How digital technology is turning cities into theatres

Hendrick Danckerts painting of the lost Palace of Whitehall, brought back to life by digital technology. Sort of. Image: Wikimedia Commons.

Silicon Valley has transformed our experience of the built environment and the complex systems within it to an extent never before conceived by any planner or architect. Uber, AirBnB, Google, Trip Adviser, Twitter – all have drastically affected how we consume and experience cities.

Each of these companies addressed a single market problem via technological innovation, and succeeded by attracting a critical mass of users. Lines of code, intentionally or otherwise, have rapidly outmaneuvered the lines of architectural blueprints in programming our cities.

Imagine, then, the possibilities of cohesion between these two toolsets: of architects who are, theoretically, tasked with designing for a public good, using the tools that are actually redrawing our cities. I believe that designers, as programmers of spaces, objects and experiences, hold the potential to craft this emerging city cyborg, and more importantly determine its purpose.

In his 1994 thought piece The Generic City, Rem Koolhaas describes a city where “serenity... is achieved by the evacuation of the public realm”, largely as the result of “urban life[’s] cross over to cyberspace”.

To a great extent, urban life has crossed over to cyberspace. We can receive deliveries within hours, date through apps, know who is where, and no longer need to know the name of our neighbourhood streets thanks to Google maps. These are great functions.

But to avoid Koolhaas’s vision of a public realm devoid of social purpose, we must simultaneously design an environment that offers experiences greater than those offered through highly functional apps.

The Generic City was intended as a provocation. But a link between our reliance on apps focused on the individual, and our reliance on what the built environment and city has to offer, is undeniable. Designing for a digitally mediated city that aspires to invigorate and inspire the public realm, rather than bypass it – that uses the interplay between lines of code and the lines on architectural blueprints – requires the designer to consider both the physical and digital layers of the urban experience.


Back to the fun palace

An early example of the application of this type of thought was the “Fun Palace”, designed by British architect Cedric Price, theatre director Joan Littlewood and cybernetic scientist Gordon Pask. The project, conceived in 1961, aimed to create “unimagined sociality” through a large adaptive structure that blended learning, work, the arts and “fun”.

It was to be an automated set of public spaces, mediated by cybernetic algorithms, and actuated through a variety of spatial and interactive mechanisms. Gantry cranes would reconfigure spaces to meet the needs of a particular performance, while another space would be configured to support an educational workshop.

My practice, Chomko & Rosier, seeks to re­examine this interplay between architecture, technology and culture. Our studio is mid­way through producing “The Lost Palace” – a project for Historic Royal Palaces, which will allow visitors to explore the Palace of Whitehall, which was largely destroyed by fire in the late 17th Century. Taking place on the streets of contemporary Whitehall, this compression of several hundred years is mediated via a series of haptic, physical, audio and interactive mechanisms powered by digital technology.

Urban experience designers can draw upon these types of experiments, while also engaging with the immense critical narratives emerging around data and our use of technology. They can decide which problems to address within our cities, and pursue the far greater task of designing our digitally mediated urban experiences. They can craft mechanisms, spaces and systems that encourage, suggest and assist us, while providing rich urban experiences – whether local information, wayfinding, transport, events, history, socialising, or any combination.

Our studio was able to play with this idea through our public art project “Shadowing”. The project gave streetlights the quality of memory, allowing them to record the shadows of those who walk underneath to be played back for the next person. As an art piece Shadowing captures and then enhances the core quality of any city: the people who share it. As a piece of design, Shadowing offers a glimpse into the potential for technology to provide a layer of experience on our streets and infrastructure.

The tools available to designers through software are unprecedented. They can dramatically alter our perception of a space, a historical event or an entire city without laying a single brick. 

So as the Generic City surges forward, propelled by digital technologies, and we wander towards the theatre exit lights guided only by a backlit screen, let us attempt instead to turn the city into theatre.

Matthew Rosier is co-founder of Chomko & Rosier.

The Lost Palace is a collaboration between Chomko & Rosier and theatre company Uninvited Guests. It runs from 21 July to 4 September.

 
 
 
 

Two east London boroughs are planning to tax nightlife to fund the clean up. Will it work?

A Shoreditch rave, 2013. Image: Getty.

No-one likes cleaning up after a party, but someone’s got to do it. On a city-wide scale, that job falls to the local authority. But that still leaves the question: who pays?

In east London, the number of bars and clubs has increased dramatically in recent years. The thriving club scene has come with benefits – but also a price tag for the morning clean-up and cost of policing. The boroughs of Hackney and Tower Hamlets are now looking to nightlife venues to cover these costs.

Back in 2012, councils were given powers to introduce ‘late night levies’: essentially a tax on all the licensed venues that open between midnight and 6am. The amount venues are expected to pay is based on the premises’ rateable value. Seventy per cent of any money raised goes to the police and the council keeps the rest.

Few councils took up the offer. Four years after the legislation was introduced, only eight local authorities had introduced a levy, including Southampton, Nottingham, and Cheltenham. Three of the levies were in the capital, including Camden and Islington. The most lucrative was in the City of London, where £420,000 was raised in the 2015-16 financial year.

Even in places where levies have been introduced, they haven’t always had the desired effect. Nottingham adopted a late night levy in November 2014. Last year, it emerged that the tax had raised £150,000 less than expected in its first year. Only a few months before, Cheltenham scrapped its levy after it similarly failed to meet expectations.


Last year, the House of Lords committee published its review of the 2003 Licensing Act. The committee found that “hardly any respondents believed that late night levies were currently working as they should be” – and councils reported that the obligation to pass revenues from the levy to the police had made the tax unappealing. Concluding its findings on the late night levy, the committee said: “We believe on balance that it has failed to achieve its objectives, and should be abolished.”

As might be expected of a nightlife tax, late night levies are also vociferously opposed by the hospitality industry. Commenting on the proposed levy in Tower Hamlets, Brigid Simmonds, chief executive at the British Beer and Pub Association, said: “A levy would represent a damaging new tax – it is the wrong approach. The focus should be on partnership working, with the police and local business, to address any issues in the night time economy.”

Nevertheless, boroughs in east London are pressing ahead with their plans. Tower Hamlets was recently forced to restart a consultation on its late night levy after a first attempt was the subject of a successful legal challenge by the Association of Licensed Multiple Retailers (ALMR). Kate Nicholls, chief executive at the ALMR, said:

“We will continue to oppose these measures wherever they are considered in any part of the UK and will urge local authorities’ to work with businesses, not against them, to find solutions to any issues they may have.”

Meanwhile, Hackney council intends to introduce a levy after a consultation which revealed 52 per cents of respondents were in favour of the plans. Announcing the consultation in February, licensing chair Emma Plouviez said:

“With ever-shrinking budgets, we need to find a way to ensure the our nightlife can continue to operate safely, so we’re considering looking to these businesses for a contribution towards making sure their customers can enjoy a safe night out and their neighbours and surrounding community doesn’t suffer.”

With budgets stretched, it’s inevitable that councils will seek to take advantage of any source of income they can. Nevertheless, earlier examples of the late night levy suggest this nightlife tax is unlikely to prove as lucrative as is hoped. Even if it does, should we expect nightlife venues to plug the gap left by public sector cuts?