graffiti are not responding actively to the same degree. Defined/undefined The above parameters are very culturally defined. Other parameters focus more on the material settings, like the degree of material definition that contributes to pull or push the body in different directions; e.g. the space under the bridge is very defined by the pillars and the bridge and contribute to pull and push the body in different directions, as opposed to the DSB-area that feels undefined, and in order not to get lost in directions, the lamps are used as anchors. Open/closed Another parameter, concerning material settings, is the balance between how closed or open a place feels; the KTK-space feels much more closed, because of the buildings surrounding it as opposed to the space at The Black Diamond, which is completely open to the sky and harbour. The more open a space is, the more it opens up the body. 106

Connected

Non-focused movements

Deďż˝ined

Push/pull

Open Open

Not connected Focused Movements

Undeďż˝ined Lost

Closed Closed

Material One more material element influences the body movements. It is the material of the objects: the bouncy character of the bench invites to playful movements, the dusty surface of the space under the bridge makes it easy to move, the feet get stuck in the surface at The Black Diamond, the surface of the KTK-space is hard on the joints, the soft and bouncy character of the vegetation at the DSB-area invites to contact with the whole body, etc. The different materials invite to different kinds of movements. In this sense it is not possible to categorize them in a parameter. Instead they can be explained with adjectives like soft, hard, slippery, smooth, rough, bouncy, etc. Combination of parameters There are many ways to combine the parameters, depending on the purpose. If e.g. the purpose is to study how much the cultural control influences the definition of the material settings or vice versa, these two parameters can be put together: This shows a clear connection between the degree of control and the degree of material definition: the more control, the more definition. Except in the case of the bridge: the space is abandoned and yet very defined. On the other hand the high definition of the bridge indicates former control of the

space. In this sense the material definition of all the places has been done in connection with cultural control. The one spot of the DSB-area that is placed in the defined and controlled area shows the situation of the DSB-workers, who controlled the area and defined the space as storage space of DSBmaterial. Deďż˝ined

The Corner

Under bridge

Controlled

Abandoned

DSB-area

Undeďż˝ined

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Bodily approaches The various kinds of bodily approaches to the places all show how the body is influenced by the surroundings, and how the body movements change the situations. The approach that stand out the most, compared to the others, is the one where the choreography was made without any connection to the places. When comparing the spaces at the bridge and at the Diamond, this approach works because of the comparison of changes in the choreography. This means that when not comparing places, or when only exploring one place, it would not have the same effect, and other approaches would therefore be more optimal. The other approaches can be said to be different stages of the same approach: improvise with the elements of the spaces and develop series of movements. In this approach the case of the benches stands out due to its spontaneous character, which created a much more intense experience than the other case studies, because of the sharpening of the senses. In the case of the DSB-area the senses were also sharpened whenever a new element significantly changed the situation, but as the material elements already were familiar, the intensity was not as high. In the case of the KTKspace and The Corner, the approach differed in the sense that a greater effort was put into ignoring other elements. This was done

during the performance and not planned. In general the approach can be adapted to the specific places in both the preparing stage and the performing/improvising stage. Processes In general, by exploring spaces with body movements, the way it is done in this thesis reveals processes, developments and connections of places. It shows how places are able to change and develop certain situations and processes, as opposed to describing places as static locations. This is illustrated by the use of the parameters above. By playing with the elements the body movements and the body become parts of the situations, and in this way deeper reflections are made than if only looking at a place from the outside. It is a way to see the space from the inside, to be the space for a short moment. In this way certain qualities reveal themselves to the situation, and others do not. Other qualities would probably reveal themselves to other people using the same approach or different approaches. In this way the analyses of this thesis will benefit from being compared to results from other studies and other methods. More perspectives would be added, and the existing findings could be explained from more perspectives. E.g. studies in where to place a water collecting system most beneficially could not be done

by choreographing or sensing the feeling of wild nature, but it could contribute to keeping the feeling of wild nature when placing the system. In this sense the methods compliment each other with their different perspectives. Similar methods Other methods are closer to the approach of this thesis. (To separate the different methods it is necessary to categorize the roles of the performers of this thesis. In this case they are called dancers.) When sketching, for instance, the place is also sensed and felt in the body, and processes are discovered while observing the place. Elements are played with and expressed through the body, and the sketch becomes a personal expression. The artist also becomes part of the situation and its surroundings. In this way a deep experience of the space is achieved. The body movements are captured on a piece of paper as opposed to a camera. The only difference is that between the sketcher and the media there is a pencil. In this sense the sketcher is not as directly connected to the elements as the dancer is. This can be compared with the photographer: between the elements and the photographer there is a camera. Otherwise the situation is similar to the sketcher and the dancer. Model building is another way of getting familiar with a place. In a sense it can be exactly the

same as expressing the space through body movements in the way it is described in this thesis: by building a model in the situation, using material from the place as building blocks, direct contact with the elements are made and played with. Even though the situations of the various artists are similar, the expressions are different: sketches, photographs, films, models and body movements. And even though the body is moved in all situations, the body movements of the dancer are more direct. It is without the material connecting links: pencil, camera and building blocks. Instead the connecting links are non-material elements of the situation, like social relations, connections, feelings, atmospheres, senses, reflections, etc: in short: responses. The methods could be played with and mixed, and in that way add new perspectives to each other: a model could be build with the body, a sketch could be danced on the ground, a camera could be worn on the body while dancing, etc.

Conclusion Processes By working with the four case studies I have found, that body movements are influenced by the sensory, emotional, reflective and social responses, which arise in situations as interrelations between body and space. These responses can be used as method of analysis to understand the possibilities and potential of places. The body movements become part of the situations, and are thereby part of the processes and connections contained in the places. Therefore the qualities revealed are processes, developments and connections of places. This shows how places are able to change and develop certain situations and processes. Discover qualities Playing with the elements of situations and changing them by taking active part in the situations and being one of the elements, the way it is described in this thesis, is a way of reflecting on the situations. It is a way of seeing the situations from the inside. In this way close connections are made to the elements of the situation and deep reflections are made; it is a way to get familiar with the elements. Like this it is possible to change or play with the existing connections of elements and thereby create new narratives about places. These new connections and

narratives may help discover new qualities of the places. It is also a way to intentionally change the situation, because the movements themselves become changing elements of the places: The body movements express the situations and how they are changed. Film The process is recorded on film and edited into four short films, which captures characteristic expressions, aesthetic values and challenges of the places. They capture parts of the situations and simultaneously tell their own narratives, which reveals further qualities of the places. The process of editing increases the familiarity with the places. Combining results Because of the transience of the situations and their tendency to only reveal qualities specific for each situation, this method could benefit from combining it with results from other methods analyzing space. A way of doing this is by the use of the parameters resulting from this thesis that describe which qualities affect the body movements.

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References

different ways to different people.

Cresswell, T. 2009. ’Place’. I: R. Kitchin & N. Thrift (eds) International Encyclopedia of Human Geography. Oxford: Elsevier. pp. 169-177. (9p) This article has been valuable for the understanding of place. Place is described as consisting of processes and connections and is in this sense non-static. The sense of place in this article gets inspiration from both the humanistic/phenomenological tradition and the social scientific tradition. In the phenomenological sense places are processes through certain movements of the body, which are part of the place. In the social scientific tradition the sense of place is seen as processes because of paths followed by people. In this sense both views connect to body movements.

Ihde, D. 2002: Bodies in technology. University of Minnesota Press, Minneapolis, 2002. Regents of the University of Minnesota.

Gaston, B. 1997: Gaston Bachelard, Poetics of Space (extract). In Rethinking Architecture, edited by Neil Leach. London and New York: Routledge, 1997, pp. 86-97. He has been an inspiration because of his way of understanding space. Space in this sense is understood through early memories of space and all spaces connect to this early memory. In this sense spaces are perceived individually and thereby opens up in

Merleau-Ponty, M. 1993: Maurice Merleau-Ponty, Filmen og den nye psykologi, Philosophia: tidsskrift for filosofi. 1993. Årg. 22, nr. 3/4 (1993) pp. 11-24. This has been an inspiration for understanding film as being true to the situations in which they are recorded. Rendtorff, J. D. 2004. Fænomenologien og dens betydning for samfundsvidenskaberne: Videnskabsteori som improvisation i Jazz-musik. I: Fuglsang, L., & Bitsch, P. (red.) Videnskabsteori i samfundsvidenskaberne: på tværs af fagkulturer og paradigme. 2 Udg. Roskilde Universitetsforlag, Roskilde, pp. 278-287; 297-300. Samson, K. 2010: Det performativt æstetiske byrum. JUUL|FROST Arkitekter, Institut for Miljø, Samfund og Rumlig Forandring, Roskilde Universitet Ph.d.-afhandling 2010 This article has been an inspiration in connection with understanding knowledge

as transient processes and how this knowledge can develop in connection with various perspectives. Especially the section about situated knowledge has been of great use. Thau, C. 2007: Carsten Thau. Filosofi & Arkitektur i det 20. århundrede. Carsten Thau (red.). Institut I for bygningskultur. Tryk: Linde Tryk, Århus. Udgiver: Kunstakademiets Arkitektskole. 2. oplag 2007. The films can all be seen in the Youtube channel Map in Steps: h t t p s : / / w w w. y o u t u b e . c o m / c h a n n e l / UCwVHaVscCuP_A4GMm7yAvMA Bishop and Diamond Stepping Out of Place The meaning of lamps, rails and ruderal species Break in the Promenade