Designing Out CrimeFaculty of Design Architecture & Building

Graduates

March 2012Layout design by Jessica L Wong

Enquiries:Designing Out Crime Research CentreLevel 3, 235 Jones St, UltimoUniversity of Technology Sydney

Postal Address: PO Box 123 Broadway NSW 2007

T +61 2 9514 8990E douglas.tomkin@uts.edu.au W www.designingoutcrime.com

DIVERTING47 Changing projected performances49 Directions51 Anti-climbing roller53 Fence55 Fence with lights56 Folding57 Barrier

SENSING61 Interactive floor lights63 Patron tracking via sensors65 Group67 Cleavage

RESPONDING69 Breach71 Vapour73 Screen

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59

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CONTENTS

INTRODUCTION09 The problem11 Vision13 How to get there15 Stakeholders17 Our process: reframing19 Themes

CONNECTING23 Ambassadors25 Curated spaces27 Morning Yoga29 Seat netting31 Wind sculptures33 Window to the world35 Opera outdoors37 Late night39 Young demographic40 Canopy41 Posts42 Water43 Food

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SUMMARY77 Conclusion79 The team

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INTRODUCTION

This report details a project undertaken by a group of 18 architecture and design graduates from the University of Technology Sydney. The project was initiated by the Opera House with the aim of exploring ways to supplement existing security measures and enhance the visitor experience for both partrons and tourists. The project was managed by the Designing Out Crime Research Centre, which is based at UTS.

The work was carried out over a very short period, from 30 January to 16 February 2012 and included detailed briefings by Opera House staff, NSW Police Force, escorted tours of the interior and exterior of the buildings and an understanding of the guiding values for the future of the House not least of which is the Utzon Design Principles.

The staff and students were appreciative of the very detailed briefings; access and hospitality afforded by all those involved, in particular Ms Jenny Muldoon, Head of Security, and Emergency Planning & Response for the Opera House and Inspector Gordon Dojcinovic NSW Police Force.

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SECURITYthe sails have been climbed by

activists or by opportunists who act impulsively.

This creates 2 main issues:1. Safety of the climber(s) and

pedestrians at the base of the shells.2. Impacts on public image - impliesthat the Sydney Opera House lacks

control to prevent security breachesand that it is vulnerable to potential

terrorist attacks.

FOOD & BEVERAGEthe current options for visitors to theHouse are unsatsifactory in terms of

cost and quality; visitors will stay longerand spend more money when seating

is provided, any proposals for new foodvendors must consider limited capacity

for storage.

VISITOR EXPERIENCEthe majority are currently tourists who arrive to

see the Opera House, take a photo,perhaps buy refreshments and then

leave; intention to introduce self-guidedtours in addition to current guidedmodel; introduction of interactive

technologies to enhance visitorexperience

THE PROBLEM

The problem this studio resolved to address is really a paradox – on the one hand to allow citizens and tourists to experience the power of this building up close without barriers or overt security while on the other excluding access to terrorists, protesters, and those who might engage in anti-social behaviour. The challenge was to solve this paradox within the constraints imposed by the World Heritage Listing of the Opera House and Utzon’s design principles written at a time when terrorism, protesters and OH&S issues were all much lower on the list of priorities.

The briefings centred on three matters; security, food and beverages and visitor experience. The task was to provide solutions that encompassed all three concerns within the framework of the Opera House guidelines.

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FUTURE STATEbuilding does not

comply with Utzon’s Design Principles

recognition from within that change

is needed

security breaches pose image problems,

safety issues

iconic

tourist destination - come, see,

photograph, leave

internationally regarded performance venue

CURRENT STATE

dynamic (should not become a museum)

a place for continuous rejuvenation

creating an envigorating and

enriching experience

a place for collaboration

fertile ground for new performers/creative artists

willingness within the organisation to accept change

sensitivity to original hopes, themes,

aims of the building

world heritage listed

desire to strictly adhere to Utzon’s Design

Principles

implement measuresto impede

further breaches to security

VISION

The image opposite summarises the overall vision the group has for the Opera House, describing where we see it now and how we would like to see it evolve in the future. These core statements work to not only solve the central problem of security breaches, but also contribute towards making the Opera House an increasingly enriching experience for everyone who visits. This approach reinforces that any measures to prevent security breaches are fully integrated into the Sydney Opera House in a holistic way.

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encourage collaborationinvolvement with other cultural organisations

create communications

that engage, enticeand delight

creation of digital world that is consistent with the themes and aims of the physical building

passive surveillance through curation of events/exhibitions

to fill 24-hour period introduction of

house ambassadors (providing welcome,face-to-face contact)

SHORT TERM LONG TERM

extend Utzon’s Design Principles

beyond the architecture

encourage people to stay by providing

temporary seating

encourage free exploration by

visitors

create spaces for changing exhibitions

create program of continually

evolving events

open up the site: remove marquee,

remove temporary fences, open the cleavage

use new technology glass- open, transparent,

non-intrusive

provide insight to performance occurring indoors to the public

outdoors- what is opera?

minimalist structural changes that encourage further

connection with the buildingand the arts

build expectationsof visitors -

the desire to be surprised

simple, non-obtrusivephysical barriers to

prevent climbing

place sensor technology under granite floor slabs- track visitor data, createinteractive experiences

create web presencethat draws in younger

audiences and encourages participation

stage pop-upevents on the steps and forecourt area

- impromptu, young, informal

establish a frameworkthat facilitates change

into the future

realise Utzon’s aim for the audience to

meet the performerson top of the platform

HOW TO GET THERE

A synopsis of the short, mid and long-term strategies that realise the vision are described in the diagram opposite. They include a mixture of physical and non-physical approaches. The physical measures include the use of new technologies to heighten security whilst maintaining the openness and accessibility of the Opera House. The non-physical measures include the creation of a framework that will facilitate and encourage change into the future.

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STAKEHOLDERS

Following briefings the key stakeholder groups were identified and their specific concerns articulated. Discussions centred around how these groups interacted and whether there were overlapping interests. It is this intersection, represented by the dark area in the centre of the diagram, which provides the focus for designing out crime intervention.

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OUR PROCESS: RE-FRAMING

The Designing Out Crime Centre employs a nine-step process in resolving design problems. A key stage in the process is called “reframing”. This involved mapping and analysis of each of the stakeholder groups and their respective needs. These needs are separated into two areas; where there is an overlap of interest and where there is a potential for conflict. The process involves setting this analysis aside temporarily while looking at the broader setting of the Opera House; its status as an international icon, the importance it holds as a place for performing arts, and the rich history of the site. Debate then centres on reframing the overlapping interests and conflicts within the framework provided by the broader context. Out of this process four themes were selected to inform the design approach.

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CONNECTINGDIVERTING

SENSINGRESPONDING

THEMES:

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CONNECTING

A sense of ownership is empowering. There would be few Sydneysiders who fail to show off the Opera House to their overseas or interstate visitors without a sense of pride and a sense of personal attachment. This goodwill can be harnessed to develop an even more vibrant and intrinsically secure environment in and around the House. Sydney is home to a very rich mix of cultures, all of which by their very presence in Sydney associate with this favourite icon. Providing mechanisms to establish close ties with the House deepens this connection and in turn enhances security.

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CONNECTINGAmbassadors

The most reliable security system usually includes an individual on the ground, watchful for suspicious behaviour and visible to the public as a deterrent. The downside of this arrangement is the expense of deploying security guards in large numbers around the clock over such a large area and the negative message it may send to the public; “why so many guards, what should I be worried about?” An alternative is a team of non-threatening volunteers providing information, observing events, directing the ever-increasing number of visitors and above all watching out for security concerns.

There should be little problem in enlisting Ambassadors, the Opera House is loved by most Sydneysiders and the opportunity to represent the Australian icon would appeal to many. An inducement, should one be necessary, might be an offer of reduced ticket prices.

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GOOD MORNING GOOD DAY

GOOD EVENING LATE NIGHT

CONNECTING

The surrounds of the Opera House offer numerous opportunities for temporary events sympathetic to this very special environment. A unique feature of the setting is the quite different ambience experienced as you move around the House; a rich mixture of the architecture, harbour and city views. Each space has its own quality, especially when experienced at specific times of the day.

NORTHERN BROADWALK

FRONTAIR

CLE

AVA

GE

PODIUM

EAST

WEST

WESTERN BROAD-WALK

FORECOURT

Curated spaces

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CONNECTINGMorning Yoga

Visitors to the House in the early hours cannot help but notice the joggers, exercisers and early morning tourists starting the day with a lift of emotional and physical energy provided by this inspiring location. Coincidently early morning has also proved to be a time of considerable security risk, all incursions to the sails occurred not long after sunrise. Controlled events such as yoga in the presence of ambassadors add passive surveillance and extra eyes and ears to the security team.

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CONNECTINGSeat netting

The space commonly referred to as the cleavage (currently barricaded with no public access) has its own special quality. From a low vantage point the full impact of the sails can be experienced, augmented with wonderful views of the city, harbour and a sky framed by a sea for curved tiles. Replacing the unsightly fence on the harbour side with a carefully designed netting structure could provide a place to rest, admire and amaze while offering increased security without obscuring the harbour views.

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CONNECTINGWind sculptures

The cleavage space differs from other places around the House not least due the micro weather resulting from the towering structures and its narrowness. Why not use this feature as an advantage? Sculptors could be invited to produce objects that engage with the wind, perhaps as an intermittent program. The sculptures could also include or be associated with features that inhibit climbing the sails.

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CONNECTINGWindow to the world

Portals strategically placed around the site could create a visual connection with cultural centres around the city or around the world. These portals could also be used as insights on the indigenous origins of the site, the design of the House, and links to Opera Houses around the world.

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CONNECTINGOpera outdoors

Why confine all the drama and delight of the House indoors. Spaces around the buildings provide ideal locations for planned or surprised happenings. Such events give a focus for the ambassadors to augment surveillance.

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CONNECTINGLate night

When the shows are over and the patrons have gone home security guards outnumber the public wandering onto the site. Is this a period when the House might be vulnerable? It is certainly a time of limited activity when a visitor is likely to be viewed with suspicion and unlikely to be welcomed. Supervised late night activity could provide a new dimension and embrace a new younger demographic of night owls.

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CONNECTINGYoung demographic

One group that may well be under represented in visitor figures to the House are youths and young adults. Entertainment for this group includes visiting clubs and “hanging out” in pubs and centres of city nightlife, usually involving alcohol. Engaging with this group through a targeted website, social networks, a House radio station and late night curated events providing a safe non-alcoholic venue, would introduce the House to this important demographic. A kiosk close to the entrance to the site would help monitor movements in the early hours.

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CONNECTINGCanopy

Utzons drawings reference to the podium acting like a Mayan temple, elevating you and offering an open view out over the canopy of the forest foliage below. This could be a solution to creating additional covered space on the lower forecourt to replace the existing ‘event tents’ which are incompatible with the Design Principles.

The event space could become defined by the canopy and from the cleavage space a changing light installation. A dramatic change to the Opera House could completely reassess the front forecourt.

CONNECTINGPosts

One manifestation of pop-up art installations for the ‘Cleavage Space’ could be Post Something To Sydney a place where public messages can be written to each other or the public.

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CONNECTINGWater

The use of water projections creates the effect of floating shells and takes us back to Utzon’s original concept of a floating structure. Having the projections flow from inside out, enhances the floating effect despite the presence of the glass. This heightens the visitor experience, as well as providing illumination at nightime.

CONNECTINGFood and merchandise

The new food and beverage kiosks could come with a new organic and environmentally friendly attitude. Food could have an iconic symbol related to the Opera House made from local ingredients. A unique item could promote the history of Australian food and appeal to both tourists and locals.

A review of existing merchandise could bring Utzon’s design principles to another level. Minimal clean, intelligent items which more closely reflect the ethos of the building. Smart water bottles, shading/shelter devices for tourists to use whilst visiting on hot or wet days. Food packaging which is ecologically responsible.

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DIVERTINGIntroduction

Through the eyes of a climber the unique architecture of the Opera House must seem like a tempting challenge. Access points to “paths” or ledges leading to the crest of the sails are dotted around the base. While some avenues may be more demanding than others they are all vulnerable to a climber determined on an assault. Traditional barriers to discourage such attempts would not be compatible with the Utzon Design Principles nor would they be an acceptable solution to anyone who views alterations to the structure as a desecration. How then to discourage such attempts without impinging on the all-important aesthetic of the House?

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DIVERTINGProjected performances

New cutting edge technologies provide an opportunity to construct transparent barriers with a dual function of projecting images of (say) a live performance in progress. These barriers, locked into position but on wheels, incorporate OLED glass projection with transparent speaker film and disturbance pressure sensors. While unlikely to prevent a resolute climber these barriers would provide lead-time for security staff to arrive on the scene. Development of the concept would ensure compatibility of the form with the existing structure.

49TICKET / KIOSK

Elevation 1 Elevation 2 Elevation 3 Section

DIVERTINGDirections

There are many other possibilities employing similar technologies to those used on barriers outlined on the previous page. They include directional signage, interactive information points, kiosks and emergency information panels. Smaller signs such as those employed to discourage children climbing on slopes are suitable candidates for this technology. The flexibility of the system suits changing situations, upcoming event notices and areas where directional lighting might be helpful.

INFORMATION POINT

Elevation 1 Elevation 2 Elevation 3 Section

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DIVERTINGAnti climbing roller

Small discreet rollers are implemented on the high edge surfaces of the sails. These are a proven method of “non-aggressive” anti-climb barrier.

The roller attachments would be placed above sensor pads that would alert security to potential loitering and any associated threat to accessing the sails. These rollers can be used with any of the other proposed diversion systems including on the top of fences

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DIVERTINGFence

A stainless steel mesh fence provides a safety barrier without impeding views out of the space. Balustrade fencing attracts the viewer’s eye to the fence structure; while a wire mesh fence structure encourages the eye to look beyond the fence to elements in the view. Used to replace the East & West fence, the stainless steel mesh fence is far less visually intrusive than the existing structures.

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DIVERTINGFence with lights

Opportunities for more sympathetic barrier designs are now possible with a combination of new technologies. Movement sensors, programmed LED lights, hardened steel mesh can be combined together to produce a visually impressive yet highly secure defense against intrusion.

This fence uses a sculptural and performance aesthetic that complements (rather than mimics) the architectural elements of the House. Using an atypical fence structure gives the impression of the fence as an installation rather than a security barrier.

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DIVERTINGFolding

An anti-reflective glass structure ghosts the existing window structure so when not deployed it is unable to be seen. When activated it provides a barrier to the intrusion points and can also function as a canopy allowing visitors protection in multiple weather conditions.

DIVERTINGBarrier

This temporary folding partition is attached in place and used to cordon off breach zones and create event areas. Sympathetic to Utzon’s use of raw materials, the frames are made of wood with a minimal waterproof finish to expose the raw material. Perspex tiles dangle from wires and would pick up the breeze and shimmer in the windy cleavage.

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SENSINGIntroduction

Arriving at the Opera is a truly sensory experience - ‘it is a succession of visual and audio stimuli, which increase in intensity as you approach the building… ” (Utzon, 2002; pg. 59).

In this theme we played with the concept of sensing, and the use of sensing technologies and LED lighting, to both enhance the user experience and furthermore improve management and monitoring of the podium, concourse and surrounding areas.

Sensors – either pressure or infrared activated - are placed under the granite floating floor panels. The existing structure affords a relatively straightforward and transparent installation.

LED lights - inconspicuously housed under and between the gaps of the floor panels – provides the capacity to enable subtle lighting on the forecourt and concourse areas to fulfil different visitor experiences, event management and security functions.

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SENSINGInteractive floor lights

Underfloor sensors register people’s presence as they move around the House, with the capacity to use this sensed information to facilitate way-finding and provide novel visitor experiences at specific times. Playing the piano on the steps of the Opera House or challenging a friend to a large scale game of checkers on the forecourt would all be possible by linking sensors with light or audio installations.

Other applications include enabling the House ambassadors, through a simple phone interface linked to the LED lighting system, to create temporary light paths that direct patrons to their desired destinations.

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SENSINGPatron tracking via sensors

Knowing where people are is a key component in the management of open, dynamic spaces such as the Opera House. Internally the House has sophisticated systems which closely monitor the movements of staff and patrons within and between spaces. Externally, however, there is much less knowledge about where people are. CCTV has only limited use in the large and often dimly lit spaces that surround the House.

The installation of transparent sensing technologies in the surrounding areas provides management and site security with real-time data on the specific location of patrons 24 hours a day. Relayed back to the security office, data mining algorithms and visual displays are used to assist in the detection of irregular behaviours and movement in vulnerable areas. House ambassadors and/or on-site security can then be informed so they can have a presence and proactively manage the particular spaces.

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SENSINGCreating performance spaces

Bringing performance and activity to the concourse and boardwalks is important to any strategy of activation around the House. Currently, however, most of the surrounding spaces are large, open and undifferentiated. Temporary performance spaces need visual differentiation to contain the activity and facilitate way-finding within these much larger spaces. Temporary physical barriers are often cumbersome, detract from the aesthetic and are difficult to erect and store.

Using underfloor LED lighting is an alternative way of creating temporary designated areas on the concourse. It is flexible, easy to employ once installed and will add rather than distract from the aesthetic.

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RESPONDINGIntroduction

No matter how good a security system there is always the possibility of a breach. For safety reasons once a climber on the sails attains a few metres above the ground there is risk of injury so the sensible tactic for security officers is to avoid physical confrontation. Thus the window of opportunity to prevent a protester climbing the sails is very narrow. How then to respond to the sails being converted into a billboard?

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RESPONDINGBreach

To date the Opera House has experienced a handful of breaches by protesters, all have been carefully organised involving experienced climbers. The likelihood of further breaches cannot be discounted, the sails are a perfect location to pitch a message being visible to ferry traffic, tourists at the Quay and perhaps of more importance, ideally placed for press coverage. Protesters have employed paint direct to the tiles or released prepared cloth banners. Removal of such signs can take time; time enough for the protestors to get their message across and the media to have captured the all-important images. As long as this remains the case the sails will continue to be a favourable target.

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RESPONDINGVapour

Covering the message immediately it is deployed is one way of removing the attraction to protesters. Available for use in warehouses is a fog distribution system, capable of filling a large area in seconds. This non-toxic “vapour” reduces visibility to a few meters and is designed to immobilize thieves. A similar system producing a cloud covering the sail would decrease the likelihood of media images and while the message may not be completely obscured the impact would be considerably diminished.

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RESPONDINGScreen

In the event of a serious incursion such as with a painted message which is difficult to remove, an opaque cover could be deployed. This would allow time for organised removal of the graffiti.

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SUMMARY

In the minds of many Australians the Opera House ranks as our most important building, not for its beauty alone but also as a symbol of our place in the world. Protecting this icon from malicious damage is a heavy responsibility and a task made all the more difficult by the inability to deploy many of the traditional security measures owing to the Opera House’s world heritage listing and the vast numbers of visitors to the site.

Short of ringing the parameter with a razor wire fence and armed guards, the Opera House will be open to demonstrators and others abusing the building in some way. This workshop has however demonstrated that protection can come in unconventional forms; building on the strength of community support, employing new technologies to enhance the visitor experience, introducing novel sensors around the site and reducing the rewards that demonstrators might hope to achieve. A key message from the project is that the success of new measures lies in uniting all the stakeholders’ wishes for the future of the House; not just focusing on security as an isolated problem.

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CONCLUSION

The concepts proposed in this report are a long way from being put into practice. Indeed the purpose of the workshop was to identify directions and opportunities rather than produce a package of finalised designs.

The exercise did however demonstrate that there is unlikely to be one “silver bullet” solution that protects the Opera House from all types of breaches of security while allowing the public, tourists and patrons full and free access around the site. That said there are clearly numerous interventions that could assist security in both protecting and monitoring the extensive perimeter without diminishing the experience for visitors.

With that in mind one way forward could be to develop some of the more promising concepts to the next stage. Apart from paper-based feasibility studies it would be possible to develop mock-ups or prototypes and/or organise trial events designed to reveal potential consequences for the individual stakeholders and compatibility with the Utzon Design Principles. Exercises of this nature would also shed light on technical feasibility, costing and implementation issues.

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THE TEAM

Sandra CamachoOliver BennettJesica FarimanLucy KlippanKimberley MerlinoNamrata MadanJiHee MinJoseph RomanoAmber HerlihyMiyo StantonCatarina Soares AraujoAlexa KapustBen BottalicoSarah DeallAndrew HamblyJessica KirkbyNathan BeresfordBrooke Jackson

Genevieve Furzer- tutorRohan Lulham - research/tutorDouglas Tomkin - project manager