Carving Out Our Place: The Things We Leave Behind

carving out our place the things we leave behind How can we as designers encourage a sense of ownership for those that will use our spaces? catherine browne

ENVT 1097 Landscape Architecture Dissertation BA (Hons) Landscape Architecture 2016 - 2017 To be presented to the department of Architecture and Landscape as part of the BA (Hons) Landscape Architecture course Dissertation Supervisor: Corine Delage

Except where stated otherwise, this dissertation is based entirely on the authors own work Unless otherwise stated all photos belong to the author

Weston Super-Mare, UK July 2016

Abstract This paper looks into how we interact with and fill space. How do we, as human beings take ownership of space and why?

It leads to a questioning of why we feel the need to mark the paths we walk along and how these actions can create a change in the way we live and move through space. Should we incorporate humans’ destructive capabilities into our designs and encourage their interaction with our projects?

contents List of Figures Introduction.....1

Part one: Domestication of Public space.....6 home.....7 home-less.....12 storytelling.....21 reading space.....31 miniaturism.....35

Part Two: Appropriation of Space.....41 negative appropriation.....42 walkscapes.....46 flaneurs.....51 artists, activists and anarchists.....57

Part Three: visual sociology.....60 rotterdam walk.....63 issues of a visual culture.....72 use of space.....73 tapestries.....76 craftivism.....79 conclusion.....84 bibliography.....87 appendices.....95 word count: 7,315

List of Figures Figure 1 Google maps,. Diagram Showing 24 Hour Food Venues In The Kings Cross Area. 2017. Web. 12 Jan. 2017.

Figure 2 Google Maps,. Google Maps Diagram Showing 24 Hour Shelters In The Kings Cross Area. 2017. Web. 12 Jan. 2017.

Figures 3, 4, 5 and 6 Chin, Andrea. “Superkilen Urban Park By BIG Architects, Topotek1 + Superflex”. designboom | architecture & design magazine.

N.p., 2012. Web. 14 Jan. 2017.

Figure 7 Google Maps. Google Street View Of Graffiti On The Superkilen Park. 2014. Web. 12 Jan. 2017 Figure 8 Alamy,. House, 1993 By Rachael Whiteread. 2015. Web. 15 Jan. 2017.

Figure 9 Corboy, Peter. “Luzinterruptus Build A River Of Books To Wind Through Toronto”. designboom | architecture & design magazine. N.p., 2016. Web. 14 Jan. 2017.

Figure 10 Slinkachu,. Refugee Tent, Part Of The Commission For Warchilduk.

2017. Web. 15 Jan. 2017.

Figure 11 Vorman, Jan. “Dispatchwork - Jan Vormann”. Janvormann. com. N.p., 2017. Web. 14 Jan. 2017.

Figure 12 Lockton, Dr Dan. Anti-User Seating In Oxford. 2007. Web. 15 Jan. 2017.

Figure 13 Burgess, Anne. Unst Bus Shelter. 2004. Web. 15 Jan. 2017.

Figure 14 Better than Spikes. Public Bed And Micro-Library. 2015. Web. 15 Jan. 2017.

Figure 15 NASA. Jeffersonian Farm Grid. 2001. Web. 15 Jan. 2017 Figure 16 Randazzo, John. “Film City L.A.--- Los Angeles And The Movies”.

Filmcityla.blogspot.co.uk. N.p., 2017. Web. 14 Jan. 2017.

Figure 17 Long, Richard. Walking A Line In Peru. 1972. Web. 13 Jan. 2017 Figure 18 Rebar. Park-ing day. 2004. Web. 13 Jan. 2017

Introduction

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This essay was written with the aim of further questioning thought into how we operate in our daily lives. How does what we see affect our actions, how what does others have left behind for us affect the way we see the world? And how might we change the space in which we dwell for the good?

My readings and visits have taken me through the world of the miniature, the action, the Walkscape and looked into the issue of the home space. I have observed what other people have placed in space; from graffiti, poetry, street art, installations, interruptions, activism, and spoken with those who have used the space to make change, and those who have been forced to use the space for the circumstances that have landed them without a stable roof over their head.

What spurs us to take action and physically alter the space we’re in and how can we design to encourage these actions within the spaces we create? As in this day and age a sense of apathy is infecting the way in which we involve ourselves in the outside world. A Microsoft study (2015) showed how, though our attention spans are decreasing to about 8 seconds, we are streamlining information, ignoring the irrelevant and focusing on what we need to know; which is not necessarily a bad thing.

However, this also means that if there is something we do not need to know or do, we will not seek it. For example, why go for a walk in the woods when I can just go to the Gym down the road? Why bother learning the names of plants as it will not affect me? Why question or march against the government as what I say will not change anything? If the information is not at our fingertips then more often than not we will not take the time to seek it.

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Designing space is the way we act in the world, it is the thoughts we put into it. It is the soundscapes, the smell, the vibes, feel, culture, history and latent inspirations to future generations of users. When we have gone what tools do we leave behind for our occupants to use and make a ‘site’ a home that is not just a digital footprint.

We live in a physical world we must take part in it.

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BT Telephone Box Poster Unthank Road, Norwich. UK May 2016

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Part one: Domestication of Public Space .

A place, in wide definition, for everybody to enjoy their coexistence and represent their collectivity and common interest without drowning or disaggregating their diversity.

The World, City, Newspaper Via the Urban Dictionary. 2005

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home

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The idea of home does not have to be a place or any particular space, home is a feeling, whether that feeling is one of love or ownership or belonging. It does not have to be an object.

Home is an area, a feeling. An accumulation of memories and experiences, sights and smells which creates Yours. A structure that is only in the realm of You. From that sunken section of road you swooped your bike into on your way to school or the metal bollard you accidentally clipped in your car and sneaked away hoping nobody saw you. It’s still there, a part of your home story, and a part of many others as well. The actions we take cause larger ripples in our environment and are mirrored exponentially across the globe. In the way we move, live and interact with the world around us.

“We form our sense of ourselves and our affective attachment to particular places...by seeing and interpreting signs of difference.

These signs of difference inform us of the boundaries of groups we encounter in everyday life...Practices of our ‘home’ culture take place within the boundaries of groups in the vernacular landscape of urban spaces. Our feelings for our social self and our places are constructed and maintained through repetition. This is why everyday life is so important for understanding the place-based nature of collective identity.” (Shoretell, T. 2016)

We must take into account those who will grow into the sites we leave behind for them; how will they interact, how will they make it function and how will they tell their stories.

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In New York in the 1970s there was a movement for the preservation of old buildings and the old way of life, artists moved into the decrepit sites and looked to “art and music as a means of expressing their criticisms of society. They believed instead of trying to change the world outside the New Radicals should change what was inside of people’s heads. The way to do this through self-expression, not collective action. By detaching themselves a whole generation [lost] touch of the reality of that time…it was the mood of the era…revolution postponed indefinitely” (HyperNormalisation, 2016). One can draw parallels between the 1970s artists of New York with the present day situation. People are angry about the current issues of our day (Brexit, Trump being elected, Refugees etc.) and yet rather than taking action they endlessly discuss in circles about the ‘ideal world’ and do not do anything in which to help.

The ‘New Radicals’ theory is somewhat flawed, however, one needs to begin with self-expression, such as DADAism in order to encourage others to take the next step to creative action, leading to movements such as Situationism and Craftivism being born.

Craftivism; a movement which was brought about by one woman realising that silence spoke louder than noise, and how respect and thought created more change than quick, violent outbursts: Slow activism (Corbett, S. 2016). The site specific nature of Craftivism resonates with those who uses the space as it shows a caring for the betterment of the area without limiting free will. It is a polite question rather than an angry mob of people marching through the streets shouting contradictive messages

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Refugees Welcome March November 2016

Home is a contradistinctive force to very different people; home is static, home is movement through space, home is no-where.

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home-less

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In mid-December 2016, I met a young woman called Nikki who had to flee her home due to an abusive relationship, she was doing everything she could with the support officers to help her out of her situation, however they told her that her needs were not as dire as others so she had to wait another three weeks before they would meet her again. In the mean time she was trying to get money to pay for homeless hostels but mainly spending her nights in the streets. Other homeless men looked on her with the same social standing an “tried it on with” her one even attempting to force his way into her sleeping bag, and when she refused “pissed” on her (Nikki, personal communication, 12th December, 2016). She said that she hadn’t been able to shower since then and apologised for it. She was developing a cold sore an, worryingly, had a rather puffed up hand (similar to when my mother was bitten by our local smoke-grey cat, and her hand swelled up just like a balloon). She was living under bridges and in sheltered archways, having to constantly move for fear of harassment and assault. (See Negative appropriation page) We met by the canal at the base of Kings Cross gas towers and struck up a conversation as I was admiring the Gas Tower park they had created there and she commented on how “great the area was now it’s been developed”, implying her locality and how, although homeless, she has the same opinions and points of view as a permanent resident. For homelessness perpetuates if no help is given and the true ‘users’ of a space are those who have to live with the tools we leave for them. Of course a project will not be built without those who have the money to fund it, “people who are homeless cannot pay the piper” (T Browne, personal communications. 13 Jan, 2017) which is the unfortunate truth of the matter. Yet we can design for use rather than

against it. As designers we are not social workers, but we do design social space. The negative feeling of a space designed to remove people perpetuates the feeling of ostracism, meaning if we design a space which is not for people to dwell we create an area where interaction is discouraged (Holland, C., Clark, A., Katz, J. and Peace, S. 2017).

She initiated the conversation, and we ended on a handshake.

She left behind the safety of a (western) ‘conventional home’ of dignity and privacy for a “survival circuit [or] constellation of spatial and temporal points”(Bergamaschi, Castrignanò and Rubertis, 2014. Paragraph 10). Nikki’s reference points were places where she could be warm, beg, get cheap food and relieve herself, i.e. “McDonalds and Burger King”.

There are levels of our ideas of domestication of space. One view, is leaving a work of art behind to beautify the area, another is having the freedom to protest and march for what a person believes is right; or having the spatial knowledge and reference points to avoid expulsion for as long as possible, and finding the most sheltered and protected space so as not to die whilst you are asleep.

24 hour food kings cross

St Mungo's

24 hour food kings cross

Figure 1 “Google search: 24 hr food”

Figure 2 “24 hr Shelter”

Rating

★★★★★

McDonald's Kings Cross 3.5 (180) £ · Fast food · 302-304 Pentonville Rd Iconic fast-food burger & fries chain

Map data ©2017 Google

100 m

Map data ©2017 Google

100 m

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It is often said that the ‘thing’ many homeless people lack is the treatment of being in existence. Hundreds of people pass by them without giving them a glance, even if they have seen them.

And the mere essence of a smile could make all the difference in the world. It is their presence which shape our thoughts of under-sky space. Their enforced domestication of our public space is both a testament to human resilience as well as a silent alarm to all of our sliding-glance shame.

How can we, as designers of space, create a more welcoming world?

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In his book, The Right to the City, Don Mitchell references how “the best social research . . . suggests that rather than leading to serious crime, disorder- like crime- is caused by conditions like poverty and a lack of trust between neighbours” (Mitchell, p227) so from this angle we need to start from the established order of things, we need to begin with healing the mistrust of refugees and migrants to ‘indigenous populations’ we need to create common goals and beliefs to unify communities and peoples, and we need to create a sense of communal ownership of spaces.

Take the Superkilen project in Copenhagen, the designers were presented with a fragmented neighbourhood of immigrant communities and given the task of unifying the people. To achieve this, they went through the communities and heard the stories they had to tell, of the reasons why they came to be in Denmark and the memories of the homes they left behind.

Figure 3

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Figure 4

The result? A half-mile long park exhibiting ‘found objects’ of the different cultures dwelling in the neighbourhood, unifying the stories, and peoples together and inviting learning and understanding amongst cultures (Topotek 1, BIG Architects and Superflex, 2016). The designers wanted to create meeting points with cultural landmarks and activities, and so far it’s proving effective (Lucchese,2014).

“It is necessary to bring the reality of the users into the design process, taking into consideration their aspirations and needs. The sensitivity of the designers is very inspiring here as they could capture that emptiness you feel when you are miles away from home, a very relevant issue in a multicultural neighbourhood. Those who have experienced being homesick know how reinvigorating it is to have a haven where you can just relax and feel back home (even if for just a while).”(Lucchese, 2014).

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Figure 5

Figure 6

Figure 7: Superkilen, Effect of Forbidden space being overruled.

Source: Google Maps

Who are we designing for must always be the question at the forefront of our minds when we design. We forget about the ‘less shiny’ aspects of life, of homelessness, of reform, of the need to find shelter in the rain and of the conflicting desires people have in a space. The young need somewhere for their imaginations to run wild and play, the old? Need the same thing but they need to rest in between. Places to be inspire and be valued as theirs.

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There are those who pass through a space without seeing it, it is just a direction to them, the focus points being the beginning and end (the Passives). Then there are those who see the journey as the objective, they absorb the history of the place and revel in the stories that it brings (the Flâneurs). And there are those who take action, they want people to know that they were there, they inscribe their signature, they paint their art and they comment upon the worlds stories (the activists) (Lefebvre, Henri.

1991. p11).

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Storytelling Heterogeneity – the quality or state of being Diverse in character or content

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“the city is a place where difference lives…different people with different projects must necessarily struggle with one another over the shape of the city, the terms of access to the public realm, and even the rights of citizenship. Out of this struggle, the city as a work – as an Ouvre, as a collective if not singular projectemerges, and new modes of living, new modes of inhabiting, are invented.” (Mitchell, D. p18. 2014)

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Figure 8 Rachael Whiteread, House 1993 (Alamy)

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Storytelling is innate to the psyche of human beings; from the Neolithic Lascaux cave paintings of their day to day activities (namely the hunting of bulls to survive), stone cairns along a path in order to direct you home; graffiti about the sexual prowess of Maximus inscribed on the walls of the Pompinian Popina, to patterans in the literature of Swallows and Amazons. Culminating in artists creating a deliberation or intervention such as the Situationalists marches in Paris in 1968 (Extraj.livejournal.com, 2016) to Rachael Whiteread’s “House” in 1993. A monument of such a huge scale to the stories of our lives, yet the most striking and poignant elements are the miniature details of the inverted 1950s light switch or the inverse wearings of the fireplace.

A smooth wall is a canvas waiting to be painted and a story yet to be told. An entire subject inspired because ‘they’ were going to knock down a street of houses, evicting Sydney Gale from his family home, whereupon Whiteread filled his memories with concrete (East London Advertiser, Thursday 4th Nov, 1993.

Whiteread, Lingwood and Bird, 1995).

A controversial subject, prior this research I had admired the work of ‘House’, however after seeing Whitereads’ disregard of the human cost of her work a more in depth view is required. As the work inspired a greater level of acclaim that was previously expected. ‘House’ brought into question the state of the East Ends housing crisis with the ‘new’ topic of gentrification and its issues in that part of the city. It also became a centre of community involvement, with the graffiti of “wot for?” being inscribed upon its surface “Why N:)t?” was the reply of another.

One member of the community even brought a ‘for sale’ sign forth and propped it at its door. Bringing humour to an otherwise dark situation (Whiteread, Lingwood and Bird, 1995). It is these sort of interactions we should be encouraging from the users of the sites we create. It shows an active and vested interest in

their ‘home’ area as well as showing a dissatisfaction with the (at the time) current political and socio-economic issues.

The issue with designing a specific place for the public to inscribe upon is that it eliminates spur of the moment action, something guides the person to inscribe on that specific spot, what is it?

Why. Perhaps the wall has the perfect texture to write upon, or it is at an easier spot to reach and yet be unreachable to the authorities. Perhaps only a directive needs to be given to guide people to use the space, yet not explicitly tell them to do or not to anything. Free will is a vital guide to the positive vibe of a space and it should be respected as all in this world have an equal right to the streets they walk on (at least they should do).

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This form of interaction is a sign of people taking action and engaging in their society. In this current technological world attentions spans are becoming shorter due to the availability of instant information, and as such a sense of apathy is encroaching on the people of (at least) this country, partially because they feel like what they do will not make a difference the politicians will just continue to ‘go back on’ their promises and ‘no matter what we do we cannot make change’ (Personal communications, 2016). The people who actively went out and made their mark on this structure are people who are actively partaking in their society. They believe that their actions here will make a difference. And it will, had they not taken an action I would not be writing about those unknown people today, and even though they are unknown, their work ties hand in hand with the photographs of Whiteread’s work.

Minute change. Minute action. Long lasting effects.

To this day their etchings make us question the sculpture and think on their words.

A part of this is enabling the populace to believe that what they do will actually make a difference.

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Weston Super-Mare, UK July 2016

The undertaking of art projects has changed the way in which we see the world and our home lives, whether or not we feel it relevant, something has caused that work to be made, and we as designers, city planners and managers should harness this innate sense of being and encourage community feeling and interruption within our sites. We must take part and allow ourselves to be stopped, at least once in a while.

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Figure 9 (opposite) Luizinterruptus’ ‘Nuit Blanche’ in toronto 2016. Entitled “Literature vs Traffic”. A silent protest against the effects of traffic on urban living. Citing the message “ We want literature to take over the streets and conquer public spaces, freely offering those passersby a traffic-free place which, for some hours, will succumb to the humble power of the written word”.

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Reading Space

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How might one read the place they are in? What stories might we gather from these two scenes? Ugly, beautiful or neither?

Take one minute to make these images three-dimensional. What do you propose is their story:

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ROTTERDAM Luchtsingel and ROTTERDAM Witte de withstraat

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The stories we tell Deptford, UK. August 2016

Miniaturism

in actuality and intellect

From the immense to the minute.

Miniaturisation - the act or art of making things small.

Wider definitions particularly relate to the technology of making devices as small as possible i.e. the microchip; such a huge amount of information with the ability to be stored on a device the size of a fingernail 35

Figure 10 “Slinkachu creates tiny scenes of conflict for war child” (Telegraph). Little Dorrit park, London. 2013

Throughout history, daily objects have been made miniature to aid the human in some way. In ancient Egypt’s aristocratic funeral rites, miniature scenes were made with incredible skill and attention to detail, depicting the day to day lives of the dead such as fishing and cattle tending as well as figures of those who served them, so that they could continue serving their master in the next life. They offer a “symbolic and sculptural offering of forgotten lives” (Bernier, Celeste-Marie and Judie Newman) proffering a vital insight into the day to day lives of the ancient-dead as well as sheading light onto what they found most important, here it was the abundance of food and the workforce in which to build a new life. In today’s society what would we have made miniature? Would we have objects or would we have ideas? Would we be happy in the world we have, as with the Egyptians before us, or would we create it in its entirety anew?

Doll houses were originally made pre 17th century to explain and test the architectural design of a building and as pedagogy object (Cooley, 2017). Its uses were transposed to act as a sort of wunderkammer for the rich of the Victorian era, being used to display an exact miniature replica of their homes. And the only viewers of these objects were those of the private, wealthy class. The interest in the right to inhabit was silent.

In the art world, the use of the miniature has harnessed this wondrous way of creating and warped its meaning to fuel a politically charged statement. Take the works of artists such as Slinkachu, Isaac Cordal, Marc Valli and Margherita Dessanay; much like the work of George Segal, recreating everyday scenes, but miniature. Now in this context ‘Everyday’ refers to the entirety of the world, turning our western safe-haven idea of the word ‘everyday’ on its head, and placing these ‘safe’

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characters into war zones, post-apocalyptic and post-climatechanging worlds. But within Our everyday lives, we just have to find them. Either these artists make their figures from scratch or they use model railway figurines, and all juxtapose with scenes from the street to create a politically charged statement and “left to the surprise of passers-by, allowing everyone to invent a story” (Cartron, 2017).

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The reliance on discovery is therefore paramount, in Shirley Jordan’s essay in Cities Interrupted she comments “the temporal interruption that street photography habitually enacts seem enhanced, redoubled, and draws attention to itself with a newly critical purpose. Street photography today, then, is sharply alert to the ideas, discourses and experiences of globalisation and seems to interrogate these in a range of inventive ways”. Meaning the act of manipulating and interrupting space needs to have a viewer to share it. In effect, it is an act of a photographer, laying out the scene and later publishing their works rather than the actual artist.

The advent of social media sites such as Instagram ensures the ideas longevity and development. John Berger’s description of a photographs “temporarily interrupting times flow” (Jordan and Lindner, p159. 2016) can be perfectly apt as this is the intention of Miniaturists and Craftivists alike; they want to interrupt time and make passers-by stop, question their message, and hopefully, perpetuate it and develop it. And yet without the scene behind the image would not exist. Each photograph is carefully choreographed to project its message, from lighting, time of year, ground texture and state of time or decay. All designed spaces are created to project the perfect vision of an idea and as time fills the space the wearings show, the stories etch and the space is proved to either be successful or no.

The photographer picks their piece: The outside world belongs to us all.

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Figure 11 Where: Matalon 82, Tel Aviv Jan Vormann ‘Dispatchwork’ “Fix the world in Colours” Part of a world wide network working together to ‘heal’ the proken parts of the world through art.

From the physical action comes the physical idea, if you sow the seeds of an idea amongst people it can take hold and become a bigger movement than was ever imagined

In terms of the things we leave behind, creating the miniature and vice versa, the power of a hidden object cannot be ignored. If one stumbles across a secret it recalls child-like natures of wonderment and intrigue. If one feels like they have found it rather than have the image pushed in the face, then a sense of ownership or belonging is imbued, and the message the piece is trying to give is that much louder for its smaller size (Corbett, S. 2016). And such the phrase “small yet mighty” holds its significance.

Small actions encourage partaking, if it is seen as something, easy and simple, then it invites the viewer to learn more; if we provide hidden spaces these actions can thrive.

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Trafalgar Square pedestrian traffic lights.

October, 2016.

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Part Two: Appropriation of Space

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Appropriation - Latin appropriare meaning ‘to make one’s own’ Space - 14th century meaning ‘ground, land, territory.’

Common land - land owned by a set owner i.e. the government but all have the right to use

we have The Right to move through this space, to linger to flâneur.

Negative Appropriation Who really owns space? It has existed since the dawn of time, long before any of we humans appeared upon the scene.

As a species we were nomadic, only developing permanent settlements with the invention of agriculture in the Neolithic Age, laying claim to lands once roamed freely by the entirety of nature.

A movement of ‘Designing out crime’ (Grindon, G. 2015) has become an epidemic within our cities. Instead of putting money into helping people ‘stay off the streets’, private as well as governmental investors have put money into the design of temporary linger space with the aim of making a space seem public and welcome, but subtly rejecting visitors wanting to prolong the experience. They are places to move through, being antisocial in their nature, with the aim to stop people gathering at a space.

Figure 12 Anti user seating, oxford,

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Take bus shelters for example, if you look at an older design, bus shelters were purely designed to house those waiting for their long (delayed) awaited bus, now however they are less sheltered, greater advertised (thanks to the sponsorship agreement with JCDecaux advertisers and local councils to fund the shelters in exchange for free advertising) and less welcoming. The once ‘luxurious’ benches have now been replaced by a perching bar. Ignoring the less-abled who may have dire need of a rest (i.e. the elderly) in favour of quick movement and the rejection of lingering space.

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Other forms of age-focused antisocial design can be found in the ‘Mosquito’ and pink lighting ideas, both aimed at removing young people by irritating sounds or unflattering acnehighlighting light.

Many anti-human designs were originally created as a means for controlling cattle, such as ankle-monitors. “Pigeon spikes were introduced to London around 1980 after pigeons’ status shifted from messenger to vermin [and] human anti-sitting spikes appeared on lower ledges by 1985” (Grindon, G. 2015).

“These designs which enclose and exclude also map neoliberalism’s move from colonial enclosure to the domestic ‘new enclosures’ of privatisation and ‘deregulation’. As border fences make Europe a gated community against migrants from former colonies, antihomeless spikes keep the domestic victims of austerity out of sight.

In 2014, the police ‘national barrier asset’ kept people protesting against war away from a NATO summit in Wales. This year[2015], the same fence was sent to Calais to keep out people migrating, most of whom were fleeing conflict in Syria and other African countries.”

(Grindon, G. 2015).

In regards to the things we leave behind, these miniature, negative interruptions leave a culture of distrust and selfishness.

It shows a lack of desire to actively help, but hinder for the aesthetic of space. We design to make the beautiful, therefore we must design to remove the unsightly from our view. Be it the elderly, the young, the homeless or just those want to enjoy a space like skateboarders.

However local people have taken action against this sense of distrust and created their own versions of bus shelters and benches: Figure 13 Unst Bus shelter, Shetland Islands, UK. The locals embraced the wait for the bus and made the shelter a ‘home away from home’.

Figure 14 “What will this do to my property prices” Calling themselves ‘Better than Spikes’these artists created a bed and a library for homeless and other local people to use.

However, if it wasn’t for these negative appropriations of space, would we see these types of positive counter appropriations appearing in our streets?

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Walkscapes

The act of walking is to the urban system what the speech act is to language or to the statements uttered.

(Certeau, M. and Rendall, S.).

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The language of our paths through space alters their function and meaning throughout time, much like speech. After the Great Fire of London in 1666 we had the opportunity to create a more functional city space with Christopher Wrens modular vision of the future of London. However, for the ‘common people’ the homogenous growth of Londons street systems were their life blood, and the city rebuilt itself from its smouldering roots up. It seems a very English tradition to keep the history of our streets and be moulded in turn by ancient desire lines. Much of England today is still based on old Roman roads, take Shooters Hill road (A2) in South East London, an ancient Celtic highway, paved over by the Romans in 400s AD. A city moulded by rivers, yet cast by the roads.

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To this day in the UK we are building pop up towns with no ‘logical’ grid format like the Jeffersonian cities of America or Barcelona, and are instead creating cul-de-sacs and meandering roads, because this is what British history dictates. Our towns curve with the meanders of rivers, bows down to the contours of the hills, our history is a more natural, empathetic one. In line with the Celts who used nature to their advantage, using hills to defend themselves from their enemies in their hill forts, and living in small tribal settlements (Ross. ND).

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Figure 15 Jeffersonian farm grid Kansas, USA (Source: NASA, 2001.)

“...the notion of journey or path. In fact it is probable that it was nomadism, or more precisely “wandering”, that gave rise to architecture, revealing the need for a symbolic construction of the landscape.” (Careri, F. pg 36. 2002)

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In the 2011 film ‘In Time’ the speed in which they move through space dictates the social standing the characters hold - for time is currency. The rich can linger, take part and absorb the knowledge found in inhabiting space. The poor have to move quickly, ignore the seemingly mundane and find what is important, or rush through life entirely. The perfect allegory to real life – in this world who leaves anything behind?

The ‘poor’ use time for memory, why waste time when leaving your mark ensures that some small part of you will be remembered. I was here. The ‘rich’ are eternal, they need not be remembered as they will always be. The world is drained, functionality over creativity. In our world why not have both entwined?

Figure 16 Screen grab from the film ‘In Time’ 2011

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Flaneurs One who saunters about, a stroller. Flanerie idling. Flaner to lounge.

Chambers 20th Century Dictionary The keen eyed stroller who chronicles the minutiae of city life

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Elkin, 2016

In his book, The Production of Space, Henri Lefebvre discusses his ‘unitary theory’ focusing on three fields of space. The Physical, looking at nature; the Cosmos; The Mental, including logical and formal abstractions; and, thirdly, the social. In other words, [we] are concerned with logico-epistemological space, the space of social practice, the space occupied by sensory phenomena, including products of the imagination such as projects and projections, symbols and utopias (Lefebvre, 1991).

Lefebvre is the perfect example of the ‘Flaneur’, a human who has moved through space with the aim of being present and parallel to the ‘common person’ (although it must be said, such persons usually have a healthy income, and the time in which to stroll). Yet he has taken one step further. He has observed his world, walked among it, commented, and then deconstructed what we see in it.

“There was the pedestrian who wedged himself into the crowd, but there was also the flâneur who demanded elbow room and was unwilling to forego the life of the gentleman of leisure. His leisurely appearance as a personality is his protest against the division of labour which makes people into specialists. it was also his protest against their industriousness. Around 1840 it was briefly fashionable to take turtles for a walk in the arcades. The flâneurs liked to have the turtles set the pace for them.”

“The street becomes a dwelling for the flâneur; he is as much at home among the facades of houses as a citizen is in his four walls. To him the shiny, enamelled signs of businesses are at least as good a wall ornament as an oil painting is to the bourgeois in his salon. The walls are the desk against which he presses his notebooks; news-stands are his libraries and the terraces of cafés are the balconies from which he looks down on his household after his work is done.” (Benjamin, 1977)

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Paysage

Landscape

Je veux, pour composer chastement mes églogues, Coucher auprès du ciel, comme les astrologues, Et, voisin des clochers écouter en rêvant Leurs hymnes solennels emportés par le vent.

More chasteness to my eclogues it would give, Sky-high, like old astrologers to live, A neighbour of the belfries : and to hear Their solemn hymns along the winds career.

High in my attic, chin in hand, I’d swing And watch the workshops as they roar and sing, The city’s masts – each steeple, tower, and flue – And skies that bring eternity to view.

Les deux mains au menton, du haut de ma mansarde, Je verrai l’atelier qui chante et qui bavarde ; Les tuyaux, les clochers, ces mâts de la cité, Et les grands ciels qui font rêver d’éternité.

II est doux, à travers les brumes, de voir naître L’étoile dans l’azur, la lampe à la fenêtre Les fleuves de charbon monter au firmament Et la lune verser son pâle enchantement.

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Je verrai les printemps, les étés, les automnes ; Et quand viendra l’hiver aux neiges monotones, Je fermerai partout portières et volets Pour bâtir dans la nuit mes féeriques palais.

Alors je rêverai des horizons bleuâtres, Des jardins, des jets d’eau pleurant dans les albâtres, Des baisers, des oiseaux chantant soir et matin, Et tout ce que l’Idylle a de plus enfantin.

L’Emeute, tempêtant vainement à ma vitre, Ne fera pas lever mon front de mon pupitre ; Car je serai plongé dans cette volupté D’évoquer le Printemps avec ma volonté, De tirer un soleil de mon coeur, et de faire De mes pensers brûlants une tiède atmosphère.

– Charles Baudelaire

Sweet, through the mist, to see illumed again Stars through the azure, lamps behind the pane, Rivers of carbon irrigate the sky, And the pale moon pour magic from on high.

I’d watch three seasons passing by, and then When winter came with dreary snows, I’d pen Myself between closed shutters, bolts, and doors, And build my fairy palaces indoors.

A dream of blue horizons I would garble With thoughts of fountains weeping on to marble, Of gardens, kisses, birds that ceaseless sing, And all the Idyll holds of childhood’s spring.

The riots, brawling past my window-pane, From off my desk would not divert my brain. Because I would be plunged in pleasure still, Conjuring up the Springtime with my will, And forcing sunshine from my heart to form, Of burning thoughts, an atmosphere that’s warm.

– Roy Campbell (Translation) 1952

The Sun

Le Soleil

Along the outskirts where, close-sheltering Hid lusts, dilapidated shutters swing, When the sun strikes, redoubling waves of heat On town, and field, and roof, and dusty street – I prowl to air my prowess and kill time, Stalking, in likely nooks, the odds of rhyme, Tripping on words like cobbles as I go

Le long du vieux faubourg, où pendent aux masures Les persiennes, abri des sécrètes luxures, Quand le soleil cruel frappe à traits redoublés Sur la ville et les champs, sur les toits et les blés,

And bumping into lines dreamed long ago.

This all-providing Sire, foe to chloroses, Wakes verses in the fields as well as roses Evaporates one’s cares into the breeze, Filling with honey brains and hives of bees, Rejuvenating those who go on crutches And bringing youthful joy to all he touches, Life to those precious harvests he imparts That grow and ripen in our deathless hearts.

Poet-like, through the town he seems to smile Ennobling fate for all that is most vile ; And king-like, without servants or display, Through hospitals and mansions makes his way.

– Roy Campbell, 1952

Je vais m’exercer seul à ma fantasque escrime, Flairant dans tous les coins les hasards de la rime, Trébuchant sur les mots comme sur les pavés Heurtant parfois des vers depuis longtemps rêvés.

Ce père nourricier, ennemi des chloroses, Eveille dans les champs les vers comme les roses ; II fait s’évaporer les soucis vers le ciel, Et remplit les cerveaux et les ruches le miel.

C’est lui qui rajeunit les porteurs de béquilles Et les rend gais et doux comme des jeunes filles, Et commande aux moissons de croître et de mûrir Dans le coeur immortel qui toujours veut fleurir !

Quand, ainsi qu’un poète, il descend dans les villes, II ennoblit le sort des choses les plus viles, Et s’introduit en roi, sans bruit et sans valets, Dans tous les hôpitaux et dans tous les palais.

– Charles Baudelaire

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Le Cygne À Victor Hugo Andromaque, je pense à vous ! Ce petit fleuve, Pauvre et triste miroir où jadis resplendit L’immense majesté de vos douleurs de veuve, Ce Simoïs menteur qui par vos pleurs grandit, A fécondé soudain ma mémoire fertile, Comme je traversais le nouveau Carrousel.

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Le vieux Paris n’est plus (la forme d’une ville Change plus vite, hélas ! que le coeur d’un mortel) ; Je ne vois qu’en esprit tout ce camp de baraques, Ces tas de chapiteaux ébauchés et de fûts, Les herbes, les gros blocs verdis par l’eau des flaques, Et, brillant aux carreaux, le bric-à-brac confus.

Là s’étalait jadis une ménagerie ; Là je vis, un matin, à l’heure où sous les cieux Froids et clairs le Travail s’éveille, où la voirie Pousse un sombre ouragan dans l’air silencieux, Un cygne qui s’était évadé de sa cage, Et, de ses pieds palmés frottant le pavé sec, Sur le sol raboteux traînait son blanc plumage.

Près d’un ruisseau sans eau la bête ouvrant le bec Baignait nerveusement ses ailes dans la poudre, Et disait, le coeur plein de son beau lac natal : « Eau, quand donc pleuvras-tu ? quand tonnerastu, foudre ? » Je vois ce malheureux, mythe étrange et fatal, Vers le ciel quelquefois, comme l’homme d’Ovide, Vers le ciel ironique et cruellement bleu, Sur son cou convulsif tendant sa tête avide Comme s’il adressait des reproches à Dieu !

Paris change ! mais rien dans ma mélancolie N’a bougé ! palais neufs, échafaudages, blocs, Vieux faubourgs, tout pour moi devient allégorie Et mes chers souvenirs sont plus lourds que des rocs.

Aussi devant ce Louvre une image m’opprime : Je pense à mon grand cygne, avec ses gestes fous, Comme les exilés, ridicule et sublime Et rongé d’un désir sans trêve ! et puis à vous, Andromaque, des bras d’un grand époux tombée, Vil bétail, sous la main du superbe Pyrrhus, Auprès d’un tombeau vide en extase courbée Veuve d’Hector, hélas ! et femme d’Hélénus !

Je pense à la négresse, amaigrie et phtisique Piétinant dans la boue, et cherchant, l’oeil hagard, Les cocotiers absents de la superbe Afrique Derrière la muraille immense du brouillard ; À quiconque a perdu ce qui ne se retrouve Jamais, jamais ! à ceux qui s’abreuvent de pleurs Et tètent la Douleur comme une bonne louve ! Aux maigres orphelins séchant comme des fleurs !

Ainsi dans la forêt où mon esprit s’exile Un vieux Souvenir sonne à plein souffle du cor ! Je pense aux matelots oubliés dans une île, Aux captifs, aux vaincus !... à bien d’autres encor !

– Charles Baudelaire

The Swan To Victor Hugo Andromache, I think of you ! – That little stream, That mirror, poor and sad, which glittered long ago With the vast majesty of your widow’s grieving, That false Simois swollen by your tears, Suddenly made fruitful my teeming memory, As I walked across the new Carrousel.

– Old Paris is no more (the form of a city Changes more quickly, alas ! than the human heart) ; I see only in memory that camp of stalls, Those piles of shafts, of rough hewn cornices, the grass, The huge stone blocks stained green in puddles of water, And in the windows shine the jumbled bric-a-brac.

Once a menagerie was set up there ; There, one morning, at the hour when Labor awakens, Beneath the clear, cold sky when the dismal hubbub Of street-cleaners and scavengers breaks the silence, I saw a swan that had escaped from his cage, That stroked the dry pavement with his webbed feet And dragged his white plumage over the uneven ground. Beside a dry gutter the bird opened his beak,

Paris changes ! but naught in my melancholy Has stirred ! New palaces, scaffolding, blocks of stone, Old quarters, all become for me an allegory, And my dear memories are heavier than rocks.

So, before the Louvre, an image oppresses me : I think of my great swan with his crazy motions, Ridiculous, sublime, like a man in exile, Relentlessly gnawed by longing ! and then of you, Andromache, base chattel, fallen from the embrace Of a mighty husband into the hands of proud Pyrrhus, Standing bowed in rapture before an empty tomb, Widow of Hector, alas ! and wife of Helenus !

I think of the negress, wasted and consumptive, Trudging through muddy streets, seeking with a fixed gaze The absent coco-palms of splendid Africa Behind the immense wall of mist ; Of whoever has lost that which is never found Again ! Never ! Of those who deeply drink of tears And suckle Pain as they would suck the good shewolf ! Of the puny orphans withering like flowers !

Thus in the dim forest to which my soul withdraws, An ancient memory sounds loud the hunting horn !

I think of the sailors forgotten on some isle, – Of the captives, of the vanquished !... of many others too !

– William Aggeler, 1954

Restlessly bathed his wings in the dust And cried, homesick for his fair native lake : “Rain, when will you fall ? Thunder, when will you roll ?” I see that hapless bird, that strange and fatal myth, Toward the sky at times, like the man in Ovid, Toward the ironic, cruelly blue sky, Stretch his avid head upon his quivering neck, As if he were reproaching God !

(Baudelaire, C. 1866)

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Artists, Activists and Anarchists

What is a journey? What is space?

Habitus – is the universalising mediation which causes an Individual agent’s practices, without either explicit reason or signifying intent , to be nonetheless ‘sensible’ and ‘reasonable’ (Bourdieu 177. 79) 57 The city is an Ouvre – a work in which all citizens participate Henri Lefebvre (Mitchell, D. p.17. 2014)

Figure 17 Walking a Line in Peru. 1972.

Artist: Richard Long

From protesters to Flaneurs to situationalists, anarchists, activists to artists. All have in one way, shape or form influenced the other and in turn encouraged humans to take ownership of the spaces they dwell.

Richard long being such an artist, he is a reactionist Flaneur.

Taking the landscape as it is and using its resources to bend, weave and provoke space. His most famous method being to take a site and impose his path upon it. The images left over from these temporary interruptions create a sense of wonder and curiosity, you attempt to work out the story in your mind and are left with a multitude of unanswered questions. Much like reading the streets you walk in everyday life. What happened to cause those two bottles to be left on that waist-height wall.

Who caused that sign saying “No skateboarding here” to be put up? Everything has its story and artists such as Long infer these ideas in ways parallel to logical forms, making you question what is there and inviting you to take from it what you will and the freedom that goes along with it. Who owns a blade of grass?

He describes his work as “The music of stones, paths of shared footmarks, sleeping by the river’s roar.”(Long, R. 2016) implying a connectivity with nature and the land around him.

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Figure 18 “Park-ing day” An annual interruption begun by the San-Francisco collective of artists called Rebar. They ‘lease’ the land for a set amount of time (via a parking meter) and turn it into a micro public park for the day.

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Part Three: Visual Sociology The Visual Dimensions of social life

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Returning to Henri Lefebvre’s three fields of space and the unity of these therein, the Physical, the Mental and the Social (action), visual sociology encompasses all too varying degrees.

The physical space to be used as our canvas to build our stories, whether it is accidental action, deliberate marking or the passage of time. Mental being the causes and reasons for our actions; why mark “Everything is everything” on a wall? What state was their mind in, were they under an influence of a drug or are they just a very literal human being? Finally, the social responds to the social climate of the time, what issues affect today’s society, such as Brexit, austerity, the wars in Syria and the Refugee crises, not alone the issue of the negative branding in the media of these refugees as ‘migrants’, implying that they have a choice in where they are travelling to.

Socially, you know which physical space you’re in when you have fully ‘read’ the space, you know how to behave and act, and what is expected of you. What happens then, when we interrupt this space with out-of-the-norm actions? Say walking up the escalator in the wrong direction. What is the wrong direction? And why is it wrong, who was the first person to tell you that you should conform with the flow and not try to run upstairs whilst standing still?

It is the mental barriers conditioned over our lives which withhold most of us from truly taking ownership of public space. In a world where we bow down to the car, shouldn’t pedestrian life react?

The same can be taken to the outside street in Rotterdam for example, art is rife throughout the streets due to a collective movement to reinvigorate the city after the financial crash of 2008 called ‘Rewriters’. An art line was created with murals and installations, composed of different art styles and cultures throughout the city. The aim: “We want the public to ‘adopt’ this artwork and make them think that this really is their wall in town” (Anon. N. 2016) To attract a feeling of belonging and pride in their city as well as spurring projects like the crowdfunded Luchtsingel bridge, connecting Rotterdam North to its centre and infecting sprung up community projects along its axis; such as Park Pompenburg, originally a storage area it is now an area for urban agriculture, recreation and a cooperative quarter. It is now a “pivoting point within a larger network of public green” (“Luchtsingel”). In the streets of London however, unless commissioned (which it seems is a lot rarer than in our continental Netherlands partner) the artist must be quick and hurried, they must take extraneous means in order to carry out their work in making the street ‘beautiful’.

We English do not seem to see the relevance of ‘extraneous art’ “Wot for?” Instead artists are kept to the ‘unseen’ areas, away from surveillance cameras along canal paths, alleyways or stairwells. All places seen to be travelled through, not to linger.

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Rotterdam, Netherlands.

November, 2016.

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Issues of a visual culture

“From TV to newspapers, from advertising to all sorts of mercantile epiphanies, our society is characterized by a cancerous growth of vision, measuring everything by the ability to show or be shown and transmuting communication into a visual journey. It is a sort of epic of the eye and an impulse to read. The economy itself, transformed into a “semeiocracy”, encourages a hypertrophic development of reading. Thus, for the binary set productionconsumption, one would substitute its more general equivalent: writing-reading. Reading (an image or a text), moreover, seems to constitute the maximal development of the passivity assumed to characterise the consumer, who is conceived of as a voyeur (whether troglodytic or itinerant) in a “show biz” society.” (de Certeau pxxi, 1984)

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Use of Space “A city does not exist by the accretion of houses, but by the association of human beings” Lewis Mumford (Pop up spaces, a how to guide. 2013).

Contained within ‘the big issue book of Home’ is an image of a most public garden. “It had the smallest lawn, but everyone could enjoy it.” Said Simon, the man who had made an old ambulance his home, with a patch of grass growing out of the cracks in the pavement his allotment 73

Figure 19 ‘Simons garden’ Taken from the Big issue book of Home (2000)

LONDON The outskirts are the far reaches of the garden, That I occasionally visit the centre is the kitchen, where I do all my living.

People are what make my home, all the millions that make their lives but each wake from a different bed, some made for them with a warm duvet, some not.

Routines, of which there are many, cross the tapestry of the sofa material, different colours, different patterns, differences.

Doors can’t be locked to everything, experiences are varied, tinted glass can’t prevent from seeing, Diversity and Individuality.

Kate Appleby (Ephraums, 2000)

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All space is appropriated space. And sweet thoughts behold the eye of its user.

Simon’s world is the open streets, welcome to all, just do not linger past your stay. He admits all to his garden, not that he has the choice.

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Tapestries. How the social/culture defines a space Metis - Greek for ‘ways of operating’

For the most conceptions, graffiti is unsightly, it is a sign of a poor neighbourhood with little money put into policing or street maintenance however, it does show a visual story or account of the social tapestry of an area. Just by allowing yourself to stop and actually read what has been quickly scrawled on a wall allows you to paint the picture of a part of the community.

Street graffiti has been regenerated as art as after the London riots of 2011 a scheme called ‘Babies of the Borough’ was introduced to use graffiti for a common good. In Woolwich, street artists (legally) painted the faces of local babies on to shopkeeper’s shutters, basing it on research papers from the 1940s suggesting that the presence of infants “promotes a caring response in human beings” (Gordon, D. 2012). Since its inception crime rates have not shown a decisive amount of change, however a huge amount of investment has been put into the area, with the development of Woolwich Square by Gustafson Porter creating an open and inviting atmosphere with the space for cultural events to be hosted for all to learn and enjoy. “instead of signalling the presence of crime in this area, we were signalling the presence of a community” (Gordon, D. 2012)

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Visual culture has also been implemented through branding and advertising. The hotel chain CitizenM use their idea of ‘street style’ in order to attract visitors. In their Shoreditch premises they’ve taken the areas culture of street art and brought the outside in, using it as a branding strategy to entice more customers.

An alternate side of this was also visualised after the EU referendum result through the Art on the Underground scheme.

After the leave result there was the fear of ostracism and rejection of cultures, in reaction to this there was a positive campaign in order to make people welcome, either vocally or through advertising #LondonIsOpen.

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Before you, dear reader, finish this volume you must have the chance to engage in the fourth dimension of reading - and that is taking part.

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Craftivists take ownership of space by trying to change the negative via positive action, they interrupt space by creating a welcoming one, inviting those who stumble across them to join in and learn about what they’re trying to achieve. Which is generally a sense of ownership for all, of equality without ostracism. Their art is legal as it’s easily removable as the fabric is usually attached to itself or using plastic tags.

craftivism

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punch out holes - stitch

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Conclusion

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How can we as designers encourage a sense of ownership for those that will use our spaces?

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There are countless ways in which people create a sense ownership in the outside world and the short answer for a designer is that we can only leave them the tools and hope our users still have the imagination and freedom to do so. It is up to the people who live and use our sites to involve themselves. However, we can give them a helping hand; we can create open spaces with no ‘concrete’ use directive, we can provide tools for exchange, such as BBQs and chess sets; noticeboards and free public art space. We can provide a friendly, welcoming atmosphere just by hinting at a use for the space, removing the “keep off the grass signs” and allowing people to be who they are without fear of ‘breaking the rules’ but within the grounds of ‘common decency’. We cannot ‘overthrow’ the current order of things, but we can entice a change in outlook, we can create our miniature actions, invite users into the creative processes like those with Superkilen and Rewriters, create beautiful backdrops and canvasses for the photographers, and inspire as many people as we can to become their own creators of space.

The space we inhabit belongs to us all, we fill it with the echoes of ourselves as we pass through, and sometimes what we leave behind changes things.

Take action.

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Books

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Appendices Extract taken from inBreif.co.uk, “Graffiti: Is There Any Law I Need To Be Aware Of As A Graffit Artist?”

Graffiti Graffiti is something that is regarded as an art form for those people undertaking in it but is also regarded by members of the general public as a nuisance, often associated with anti-social behaviour and gang culture.

Often graffiti artists are able to showcase their work on specially made structures provided for by local businesses and local governments.

Criminal Damage Act 1971

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Section 6 of the Criminal Damage Act 1971 provides for offences in relation to graffiti. Someone caught doing graffiti will be guilty of a criminal act and can be fined up to £5,000 if the damage they have caused is less than £5,000.

Alternatively they may be given a community service order rather than a fine which is often the case in relation to young offenders.

The Clean Neighbourhoods and Environment Act 2005 The Anti-Social Behaviour Act 2003 as amended by the Clean Neighbourhoods and Environment Act 2005 gives local authorities the power to issue fixed penalty notice for anyone caught doing graffiti.

Free Walls Many local councils within the UK provide spaces for graffiti artists to produce their artwork legally. In order to find out about this and the locations within your community you should contact your local authority.

Abridged Interview with Sarah Corbett, the founder fo the Craftivist Collective in the UK (the original movement being founded by a woman called Betsy Greer) A pocket sized definition of craftivism Activism using craft to make change in a more gentle, kind and beautiful way which is just as effective if not more effective than other, more aggressive forms of activism.

Slow activism, while people are making, they can think of the complexities of social injustice. You engage more in the issue, you learn more and holistically. Instead of ‘just signing a petition climate change saying governments need to lower their carbon emissions by X amount.

What do we need to do as individuals, as consumers (of space?) as voters but also as colleagues or just as citizens. People engaging in politics, we need to do it holistically, know the complexities so that we can work as effectively as possible. If you’re just fuelled by anger then you’re not going to be as strategic or as effective.

Have you seen craftivism make change and what sort of effects?

Campaign to encourage M&S to have the living wage. So we got 14 different craftivists from across the country who looked like M&S value core supporters (and they were) asked them to dedicate a handkerchief to give to the board members. Took years to meet with them to implement the living wage. So were asked to implement our weird activism. Three meetings with them over 10 months and now they pay the living wage.

Do you encourage its growth? You don’t have any ownership after?

Not at all, its creative commons. Means you don’t have to pay to use it.

Craftivism. Not telling you what to do, not ugly like some craftivism.

Share with friends, create conversations we need to have.

Street Art, What influences your decision?

Mini banners. Fashion statements. Scrolls, put in pockets. All in lower case “Please open me X” handwriting. Taking ownership of what you’re writing, so it sinks in more. Embossed scissor logo, recycled paper. High quality, people want to keep. Futerra – sustainably company. Kit. The people who read it, message “every item of clothing has a story, what’s the story of this item? Is it a story of hope? Is it a story of oppression? @ fashrev google. Twitter. Instagram. What do you do with a shocking statement?

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