Compassionate bus shelter

The deprived and homeless people are urban common problems. However, generally people would discard them and just consider them as an ugly part of the city rather than make a contribution. Most rarely you would find any design of public facilities which comprise them as a part of the users.

On the contrary, these Bus Shelters House–the third project by architect Sean Godsell–are designed for the homeless. The previous designs are the Future Shack, housing module made from a shipping container; and Park Bench House, the park bench that could alter as a shelter when needed.

As homeless-concerned facilities, these shelters are provided with built in mattresses and hoardings that customized for storing blankets, food and water. In addition, these shelters also operate as an art gallery for struggling local artists.

By identifying themselves with the community’s issues and cultures, these shelters really blend with the community. Deep analyses about the issues which take place in the community are definitely required to produce a straightforward and worthy result.

Tomorrow's Meeting

Quick note to check everyone's up to date - tomorrow's meeting (10/10) will take place in the studio from 10am, NOT Sharrow Community Forum. That is all!

An art gallery for everyone

This combination of an art gallery with public utilities such as bus shelters would undoubtedly widens our boundaries about the use of a space.

Arranged by FAT in 1993, they constructed an exhibition of artworks that occupy 200 bus shelters in London.

I personally believe that this juxtaposition would set a different ambiance of how bus shelters should look like. Yet the idea of how people could appreciate the artworks in a short period and busy street circumstances is a very valuable lesson for further study about engaging public realm and art.

Shelter with personalities

In 2001, there was a project that engages London’s bus shelters. Commissioned by Richard Rogers Partnership with J. Pletts, this is an auxiliary project by Haque design+research.

The purpose of this project is to reconstruct the sensation of travelling itself. By using some responsive technologies, they brought these shelters to ‘life’ and could respond equally with the primary needs of the users (travelers).

For more details about this project please go to this site.

This is an interesting project that I think could be useful for us. Even in a halting space where everything is kind of unstable, we still need to configure about the needs of human whilst travel from one place to another. The user’s cultures and habits could influence the connections with the shelters and in the end would generate different conditions.

8/10 Meeting no. 3

3:30pm in Studio

Present: Tilly/ Jen/ Tori/ Pol/ Kris/ Julie/ Avinash/ Hoi Sun/ Carolyn

Apologies: All six years (Johnny, Hayley and Helen)

Pre ‘Meeting with Carolyn’ Discussion:
Points Mentioned:

Funding is mentioned, applying for funding to larger councils is a in-depth process, at this stage still difficult to know which are appropriate. We should speak to Trish regarding this. Julie mentioned a fund called, ‘Small funds for small groups’ which might be appropriate for us in the short term, could cover expenses, prototypes etc.

Should consider that a week on Friday we meet the dancers, week beginning 13/ 10 seems to be a busy week for 5th years, mon to wed is research methods, thursday is studio introductions. Will have to be organised to be prepared for that, don’t want it to be a missed opportunity, this Fridays meeting with TO and SB should make it more clear what is expected.

Carolyn joins the meeting.

The group summarised the progress we had made since our last meeting with Carolyn on 1/10, an explanation of the route taken to the idea of ‘bus stops’ and the idea of ‘Sharrow as a Stage’. The bus stop images were then laid out for observation.

The following comments were made on the idea and way it can progress forward:

Carolyn began a discussion on the different types of bus stops in Sharrow, thought to be related to the age of it. Seemed to be three main types: Curved Roof (London Rd, Abbeydale Rd) Square (Landowne estate area) and Posts on the pavement (residential streets). Need to consider the relevance of this and the space available around them.

The different interventions could have a fixed typology to bring to Sharrow, being collective but also all being different, bringing in the analogy of the individual and the crowd.

Pragmatically, who owns the bus stops? The bus companies or the council? Is it possible to use them? Health and Safety. Need to find out and gain permission before carrying out interventions. Possibly we produce a strategy which will be implemented post live project, so pragmatics resolved then.

Also should be considered that we design/make our own bus stop. Is it moveable? Does it fold down? Does it morph into something else? Does it have multiple uses?

Need to consider how we might begin to record these observations and reactions to the bus stop.
Could possibly be a collection of ‘bus stop dances’ in the final week. It is suggested that the dance might evolve from the installations placed in the bus stops and the public movement which is generated from this.

Need to consider how the public might react and what sort of reaction we want; do we use a busy or empty bus stop? Who is the audience and where do they stand? Possibly the performance is for people waiting for a bus or people on a bus? Or is it a daily event that people turn up to see.

Previous bus stop interventions. FAT - thatched a roof. In Sheffield – bus stops made into green roofs.

The bus stop is a ‘social condenser’. It is unknown who will be there and who you will meet.

Should consider the way people use and move around a bus stop. How do people get on and off buses? Everybody slightly different, something for us to record which brings another dimension to the research, something the dancers may be able to respond to.

There is no funding from the school for live projects, in terms of funding a prototype Carolyn suggests we salvage, welcome to come to her building site to look for bits and bobs.

A brief discussion about what our overall goal is. Is it thought that there should definitely be a designed element to what we hand over at the end of six week and this should definitely be useable by TO and SB, although it is not expected to be designed down to the last detail. Carolyn suggested that it may well be a live project for next year once funding has been obtained.

Discussion of ‘Uprising/In our rooms’

General consensus that the dance was enjoyed by all, commented on the minimal use of props, just a black stage and a bag of sand and the use of lighting throughout the performance. From the discussion with the chorographer it is interesting to note that the end point of a dance is never known when he begins - more about the development of ideas. The dance should be appreciated individually, rather than imposing a narrative – links back to just being in the moment.

Discussion on this Friday’s meeting in Sharrrow:

After this week of much creativity, we need to rationalise the journey we have taken and how we believe we have worked as a team. In a project that is less clear cut it is good to be reflective. Need to understand what are role and relationship with the client is.

Carolyn confirmed that this Friday we shall lead the meeting, so need to have an agenda and understand what we need to get from the meeting. Someone will need to pitch the idea of bus stops to TO and SB and why the idea excites us.

We will also need to take a revised stakeholder map for discussion.

It is decided that we will mock up a bus stop in the community centre for us to work with and also to take all necessary props.

Carolyn leaves meeting.

Our next steps:

To make a recording of people getting on and off buses to take to the meeting on Friday, also source a projector if possible. Jen and Pol

To analyse bus routes and maps in Sharrow. Tori

To make a cohesive book of ideas revolving around the bus stop to give Trish and Simon on Friday. Tilly

Research into bus stops and who owns them. Julie

Organise the construction of a bus stop for use in Friday’s meeting. Av and Hoi Sun.

Stakeholder Map. Julie

Research into previous bus stop installations. Kris

A postcard of logo design, deadline Monday. ALL

A large scale calendar for studio use. Jen

Other items:

Tilly to write up minutes for this meeting, write agenda and chair on Friday
Pol to be minute taker on Friday
Av to give presentation on his research into the history of Sharrow at Monday’s meeting
Hayley possibly presents ‘The fall of Public Man’ at some point?
Kris and Hoi Sun are still not receiving emails from the group list. Until sorted please add separately to all group emails. Kris: Arp08kdp@sheffield.ac.uk and Hoi Sun: ara08hy@sheffield.ac.uk. (Johnny to sort?)
On Monday it is thought we ought to assign roles. Need for someone or two to be a ‘recorder’, a project book maker – Linked to identity and branding.

Next meeting: Friday 10am at Sharrow

Sharrow bus-stop-stage!

Rafael Lozano-Hemmer

Rafael Lozano-Hemmer a media artist, is best known for creating theatrical interactive installations in public spaces across Europe, Asia and America. ‘Relational Architecture’ a series of large scale interventions in public spaces used custom made technologies to transform urban space. Situated between architecture and the performing arts, his projects explore relationships between the site and the public, creating a range of social experiences. ‘Body Movies’ (above) worked by projecting the shadows of passes by on surrounding buildings. People would realise the shadow belonged to them and would begin to act differently. There are lots of good ideas along a similar theme on his website
http://www.lozano-hemmer.com/eproyecto.html

other projects:

Research 03/10 - 06/10

Rebecca Horn

Since the beginning of the 1970s, Rebecca Horn has been creating an oeuvre which constitutes an ever-growing flow of performances, films, sculptures, spatial installations, drawings and photographs. The essence of their imagery comes out of the tremendous precision of the physical and technical functionality she uses to stage her works each time within a particular space.
In the first performances, the body-extensions, she explores the equilibrium between body and space. In later works she replaces the human body with kinetic sculptures which take on their own life. Her new works define and cut through spaces with reflections of mirrors, light and music.
The objects used and specially made for her installations such as violins, suitcases, batons, ladders, pianos, feather fans, metronomes, small metal hammers, black water basins, spiral drawing machines and huge funnels together build the elements for kinetic sculptures that are liberated from their defined materiality and continuously transposed into ever-changing metaphors touching on mythical, historical, literary and spiritual imagery

Reimagining the ordinary

A series of quick montage explorations to provoke responses into how we may alternatively consider an ordinary piece of our built environment - the bus stop. What if it became more than this, what if it became a fulcrum to the community - a place to meet and engage? The images that follow are an attempt to challenge our preconceptions of the bus stop and suggest ways in which we may reinterpret them in everyday life.

An Evening of Contemporary Culture

Last night, in the name of research the group went to the Lyceum Theatre in Sheffield to immerse themselves in contemporary dance culture. The evening provided a valuable and creative insight into the world of movement art and for those of us who are unfamiliar with dance and would usually refrain from engaging in such activities - the night proved a pleasant and provocative surprise. Afterwards we attended a question and answer session with the choreographer and asked a few questions in relation to the Live Project.

It was interesting to learn that often there is no initial idea, no statement - but just a courageous 'start' from nowhere - from where the ideas and themes emerge. This has distinct parallels to the way Birch O'Shea work and although the thought of diving in without any prior planning may seem uncomfortable to most architecture students, it is perhaps the most valuable attitude we can take forward in the project. Also, purely in the name of research we deemed it necessary to analyse the work over a few cold pints in the pub afterwards....dance is tiring work you know.

A little about the show;




watch the trailer for the show here

"Rising star of the contemporary dance world, Hofesh Shechter presents his acclaimed works Uprising and In your rooms. Hotly tipped as dance’s next big thing – his work was recently seen by millions of viewers when he was commissioned to choreograph the opening dance sequence for E4’s hit TV series Skins.

In your rooms
In your rooms brims with gritty physicality and is at times provocative, political and deeply personal. Twelve dancers reveal their anguish, loneliness, love and pain through intricate, touching encounters in a society that is alien but shockingly familiar. The work features a hauntingly beautiful original score, created by Shechter in collaboration with Nell Catchpole (The Gogmagogs), performed live on stage by five musicians.

‘Probably the most important new dance work
to be created in Britain since the millennium’
The Observer 2007

Uprising
In Uprising seven men emerge from the shadows to bombard the stage with furious energy, bonding and sparring, making up and falling out. This highly charged work, set to a throbbing percussive score also composed by Shechter, leaves audiences buzzing."

Space changes--the uncomfortable chair

This picture is taken from book "The Metapolis Dictionary of Advanced Architecture. City, Technology and Society in the Information Age", page 311.

Small example of the dialog between human and space and how they react together. The feeling of unfit, boring, or uncomfortable is a trigger. Bold emotions transferred into some movements that eventually act in response with spaces.

Some interesting facts about Sharrow

I went to a lecture/workshop, "Made in Sheffield", run by Sheffield City Council last night (at St. Vincent's WMC) which was the 1st evening in the Urban Design Week series, where we examined the current conditions in Sheffield with a view to how Sheffield can move forward.
Of three specific areas of Sheffield discussed, Sharrow was one. Below are some interesting perspectives and facts about Sharrow:

• In creating the new Sharrow School, it was all about creating a sustainable community, both economically, socially and environmentally. COHESION was a key theme.
• In the past there was a move to empty certain areas of Local Authority Housing, but this decision has now been reversed, bringing more families back into the area.
• There are a lot of over-crowded households, with 2 or 3 generations frequently living together.
• While many of the residents are financially poor, they are culturally exceedingly rich.
• Generally good interaction between the sub-communities within the broader Sharrow community making Sharrow, "... an exciting place to live for some of the community, some of the time."
• Key organisations in the area: Sure start, Sheffield Community Forum and FURD (Football unites, Racism divides - a key player particularly among the young people in Sharrow dealing now with a wider scope of issues than just what the name implies)
• Problem: area is intersected by busy roads which has led to a lot of road accidents in the area, particularly amongst the young and the elderly
• Very diverse community - includes among others particular groups of Pakistani, Bengali and Somalian residents (different Mosques cater specifically to each group)
• The Mosques are very powerful and active within the smaller communities, in some instances intervening to help solve clashes between youth groups. The new mosque was entirely community funded; a lot of individuals went door to door selling jewellery to raise funds.
• While a lot of effort is put in at Primary level education to promote diversity and cohesion there is no common secondary school, so despite a positive foundation, problems often arise at higher level schooling as young people are dispersed, losing the community feel. There is also quite a gap in the provision of services/activities for older young people, the main centre being an adventure playground - more popular with younger teenagers.
• There has been a seachange in the aspirations of the residents, and in particular there has recently been a liberation of the community's women. Girls are now, more frequently, going on to higher education, and women are continuing to work after having children. This is particularly evident within the somalian sector of the community.
• There is a lack of green space within Sharrow. There is Mount Pleasant Park, which is due for redevlopment, but facilities are limited. There is, however, a playground, an adventure playground and there are some cricket nets (particularly popular with the Pakistani boys). Dividing these is an 'official' grafitti wall, which sees a wealth of high quality, frequently changing artwork.
• Within the park are 22, 100m deep, bore holes which provide ground source heating in Sharrow School (Primary).
• A Common sign - a pair of trainers tied together, hanging over telegraph wires. This is seemingly widely known as a signal that drug dealing is happening in the area. Drugs are quite a problem within the area and there are key areas which are known for their 'invisibility' for such exchanges, and needle pick-ups first thing 'the morning after' are a necessary daily occurence.
• An interesting point about London Road: Lloyd's Pharmacy requires a security guard at the front door, as the drug addicts go for their daily medication; this is juxtaposed with the charity shop, 'Mind' on the opposite street corner.
• There are many "disaffected young people and adults"

Additional points about Sharrow to draw to a close: there are seen to be three main barriers

• There is lack of spaces for meaningful interaction
• There is a view that other groups, outside of Sharrow, get special treatment, not them (so, a feeling of resentment towards others)
• There is a mistrust of new groups coming into the area (... which may mean we have to be quite sensitive to how we approach our methods of intervension, and how we 'brand' ourselves within their community.)

Investigating approaches to 'Arch'

POSTCARD responding to Initial client meeting
...summarising investigations/research into what our 'creation' might be:
a network connecting people and places, a backdrop to the action, a 3-dimensional series of boxes defining peformance space and encouraging interaction, a way of markating space, a built form that represents movement, a means to channel and focus the audience enabling them to view their surroundings and the dancers in a different way
...finding beauty in the detail of the human form...

Group Meeting #2

9:30am in Studio

Present: Tilly/ Jen/ Tori/ Pol/ Kris/ Jonny/ Hayley/ Julie

Individual Perspectives (postcards, concepts and conversations)

- Each group member ran through their own pursuits since Friday’s meeting and discussed what their own interpretation of the project was or may become.

- The postcards which captured these themes were shown and commented on by the group, each person’s ideas are to be entered onto the blog by themselves in full, but a brief summary of each (and the discussions generated by them) is provided below for reference;

Tilly – Research into the futurist movement and further exploration of the idea of the umbrella as a representation of a transportable shelter/container and expression of personal space, but also as a device which heightens awareness of context and others. Notions of how we may classify certain activities as being valid in certain situations (sitting quietly in a bus shelter etc) and how the project may reverse or challenge these conventions. The idea of weather as being an influence on activity.

Tori – Observations on the impact of interruptions on tranquillity of a space. Presented the idea of a changing stage which becomes malleable as interaction occurs. Precedents of buildings which capture and suggest fluidity, movement and journey, particularly where these may also express the connections between people. Potential capabilities of architecture to generate and inspire movement.

Hayley – Visual tracings of movement, memory and change and how we may engage through our feelings, emotions and perceptions. Reflections on our personal circumstances of an open client, providing us with a high degree of creative freedom, making it vital that we ensure we control the projects direction in order to provide a tangible end result. The importance of developing a theoretical thread for the project or research question to structure and define our pursuits. Need to document meetings, possibly film to create a database and catalogue of ideas. The end presentation may embrace performance and creativity more so than conventional presentations. Necessity for maintaining a comprehensive timetable and also providing time for self reflection and individual analysis.

Julie – Identified abundance of 2dimensional media and suggested a more haptic, sensory led approach. Suggested the idea of introducing installations to affect people’s movements and challenge preconceptions of thresholds and boundaries. How we can explore textures and objects of the everyday and make them interesting, manipulating and reversing perceptions of texture, surface, scale or temperature. Notion of ‘defamiliarising the familiar’ to generate awareness of the mundane and allow audience to reconsider their relationship with themselves and their context. (Possibly with specific relevance to defamiliarising Sheffield). The use of controversy to provoke opinion and introduce frustration in our environments.

Kris – With reference to residue and the focus upon the empty room, how can we translate the ordinary into an object which directly challenges our interpretation of a space. Particular interest in the use of shadow and silhouette as a form of projection – becomes a real time depiction of the movement and establishes a dynamic relationship between audience, performer, shadow and canvas. The shadows becomes a visual by-product which may or may not reveal the full picture. Precedents of environments which respond to human interaction and allow user to shape their space.

Jen – Examination of personal responses and self awareness, spontaneity and the unpredictability of human nature. Association of spaces and their assigned comfort levels. Addressing how architecture may provide both voluntary and involuntary engagement and of the importance of subtleties of environment on influencing behaviour. (Berlin Holocaust Memorial cited as example of forced engagement at an uncomfortable level). Introduced precedent of the Street Piano, distinct relevance to Sharrow and provides vehicle to unite society and bind community. This presented the concept of an installation which may involve ‘removal’ of an installation rather than insertion of one.

Pól – Using the umbrella as a canvas for performance. Dance as a general expression of weightlessness, contrasted in some cultures by an affiliation with the ground and a deliberate heaviness. Extended thoughts on the idea of the silhouette and the ability of rain to provide instances of spontaneous shelter. Suggested idea of using the blog as a means of cataloguing and collecting raw ideas and as a ‘scribble wall’ for group members to jot thoughts down on.

Jonny – Extending on thoughts about confrontation with the negative (litter, graffiti etc), started to explore translations of concept into project specific terms. We usually shy away from the negative, what if we were to embrace it? The static becomes as relevant as the mobile, movement artists provided with restraints – dynamism is instead generated from what is usually the background. Small movements become exaggerated and celebrated. Notion of exploring disruption to rhythm of routine and of disproportionate obstacles.

Afternoon session

- We brainstormed the thoughts, themes and ideas that were generated by the mornings discussions and allocated each one under either an ‘impulse’, ‘method’, or ‘action’ category.

- The general prevailing theoretical thread that emerged was concerned with ‘reimagining the ordinary’. We talked about the potential for creating a performance where there were no performers, just ordinary people going about their normal business but connected through an installation (eg an umbrella we distribute).

- We wanted to challenge the use of a particular space, specifically one which has a profound relevance to the community, such as a bus stop. Explore the potential of such an existing urban feature to become a more playful fulcrum within the community.

- The idea developed for analysing a bus stop within Sharrow (time lapse recordings) and then reimagining how this place may become reinterpreted as a performance space. Not in the conventional sense of performance, but where everyday life is the focus.

- Intervention could be an extension to the bus stop, which is given its own distinct identity, these could populate numerous locations within the community and become a centre for interaction, discussion and collaboration, providing a fluid and more transient interpretation of the community forum.

- The result would be for us to establish a network of these hubs which are interconnected through transport movement and pedestrian flow. Each one may exhibit a stronger or lighter concentration of ideas and each could be analysed throughout the course of our involvement to see how things change.

- Could the bus stop be re-envisaged as something other than merely a place to wait?

Our next steps

- Produce (10x) montages of how we may reinterpret a Sharrow Bus Stop.

- Analyse existing use of bus stop, record and document behavioural patterns.

- Research Sharrow and community, funding and a/v equipment hire.

- Continue process of reflection and comment via the blog (including uploading postcards and addition of precedents)

­Other Information

Dance performance – Uprising/ in your rooms Tuesday 7^th October 7.30pm at the Lyceum Theatre. £7.50 Get your money to Julie if you haven’t done so already.

Next Meeting - 9.30am Wednesday 8^th October (?)

Conronting the Negative

My initial site explorations brought to my attention the negative values of place; litter, graffiti, vandalism and neglect. What if we were to reinterpret these values and make them a positive experience? In a similar sense, what if the same were to happen to our perceptions of dance? If the static became as relevant as the fluid - sometimes the stationary is as important as the mobile, it is only through the existence of that which is still that we really begin to appreciate that which moves.

the journey of meeting two...

making the mundane explicit.

'......instead of experiencing our world, we behold it from outside as spectators of projected images.....'

'....a negligence of the body and its senses within architectural design can build a growing experience of detatchment of the inner self with that of the outer world....'

Dan Graham

WAYS IN WHICH ARCHITECTURAL FORM CAN BE USED TO AID IN THE RECOGNITION OF THE SELF AS BEING SHAPED BY EVERYDAY SURROUNDINGS

The work of Dan Graham looks at creating an increased social conscience in the spectator. This involves shifting the consciousness of self to that of self amongst others, as part of a whole and the engagement of defined publics on social issues.

The formal set up of Public Space/Two Audiences, 1976 (middle fig.) enables each audience to see the other's visual behaviour, turning the audience into the exhibit. The flux of the experience carries a reading of the self in a dynamic, not static, situation of both environment and other bodies.

The architectonic work of Rachel Whiteread

'ASSERTATIONS OF POSITIVE FORM MADE FROM IMMATERIAL SPACES'

Whiteread uses her work as a way of solidifying her desire to see and know her world, picking the areas that are not noticed, such as the space enclosed in a shut wardrobe, or the details of a hinge and transforming the subject in a way that the rest of the world can translate. By changing the location or highlighting the materiality of an object or chosen space, the experience of the work is rerouted from the understanding of the formal object towards that of its relationship with surroundings and observers. This exploration aims to shake the self into a new awareness of the ordinary.

Most of the sculptures are veneered with human markings that could only have been pressed upon them by the hand of time itself. This brings the present into sharp relief, an understanding of this moment in relation to what has gone and what may come; memento mori. Work such as Untitled (Cast Iron Floor) 2001 looks to further revealing this passage of time, using bodily interaction of the viewer to wear out and morph the surface of the piece so that its history continues to unfold.

http://www.youtube.com/watch?v=nvkNdlKVP2Y

ANIMATED STRUCTURE, 'the building dances'

PATTERN: The layering of dance

Movement as a diagram. Marks adorne the surface memorising the dancers' movement, offering a repository of steps to evolve from : The threshold of past/present and future. Projection Canvas : A device to enhance the mood and exhileration of the performance through other media such as video or images. the Umbrella encapsulates the dancers personal space as well as offering a canvas to project onto.

CULTURES: Connection with the sky.......VERTICAL HIERARCHY OF AMBITION

'The tradition with western ballet is all about making the body feel weightless essentially'

This is very different from African/aboriginal Dance which is all about stomping the ground and connections to the ground.

reinterpreting the 'daily urban performance'

Self awareness + engagement

self awareness and others-

conscious/subconscious engagement-

interlinked tracks + paths-

orientation altering interpretation-

universal icons, subtleties + the obvious-

02.10.08 – Group Meeting Minutes

Present: Tilly/ Jen/ Hoi Sun/ Tori/Julie/ Pol/ Kris/ Jonny/ Hayley/ Helen

Points discussed
- Sixth years ran through last years lives projects to the rest of the group.
- Last years blogs are available via http://05liveproject07.wordpress.com/ this will connect to all the live projects on the blogroll on the right of the screen

How we should run meetings
- It is necessary to keep clear routes of communication to the client and internally within the group.
- Everybody is to contribute to blog.
- Delegate one person at each meeting to transcribe and upload to the blog. If anyone has any ideas or responses feel free to add these in the comment boxes.
- Rotate who chairs the meetings.
- Make such we have a clear agenda for each meeting and produce actions lists.

Initial ideas
- We discussed ways in which we could express our initial ideas of the live project after meeting clients, Simon and Trish. The activities that we were involved in were personal to the individuals so we decided that we should all write a short diary of our feelings and reactions of the day in order to bring ideas together next Monday.
- Possible funding sources? Not clear yet we need to establish what direction we want to take the project. Establish the possible participants and groups who are interested in the project.

Our next steps
- Collect images, texts, websites, any information which is relevant to pin up in the ‘nerve centre’ for future reference.
- Next week maybe of making things. Put them out into the public to test ideas and challenge the public.
- Make sure we give ideas their own identity. Find ways of connecting ideas through choreography, movement, fluidity. Keep individuality.
- Maybe place an obstacle in the entrance of the arts tower and see peoples reactions. Looking at peoples movements for example getting off a curb.

Documenting work
- Keeping a personal diary of our experiences, postcards throughout the process, BLOGGING, photographing, sketching….. Observing and filming our activities and peoples reactions and responses.

The aim for next Monday is to collate all our individual ideas. Arrive at possible ideas of participation. Challenging space and observing how the public react. Making and testing ideas. Write our statement of intent for the project

Actions
- Produce postcards with an image/ photo/ quote/ sketch of initial ideas – Everyone for Monday
- Write down our own reflections about the start of the project and initial client meeting – Everyone for Monday
- Any key words / context ideas/ general information/ precedents – for the nerve centre - Everyone for Monday
- Get a group email address sorted and get a contact list of possible participant groups from Trish. Tell clients about the blog and how to log in (is that alright?) – Jonny
- Get blogging – get on the system if any problems talk to Jen or Jay
- Type up initial client meeting on the blog - Jen
- Any photos / information put on Arch stud

Other Information
Dance performance – Uprising/ in your rooms Tuesday 7th October 7.30pm at the Lyceum Theatre. £7.50 Get your money to Julie if you haven’t done so already.

Next Meeting - 9.30am Monday 6th October

visual traces of movement

Recreating a journey through Sharrow...

This installation communicated the feelings, smells, sights and sounds that were experienced on a journey through Sharrow.

The footsteps were a record of our movement...we tied our feet together whilst moving around to trace each others shadows___Shadows and light are visual traces of movement___Being tied together by string was significant firstly because it was a measure of the distance and space between us and secondly, it restricted our movements and recreated the uncomfortable experience of being approached and followed in public.

Connections between people and spaces

The framework of installation artist Ruairi Glynn's research is based on connections and possibilities between spatial design and participatory culture.

He uses responsive technology as a tool in most of his work. The intention is to explore and create some forms of dialog between the built environment and the people that inhabits them, giving feelings that they are ‘connected’ to each other.

This project is called ‘Reciprocal Space’. It’s a set of interactive spaces that connected to the inhabitants and contend them to respond mutually. The space will change and transform based on the dialog performed by the inhabitants.

Check out this site for other work of Ruairi Glynn, and this site for more work about interactive architecture.