Exploring the Role of 'Visual Catalysts' on Influencing People's Attraction and Use of Place

EXPLORING THE ROLE OF 

'VISUAL CATALYSTS' 

ON INFLUENCING PEOPLE'S ATTRACTION AND USE OF PLACE 

KEEGAN GLENN LOVELL

Keegan Glenn Lovell Course: LAND1422 S2 2016 

Submitted in partial requirement for <strong>the</strong> degree <strong>of</strong> Bachelor <strong>of</strong> Landscape Architecture 

Supervisors: Dr Kate Bishop & Dr Katrina Simon 

Faculty <strong>of</strong> <strong>the</strong> Built Environment, UNSW, Sydney, Australia November 2016

ABSTRACT 

Acts <strong>of</strong> creative placemaking animate our public spaces more than ever before. There are 

more spaces that flicker with light shows, buzz with community workshops, and provoke with 

transient cultural murals. There has been a significant growth in <strong>the</strong> number and scope <strong>of</strong> 

this phenomenon, as <strong>the</strong>y are thought to enhance <strong>the</strong> attraction and use <strong>of</strong> underutilised 

public places. Yet, <strong>the</strong>re has been limited research into whe<strong>the</strong>r <strong>the</strong>se temporary placebased 

interventions can actually enhance <strong>the</strong> attraction and use <strong>of</strong> place (Arlt 2006). This is 

a significant gap in knowledge as <strong>the</strong> movement is underpinned by <strong>the</strong> assertion that it can 

‘shape <strong>the</strong> social and physical character <strong>of</strong> a place around arts and cultural assets’ with <strong>the</strong> 

positive outcomes <strong>of</strong> greater vibrancy and livability (Nicodemus 2013). 

The purpose <strong>of</strong> this study is <strong>the</strong>refore to identify <strong>the</strong> ability for ‘visual catalysts’, being a form 

<strong>of</strong> creative placemaking, to influence <strong>the</strong> attraction and use <strong>of</strong> place. Supplementary aims <strong>of</strong> 

this are to seek understanding into if <strong>the</strong> attraction and use <strong>of</strong> place is altered, what attributes 

are altered and does this remain altered, and to understand whe<strong>the</strong>r ‘visual catalysts’ can 

potentially promote a greater attachment to place as a consequential result. 

Based on <strong>the</strong> literature and <strong>the</strong> findings <strong>of</strong> <strong>the</strong> place-centred behaviour mapping <strong>of</strong> two case 

studies part <strong>of</strong> <strong>the</strong> VIVID 2016 festival in Sydney, ‘visual catalysts’ can, and do, have influence 

over <strong>the</strong> attraction and use <strong>of</strong> place. So much so <strong>the</strong>y can fundamentally transform <strong>the</strong> 

place both physically and socially. Physically, <strong>the</strong> enhanced attraction and use can transform 

<strong>the</strong> function, narrative and hierarchy <strong>of</strong> a place. Socially, it is enhanced by <strong>the</strong> interventions 

influencing <strong>the</strong> amount and behaviours <strong>of</strong> people in a place. ‘Visual catalysts’ however have 

limited ability to provide an enduring, altered use <strong>of</strong> place after <strong>the</strong>y have been removed, yet 

<strong>the</strong>y can act as a catalyst for future long term changes <strong>of</strong> a place. ‘Visual catalysts’ also have 

<strong>the</strong> potential to promote greater place attachment, as many <strong>of</strong> <strong>the</strong> factors that enhance <strong>the</strong> 

attraction and use <strong>of</strong> place can promote, or be building blocks, for place attachment. However, 

it is vital to understand that creative placemaking is a diverse phenomenon, and that some 

forms <strong>of</strong> ‘visual catalysts’ will influence <strong>the</strong> ‘success’ <strong>of</strong> place more dramatically than o<strong>the</strong>rs. 

This <strong>the</strong>sis, as a result, aims to shed light on <strong>the</strong> ability for ‘visual catalysts’ to influence <strong>the</strong> 

attraction and use <strong>of</strong> place, and provide insight for fur<strong>the</strong>r discussion and research into 

how this form <strong>of</strong> temporary place-based intervention can fur<strong>the</strong>r an engaging, and positive 

relationship with our public places. 

ETHICS APPROVAL 

This research project contains <strong>the</strong> study <strong>of</strong> human behaviour. Approval for this type 

<strong>of</strong> research was granted by <strong>the</strong> Human Research Ethics Advisory (HREA) Panel E: Built 

Environment (number HC16331). 

I

ACKNOWLEDGEMENTS 

This <strong>the</strong>sis would have been difficult to do without <strong>the</strong> assistance and inspiration I have 

received from many people. 

I would like to express my gratitude to all my family and friends for <strong>the</strong>ir support, and extend 

my apologies to my roommate for having to put up with <strong>the</strong> ‘organised mess’ that overtook 

<strong>the</strong> kitchen table during this study – I promise <strong>the</strong> table will one day be used for non-research 

related activities. 

My sincerest thanks go to my fantastic supervisors Dr Kate Bishop and Dr Katrina Simon. Their 

patience, time, passion and encouragement made this <strong>the</strong>sis possible, and ra<strong>the</strong>r enjoyable. 

Thank you. 

II

Table <strong>of</strong> Contents 

TABLE Table <strong>of</strong> OF Contents CONTENTS 

PART 1 Introduction ............................................................................................................................................................................ PART 1 Introduction 1-5 

Research Project Overview ................................................................................................................................................................ Research Project Overview 2 

Aims ..................................................................................................................................................................................................... Aims 3 

Objectives ............................................................................................................................................................................................ Objectives 4 

Rationale and Significance ................................................................................................................................................................ Rationale and Significance 5 

PART 2 Literature Review PART ................................................................................................................................................................ 2 Literature Review 6-15 

Overview ............................................................................................................................................................................................. Overview 7 

Placemaking ................................................................................................................................................................................... Placemaking 7-11 

Creative Placemaking ................................................................................................................................................. Creative Placemaking 10-11 

’Visual Catalysts’ .............................................................................................................................................. ’Visual Catalysts’ 11 

Place Attachment ........................................................................................................................................................................ Place Attachment 12-15 

Physical and Social Dimensions Physical ................................................................................................................................ and Social Dimensions 12-13 

Scale and Scope ............................................................................................................................................................... Scale and Scope 13 

Time and Temporality ..................................................................................................................................................... Time and Temporality 14 

Theoretical Framework .................................................................................................................................................. Theoretical Framework 15 

Conclusion ........................................................................................................................................................................................ Conclusion 15 

PART 3 Methodology and PART Method 3 .............................................................................................................................................. Methodology and Method 16-31 

Research Questions ......................................................................................................................................................................... Research Questions 17 

Methodology ................................................................................................................................................................................ Methodology 17-19 

Quantitative Research ..................................................................................................................................................... Quantitative Research 18 

Case Study Research ....................................................................................................................................................... Case Study Research 19 

Context <strong>of</strong> Study .......................................................................................................................................................................... Context <strong>of</strong> Study 19-25 

VIVID Festival ............................................................................................................................................................... VIVID Festival 20-21 

Case Study 1 : Underfoot ........................................................................................................................................... Case Study 1 : Underfoot 22-23 

Case Study 2 : EORA – The Land Case ................................................................................................................................ Study 2 : EORA – The Land 24-25 

Method ......................................................................................................................................................................................... Method 26-28 

Place-Centred Behavioural Mapping Place-Centred ............................................................................................................................. Behavioural Mapping 26 

Method Considerations .................................................................................................................................................. Method Considerations 26 

Fieldwork Procedure .................................................................................................................................................. Fieldwork Procedure 27-28 

Ethical Considerations ..................................................................................................................................................... Ethical Considerations 28 

Data Analysis Process ...................................................................................................................................................................... Data Analysis Process 30 

Research Design Diagram ............................................................................................................................................................... Research Design Diagram 31 

PART 4 Data Analysis ..................................................................................................................................................................... PART 4 Data Analysis 32-55 

Findings ........................................................................................................................................................................................ Findings 33-55 

Session Data ................................................................................................................................................................ Session Data 33-45 

Before VIVID ............................................................................................................................................... Before VIVID 34-37 

During VIVID ............................................................................................................................................... During VIVID 38-41 

After VIVID ................................................................................................................................................... After VIVID 42-45 

Data Triangulation ...................................................................................................................................................... Data Triangulation 46-52 

III

ata Analysis Process ...................................................................................................................................................................... Data Analysis Process 30 

30 

esearch Design Diagram ............................................................................................................................................................... Research Design Diagram 31 

31 

alysis ..................................................................................................................................................................... PART 4 Data Analysis 32-55 

32-55 

indings ........................................................................................................................................................................................ Findings 33-55 

33-55 

Session Data ................................................................................................................................................................ Session Data 33-45 

33-45 

Before VIVID ............................................................................................................................................... Before VIVID 34-37 

34-37 

During VIVID ............................................................................................................................................... During VIVID 38-41 

38-41 

After VIVID ................................................................................................................................................... After VIVID 42-45 

42-45 

Data Triangulation ...................................................................................................................................................... Data Triangulation 46-52 

46-52 

Patterns <strong>of</strong> Observation ............................................................................................................................ Patterns <strong>of</strong> Observation ............................................................................................................................ 46-49 

46-49 

Number and Flow <strong>of</strong> People ..................................................................................................................... Number and Flow <strong>of</strong> People ..................................................................................................................... 50-51 

50-51 

Duration <strong>of</strong> ‘Stay’........................................................................................................................................ Duration <strong>of</strong> 50-51 

50-51 

Displays <strong>of</strong> Affection ....................................................................................................................................... Displays <strong>of</strong> Affection ....................................................................................................................................... 52 

52 

Findings Significance for Research Findings Questions Significance ......................................................................................................... for Research Questions ......................................................................................................... 53-55 

53-55 

ion and Conclusion PART 5 .............................................................................................................................................. Discussion and Conclusion 56-63 

56-63 

iscussion .................................................................................................................................................................................... Discussion 57-62 

57-62 

Aim One - .................................................................................................................................................................... Aim One - 57-59 

57-59 

Physical: Function, Narrative, and Physical: Hierarchy Function, <strong>of</strong> Place Narrative, ............................................................................ and Hierarchy <strong>of</strong> Place ............................................................................ 57-58 

57-58 

Social: Quantity and Behaviour <strong>of</strong> Social: People Quantity ............................................................................................... and Behaviour <strong>of</strong> People ............................................................................................... 58-59 

58-59 

Aim Two ....................................................................................................................................................................... Aim Two 59-60 

59-60 

Aim Three .................................................................................................................................................................... Aim Three 61-63 

61-63 

Reframing <strong>the</strong> Existing Relationship Reframing with Place <strong>the</strong> ........................................................................................... Existing Relationship with Place ........................................................................................... 61 

61 

Memories ......................................................................................................................................................... Memories 61 

61 

Time and Temporality ............................................................................................................................... Time and Temporality ............................................................................................................................... 61-62 

61-62 

Personal Investment ....................................................................................................................................... Personal Investment ....................................................................................................................................... 62 

62 

ecommendations ........................................................................................................................................................................... Recommendations 62 

62 

onclusion ................................................................................................................................................................................... Conclusion 62-63 

62-63 

List ........................................................................................................................................................................ Reference List 64-68 

64-68 

A – Behaviour Map Appendix Plan ........................................................................................................................................... A – Behaviour Map Plan 69 

69 

B – Behaviour Map Appendix Conditions B Table – Behaviour ..................................................................................................................... Map Conditions Table ..................................................................................................................... 70 

70 

C – Behaviour Map Appendix Observations C – Behaviour Table ................................................................................................................ Map Observations Table ................................................................................................................ 71 

71 

D – Timeline .............................................................................................................................................................. Appendix D – Timeline 72 

72 

IV

LIST OF FIGURES 

Figure 2.1 – Eleven Principles Figure 2.1 <strong>of</strong> – Eleven Placemaking Principles .......................................................................................................................... <strong>of</strong> Placemaking 9 

Figure 2.2 – Framework Figure <strong>of</strong> 2.2 Creative – Framework Placemaking <strong>of</strong> Creative Attributes Placemaking ................................................................................................ Attributes 11 

Figure 4.1 – Map <strong>of</strong> Figure Study Area 4.1 –................................................................................................................................................ Map <strong>of</strong> Study Area 20 

Figure 4.2 – Map <strong>of</strong> Figure VIVID festival 4.2 – Map ............................................................................................................................................ <strong>of</strong> VIVID festival 21 

Figure 4.4 – Photos <strong>of</strong> Figure ‘Underfoot’ 4.4 – Photos ........................................................................................................................................... <strong>of</strong> ‘Underfoot’ 23 

Figure 4.5 – Photos <strong>of</strong> Figure ‘EORA 4.5 –– The Photos Land’ <strong>of</strong> ............................................................................................................................... ‘EORA – The Land’ 25 

Figure 4.6 – Behaviour Figure Map 4.6 Plan – Behaviour ............................................................................................................................................ Map Plan 29 

Figure 4.7 – Behaviour Figure Map 4.7 Observations – Behaviour Table Map Observations .................................................................................................................. Table 29 

Figure 5.1 – Before VIVID Figure – 5.1 Observed – Before Landmarks/Features VIVID – Observed Landmarks/Features Diagram ................................................................................ Diagram 35 

Figure 5.2 – Before VIVID Figure – 5.2 Movement – Before Pattern VIVID – Diagrams Movement ................................................................................................... Pattern Diagrams 35 

Figure 5.3 – S1 (1) – Figure Observation 5.3 – S1 Patterns (1) – Observation Diagram ............................................................................................................. Patterns Diagram 36 


Figure 5.5 – During VIVID Figure – 5.5 Observed – During Landmarks/Features VIVID – Observed Landmarks/Features Diagram ................................................................................ Diagram 39 

Figure 5.6 – During VIVID Figure – 5.6 Movement – During Pattern VIVID – Diagrams Movement ................................................................................................... Pattern Diagrams 39 



Figure 5.9 – After VIVID Figure – Observed 5.9 – After Landmarks/Features VIVID – Observed Landmarks/Features Diagram ................................................................................... Diagram 43 

Figure 5.10 – After VIVID Figure – Movement 5.10 – After Pattern VIVID – Diagrams Movement .................................................................................................... Pattern Diagrams 43 

Figure 5.11 – S3 (1) – Figure Observation 5.11 – S3 Patterns (1) – Observation Diagram ........................................................................................................... Patterns Diagram 44 

Figure 5.12 – S3 (2) – Figure Observation 5.12 – S3 Patterns (2) – Observation Diagram ........................................................................................................... Patterns Diagram 45 

Figure 5.13 – Observation Figure Diagram 5.13 – Observation ........................................................................................................................................ Diagram 47 

Figure 5.14 – Behaviour Figure Mapping 5.14 – Behaviour Session Diagrams Mapping Side Session by Side Diagrams ..................................................................................... Side by Side 48 

Figure 5.15 – Compressed Figure 5.15 Observation – Compressed Patterns Observation Diagram ................................................................................................. Patterns Diagram 49 

Figure 5.16 – Flow <strong>of</strong> Figure People 5.16 ..................................................................................................................................................... – Flow <strong>of</strong> People 51 

Figure 5.17 - Duration Figure <strong>of</strong> Stay 5.17 Diagram - Duration .................................................................................................................................. <strong>of</strong> Stay Diagram 51 

Figure 5.18 – Displays Figure <strong>of</strong> Affection 5.18 – Displays Diagram <strong>of</strong> .......................................................................................................................... Affection Diagram 52 

LIST OF TABLES 

Table 4.1 – Timetable Table <strong>of</strong> Behaviour 4.1 – Timetable Mapping <strong>of</strong> Behaviour Sessions ........................................................................................................ Mapping Sessions 27 

V

PART ONE _ 

INTRODUCTION 

1

RESEARCH PROJECT OVERVIEW 

The practice <strong>of</strong> creative placemaking has spread like wildfire around <strong>the</strong> developed world 

in recent years. Although being a movement which seeks to ‘shape <strong>the</strong> social and physical 

character <strong>of</strong> a place around arts and cultural assets’, <strong>the</strong>re has been limited research into <strong>the</strong> 

role <strong>of</strong> creative placemaking on influencing people’s experience <strong>of</strong> place (Nicodemus 2013). 

Being a relatively new phenomenon, <strong>the</strong>re has also been limited research into <strong>the</strong> role <strong>of</strong> 

temporality in people’s experience <strong>of</strong> place, as well as <strong>the</strong> ability for <strong>the</strong>se transient forms to 

promote greater attachment to place. So this research project asks, does manifestations <strong>of</strong> 

creative placemaking (specifically ‘visual catalysts’) in public space influence people’s attraction 

and use <strong>of</strong> place, and if so, does this remain consistent after <strong>the</strong> ‘visual catalysts’ is gone, and 

can this form <strong>of</strong> creative placemaking potentially promote greater attachment to place? 

This research proposal contains five parts. Part one contains <strong>the</strong> research project overview, 

<strong>the</strong> aims, <strong>the</strong> objectives, and <strong>the</strong> rationale and significance <strong>of</strong> <strong>the</strong> study. The aims are to 

understand if ‘visual catalysts’ can influence people’s attraction and use <strong>of</strong> place, and to 

understand whe<strong>the</strong>r ‘visual catalysts’ can potentially promote greater attachment to place. 

The objectives detail <strong>the</strong> specific way <strong>the</strong>se aims can be fulfilled, specifically in relation to 

<strong>the</strong> concepts <strong>of</strong> placemaking and place attachment. The objectives are centred around <strong>the</strong> 

research being able to add depth to <strong>the</strong> body <strong>of</strong> literature on creative placemaking. 

Part two, being <strong>the</strong> literature review, analyses and syn<strong>the</strong>sises <strong>the</strong> two significant fields <strong>of</strong> 

research for this project – placemaking and place attachment. It also provides insight into <strong>the</strong> 

gaps and opportunities for research, what significant frameworks and <strong>the</strong>ories can be utilised, 

and how <strong>the</strong>se two fields can be fur<strong>the</strong>red through <strong>the</strong> exploration <strong>of</strong> this research project. 

Part three is <strong>the</strong> methodology and methods. This part outlines and justifies <strong>the</strong> research 

questions for <strong>the</strong> <strong>the</strong>sis. It gives specific focus on <strong>the</strong> importance <strong>of</strong> <strong>the</strong>se questions being 

ones which are yet to be meticulously researched in <strong>the</strong> field, and are a way to link fields <strong>of</strong> 

research which are yet to be widely researched in parallel. This part also discusses and details 

<strong>the</strong> primary research paradigm; with this including <strong>the</strong> methodology, research design diagram, 

context <strong>of</strong> study, methods, sample and data analysis process. It gives rationale for <strong>the</strong> research 

being a case study, provides insight into <strong>the</strong> procedure <strong>of</strong> behaviour mapping research, 

provides a brief discussion on <strong>the</strong> sample <strong>of</strong> <strong>the</strong> study and outlines <strong>the</strong> way data is analysed 

through <strong>the</strong> quantitative analysis <strong>of</strong> behaviour. 

Part four is <strong>the</strong> data analysis. It contains <strong>the</strong> presentation and syn<strong>the</strong>sis <strong>of</strong> <strong>the</strong> findings 

obtained from <strong>the</strong> behaviour mapping sessions. The findings are presented in parallel with <strong>the</strong> 

research questions outlined earlier in <strong>the</strong> study. 

Part five contains <strong>the</strong> discussion, recommendations and conclusion <strong>of</strong> <strong>the</strong> research project. 

The discussion is presented in parallel with <strong>the</strong> research aims outlined earlier in <strong>the</strong> study. 

Following this, <strong>the</strong> <strong>the</strong>sis is concluded with a research timeline, reference list and an appendix 

containing examples <strong>of</strong> <strong>the</strong> method <strong>of</strong> research. 

2

AIMS 

Three aims have been established for this research project. These aims centre around <strong>the</strong> 

ambition to gain fur<strong>the</strong>r insight into <strong>the</strong> impacts <strong>of</strong> creative placemaking on <strong>the</strong> attraction 

and use <strong>of</strong> place, to understand <strong>the</strong> sustained impact <strong>of</strong> use <strong>of</strong> place as a result <strong>of</strong> <strong>the</strong> 

phenomenon, and whe<strong>the</strong>r <strong>the</strong>re is an ability for creative placemaking to ignite a positive 

relation with underutilised public places. The three aims are: 

1 To understand if creative placemaking interventions, such as ‘visual catalysts’, make 

places more attractive to people and increases <strong>the</strong> use <strong>of</strong> underutilised public places 

2 To understand if any increase in <strong>the</strong> use <strong>of</strong> underutilised places induced by <strong>the</strong> 

temporary intervention is sustained after <strong>the</strong> intervention has concluded 

3 To understand if creative placemaking interventions could be used to ignite place 

attachment in underutilised public places 

For <strong>the</strong> first aim, <strong>the</strong> intention is to gain fur<strong>the</strong>r insight into whe<strong>the</strong>r creative placemaking can 

influence <strong>the</strong> attraction and use <strong>of</strong> an underutilised public place. The specific type <strong>of</strong> creative 

placemaking chosen for this aim, being ‘visual catalysts’ as coined by Lydon and Garcia (2015), 

can be understood as <strong>the</strong> visual improvements that ‘shape <strong>the</strong> social and physical character <strong>of</strong> 

a place around arts and cultural assets’ (Nicodemus 2013). This type <strong>of</strong> creative placemaking 

was chosen as it is widely adopted throughout Sydney; <strong>the</strong> city where this study is taking place. 

Likewise, it is <strong>of</strong>ten used to remediate and invigorate run down public places through shifting 

<strong>the</strong> function and purpose <strong>of</strong> a place. 

For <strong>the</strong> second aim, <strong>the</strong> intention is to gain insight into whe<strong>the</strong>r <strong>the</strong>re is a sustained use 

that is exhibited after <strong>the</strong> removal <strong>of</strong> <strong>the</strong> ‘visual catalysts’ as part <strong>of</strong> a creative placemaking 

intervention. This aim seeks to explore whe<strong>the</strong>r creative placemaking can provide a shift in use 

beyond <strong>the</strong>ir transient lifespan; an aspect which correlates directly with <strong>the</strong> claim <strong>of</strong> creative 

placemaking being able to establish long term outcomes through short term phenomena 

(Moran et al. 2014). 

The third aim seeks to gain understanding whe<strong>the</strong>r a greater attachment to place can be 

promoted in underutlised public places as a result <strong>of</strong> creative placemaking interventions; such 

as ‘visual catalysts’. This aim seeks to add knowledge into an area <strong>of</strong> research which is currently 

limited in scope and depth. 

3

OBJECTIVES 

To narrow down <strong>the</strong> scope and specificity <strong>of</strong> <strong>the</strong> three proposed aims, three objectives have 

been established. These objectives are: 

1 To compare and analyse <strong>the</strong> attraction and use <strong>of</strong> place before, during, and after 

<strong>the</strong> ‘visual catalysts’ <strong>of</strong> ‘Underfoot’ and ‘EORA – The Land’ as part <strong>of</strong> <strong>the</strong> VIVID 2016 

festival in Sydney 

2 To analyse whe<strong>the</strong>r <strong>the</strong>re is a sustained increase in <strong>the</strong> use and interest <strong>of</strong> place 

beyond <strong>the</strong> conclusion <strong>of</strong> <strong>the</strong> ‘visual catalysts’, and to articulate what attributes <strong>of</strong> <strong>the</strong> 

use have and have not changed 

3 To consider whe<strong>the</strong>r <strong>the</strong> ‘visual catalysts’ <strong>of</strong> ‘Underfoot’ and ‘EORA - The Land’ could 

potentially promote greater attachment to <strong>the</strong> immediate underutilised place 

The first objective involves <strong>the</strong> comparison <strong>of</strong> <strong>the</strong> attraction and use <strong>of</strong> place during different 

time periods <strong>of</strong> two temporary place-based interventions being exhibited as part <strong>of</strong> <strong>the</strong> VIVID 

2016 festival in Sydney. The comparison involves <strong>the</strong> analysis <strong>of</strong> different behaviour patterns in 

<strong>the</strong> space through place-centred behaviour mapping, and as a result <strong>of</strong> this an understanding 

<strong>of</strong> whe<strong>the</strong>r <strong>the</strong> ‘visual catalysts’ can influence <strong>the</strong> attraction and use <strong>of</strong> place can emerge. 

The second objective similarly involves <strong>the</strong> comparison <strong>of</strong> <strong>the</strong> use <strong>of</strong> place before, during 

and after <strong>the</strong> activity <strong>of</strong> <strong>the</strong> determined ‘visual catalysts’. This aim however seeks to find out 

whe<strong>the</strong>r <strong>the</strong> use <strong>of</strong> place, if influenced by <strong>the</strong> ‘visual catalysts’, remains influenced after <strong>the</strong> 

temporary place-based interventions have been removed. It is one which centres around 

analysing <strong>the</strong> role <strong>of</strong> temporality in relation to <strong>the</strong> experience <strong>of</strong> place, and discusses what 

attributes <strong>of</strong> <strong>the</strong> use <strong>of</strong> place remain after <strong>the</strong> conclusion <strong>of</strong> <strong>the</strong> interventions. 

The third aim <strong>the</strong>n seeks to consider whe<strong>the</strong>r ‘visual catalysts’ can promote greater 

attachment to place. Taking knowledge ga<strong>the</strong>red from <strong>the</strong> previous two aims, this aim explores 

what potential aspects that ‘visual catalysts’ produce which can also be linked with <strong>the</strong> concept 

<strong>of</strong> place attachment; one which is considered in both a physical and social context. 

The three objectives have been purposefully phrased in a way that lends <strong>the</strong> research project 

to being underpinned primarily by a quantitative methodological paradigm. A quantitative 

was selected as <strong>the</strong>re is a great desire for <strong>the</strong> concepts <strong>of</strong> creative placemaking and 

attraction and use <strong>of</strong> place to be measurable; something which is currently holding back <strong>the</strong> 

understanding <strong>of</strong> <strong>the</strong> far-reaching physical and social impacts <strong>of</strong> <strong>the</strong>se concepts. To be able 

to establish specific research questions which can help fulfil <strong>the</strong> outlined objectives, a greater 

understanding <strong>of</strong> creative placemaking and place attachment need to be studied through a 

comprehensive literature review. 

4

RATIONALE AND SIGNIFICANCE 

Creative placemaking is a relatively new phenomenon, and it is one that is growing in scope 

and number. More and more creative placemaking interventions are popping up around our 

cities, yet <strong>the</strong>re has been very little research into understanding how, and whe<strong>the</strong>r, <strong>the</strong>se 

transient forms can actually influence <strong>the</strong> way public spaces are used. In particular, <strong>the</strong>re is 

little understanding as to whe<strong>the</strong>r <strong>the</strong>y can fundamentally transform <strong>the</strong> attraction and use <strong>of</strong> 

underutilised public spaces; being a key proponent <strong>of</strong> <strong>the</strong> movements purpose to reshape and 

reinvigorate dull public places with greater vibrancy and meaning. 

Therefore, <strong>the</strong> main significance <strong>of</strong> this project is to identify whe<strong>the</strong>r <strong>the</strong> attraction and use 

<strong>of</strong> an underutilised public place is influenced by a creative placemaking intervention to build 

some knowledge into this currently existing gap <strong>of</strong> research. Additionally, <strong>the</strong> VIVID festival in 

Sydney is an internationally recognised attractions but has had very little research into how 

it can potentially influence <strong>the</strong> attraction and use <strong>of</strong> place; as such providing some thorough 

behaviour mapping <strong>of</strong> two case studies for this festival will also provide fur<strong>the</strong>r insight into <strong>the</strong> 

value <strong>of</strong> <strong>the</strong> creative placemaking interventions from a physical and social perspective. 

This is a project which focuses on <strong>the</strong> inquiry <strong>of</strong> <strong>the</strong> attraction and use <strong>of</strong> underutilised public 

places which are to be activated by creative placemaking interventions, as such <strong>the</strong> use <strong>of</strong> a 

quantitative methodology will provide a measurable source to ground <strong>the</strong> concept through <strong>the</strong> 

use <strong>of</strong> place-centred behaviour mapping. This will provide <strong>the</strong> foundation for more in depth 

qualitative research to sprout from to provide more detailed insight into how <strong>the</strong> experience 

<strong>of</strong> place is influenced by creative placemaking interventions. 

5

PART TWO _ 

LITERATURE REVIEW 

6

OVERVIEW 

The establishment <strong>of</strong> creative placemaking in <strong>the</strong> public realm is a growing phenomenon 

around <strong>the</strong> developed world (Bishop & Williams 2012). Although still in its infancy, <strong>the</strong> 

movement is one that is broad in scope; both in terms <strong>of</strong> scale and purpose. Manifestations <strong>of</strong> 

<strong>the</strong> practice can range from small-scale murals, to large-scale tactical art strategies. Likewise, 

<strong>the</strong>y can arise out <strong>of</strong> forms <strong>of</strong> activism, harmony, creativity or cultural expression (Lydon & 

Garcia 2015). Yet, even with <strong>the</strong> vast range <strong>of</strong> scale and purpose, <strong>the</strong>re are two constant 

overarching <strong>the</strong>mes that are at <strong>the</strong> core <strong>of</strong> <strong>the</strong> movements resolve; that being <strong>the</strong> revival, and 

engagement, <strong>of</strong> people and place. 

Research thus far on creative placemaking has fallen logically into <strong>the</strong>se two broad domains; 

with <strong>the</strong> vast majority <strong>of</strong> research having been focused on <strong>the</strong> environmental and economic 

benefits, and detriments, <strong>of</strong> <strong>the</strong> physical place. Yet, <strong>the</strong>re has been limited research into <strong>the</strong> 

enduring social outcomes <strong>of</strong> <strong>the</strong>se transient forms. In particular, understanding <strong>the</strong> role 

temporary place-based interventions can have on influencing people’s attraction and use <strong>of</strong> 

place, as well as <strong>the</strong>ir attachment to place. As such, <strong>the</strong> literature review sets out to cover <strong>the</strong> 

interrelated people-place topics <strong>of</strong> placemaking and place attachment. 

In relation to placemaking, <strong>the</strong> review explores <strong>the</strong> background and meaning <strong>of</strong> <strong>the</strong> concept to 

examine <strong>the</strong> role it can play in influencing <strong>the</strong> experience and purpose <strong>of</strong> place. Additionally, 

this section explores <strong>the</strong> phenomenon <strong>of</strong> creative placemaking and examines <strong>the</strong> role <strong>of</strong> a 

specific form which is <strong>of</strong>ten used in Sydney; with that being ‘visual catalysts’. 

In relation to place attachment, <strong>the</strong> literature review explores its meaning and background, 

<strong>the</strong> physical and social dimensions, <strong>the</strong> scale and scope, <strong>the</strong> role <strong>of</strong> temporality and time, and 

existing <strong>the</strong>oretical framework. In addition to providing a strong grounding <strong>of</strong> <strong>the</strong> concept 

itself, this section outlines some opportunities and gaps in <strong>the</strong> field <strong>of</strong> research, and shows <strong>the</strong> 

link between temporary place-based interventions on impacting people’s attachment to place. 

PLACEMAKING 

By and large, placemaking can be understood as a people-place paradigm which enhances 

a group/individual relation to place through <strong>the</strong> promotion, and installation, <strong>of</strong> community 

driven strategies (Project for Public Spaces 2009). However, <strong>the</strong> understanding <strong>of</strong> placemaking 

as a grounded construct is still somewhat ambiguous. This is partially due to <strong>the</strong> multifaceted 

nature <strong>of</strong> it being a philosophy and process, as well as <strong>the</strong> imbued subjectivity <strong>of</strong> what defines 

<strong>the</strong> term ‘place’ (Pascucci 2015). This people-place paradigm has been comparatively studied 

very little in parallel with people’s experience <strong>of</strong> place, yet <strong>the</strong>y are both significant constructing 

agents in understanding how people relate, and bond, with place (Friedmann 2010). 

In <strong>the</strong> 1960s, <strong>the</strong> concept emerged from <strong>the</strong> work <strong>of</strong> Jane Jacobs and William Whyte in 

response to <strong>the</strong> modernist movement (Alle 2012; Gehl 2006). Fur<strong>the</strong>rmore, <strong>the</strong> work <strong>of</strong> 

7

Kevin Lynch solidified <strong>the</strong> role <strong>of</strong> placemaking as an early emerging place-based construct 

through his studies <strong>of</strong> how people understand <strong>the</strong>ir surroundings (Lynch 1960). Parallel with 

<strong>the</strong> common criticism <strong>of</strong> modernist form not relating to <strong>the</strong> human scale, <strong>the</strong>se researchers 

pursued explorations <strong>of</strong> what particular qualities in public places make <strong>the</strong> lives <strong>of</strong> people 

more enjoyable, liveable and meaningful (Jacobs 1961; Whyte 1980). Whyte and Jacobs 

exposed (through divergent methods <strong>of</strong> research) that <strong>the</strong> physical quality and form <strong>of</strong> place 

impacted <strong>the</strong> way people use, and imbue, meaning to those spaces (Project for Public Spaces 

2009). Consequently, this was <strong>the</strong> seminal research into <strong>the</strong> where, and what, people do to 

‘make’ places. 

Additionally, Whyte (1980) through his research also revealed some <strong>of</strong> <strong>the</strong> social attributes 

which can alter <strong>the</strong> experience <strong>of</strong> place, and what can ‘make’ a place. As observed by Whyte 

(1980), people attract people, but people also tend to do what o<strong>the</strong>r people do. Additionally, 

Whyte (1980) observed that people, for <strong>the</strong> most part, tend to follow <strong>the</strong> consistent and 

predictable accepted place scripts <strong>of</strong> a designated place. For example, Whyte is well 

recognised for <strong>the</strong> observation that “people tend to sit where <strong>the</strong>re are places to sit”. This 

is significant in <strong>the</strong> sense that placemaking can be a mechanism which disrupts a space in 

terms <strong>of</strong> form and function, which can subsequently disrupt <strong>the</strong> behaviours <strong>of</strong> people in a 

space (Donald & Canter 1994). Yet, <strong>the</strong>re still remains a gap in knowledge into <strong>the</strong> specific 

social behaviours that change as a result <strong>of</strong> placemaking interventions, and as such how <strong>the</strong>se 

changes in social behaviours can influence <strong>the</strong> attraction and use <strong>of</strong> a place. 

In recent times, placemaking has expanded to new dimensions <strong>of</strong> research; particularly 

heightened in breadth and depth through <strong>the</strong> growth <strong>of</strong> globalisation and urbanisation 

(Markusen & Gadwa 2010). For that reason, placemaking has taken on an array <strong>of</strong> meanings, 

as has <strong>the</strong> meaning <strong>of</strong> place itself. Stewart (2010) defines <strong>the</strong> idea <strong>of</strong> place as being dynamic, 

and one in which individuals and communities can change at will; a definition that is somewhat 

similar to that <strong>of</strong> Friedmann (2010), who argues that place is made and remade on a daily 

basis, yet retains a form <strong>of</strong> continuity and order in setting and identity. This suggests that 

<strong>the</strong> role <strong>of</strong> time and temporality is significant in <strong>the</strong> construction <strong>of</strong> place, and that fur<strong>the</strong>r 

research is needed to greater understand <strong>the</strong> role it plays in influencing people’s use <strong>of</strong> place. 

Additionally, <strong>the</strong> meaning <strong>of</strong> placemaking has also become extensively contested. Wight 

(2005) simply defines placemaking as practical and suitable planning, whereas Brunnberg and 

Frigo (2012) argue that placemaking is an extension <strong>of</strong> urban planning which is community 

driven to create meaningful, social places. The Project for Public Spaces (2009) is more 

expansive with <strong>the</strong>ir definition, seeing it as “community-driven, visionary, function before form, 

adaptable, flexible, culturally aware, ever changing, multi-disciplinary, inspiring, collaborative 

and sociable”. In addition to this, <strong>the</strong> Project for Public Spaces, being a key organisation in <strong>the</strong> 

movement <strong>of</strong> placemaking, has also established ‘eleven principles for placemaking’ (as shown 

by figure 2.1). This framework takes clear, overarching continuities that define placemaking 

(with a vital one being community) and allows a solid grounding for research to divert from; 

such as understanding <strong>the</strong> social value <strong>of</strong> temporary place-based interventions. However, for 

placemaking to grow as a discipline a clearer, more coherent definition will need to emerge for 

a <strong>the</strong>oretical framework to be widely adopted (Wyck<strong>of</strong>f 2015). 

8

1 The community is <strong>the</strong> 

expert 

2 Create a place, not a 

design 

3 Look for partners 

4 You can see a lot by 

just observing 

5 Have a vision 6 Lighter, cheaper, quicker 

7 Triangulate 8 It can be done! 

9 Form supports function 10 Money is not <strong>the</strong> issue 

11 You are never finished 

Figure 2.1 - The eleven principles <strong>of</strong> placemaking (Project for Public Spaces 2009). 

9

CREATIVE PLACEMAKING 

In recent years, <strong>the</strong> construct <strong>of</strong> placemaking has been fur<strong>the</strong>r broken down into three 

specific categories. These are strategic placemaking, tactical placemaking and creative 

placemaking (Wyck<strong>of</strong>f 2015). For this literature review, <strong>the</strong> one <strong>of</strong> particular importance is 

creative placemaking; that being <strong>the</strong> process <strong>of</strong> shaping a neighbourhood, town, tribe, city or 

region through artistic and/or cultural impressions with <strong>the</strong> intention <strong>of</strong> impacting <strong>the</strong> physical, 

economic and social outcomes experienced in that space (Lydon & Garcia 2015). 

This form <strong>of</strong> placemaking is gaining a large amount <strong>of</strong> momentum in <strong>the</strong> developed world, yet 

creative placemaking is also recognised as still being a ‘fuzzy concept’ (Nicodemus 2013). This 

has allowed creative placemaking on <strong>the</strong> one hand to be appealing and attractive in uptake 

due it having limited restrictions, yet it is also criticised heavily for this very notion as being 

vague which supports individual ideals, unsubstantive development and gentrification ra<strong>the</strong>r 

than social equity (Frank 2012). 

Consequently, this ambiguity is placing particular scrutiny on <strong>the</strong> movement in terms <strong>of</strong> <strong>the</strong> 

difficulty to understand an interventions’ success. Its success in terms <strong>of</strong> being able to catalyse 

social cohesion and community collaboration, or whe<strong>the</strong>r it is failing this and consequently 

acting as a ‘stop-gap’ solution for major city-wide issues which only exacerbate social 

disparities (Bedoya 2012). The ability to provide <strong>the</strong> measurement and evaluation <strong>of</strong> success 

is seen as a vital step forward to alleviating this problem, however this has also sparked 

controversy and debate due to <strong>the</strong> complexity this would involve. To address this, a basic 

framework which outlines <strong>the</strong> significant aspired properties <strong>of</strong> creative placemaking has been 

established by The National Consortium for Creative Placemaking (2012) as seen in figure 2.2. 

As described by Nicodemus (2013), <strong>the</strong>se attributes need to be fur<strong>the</strong>r scrutinised and broken 

down through detailed research into whe<strong>the</strong>r <strong>the</strong>y are being fulfilled; such as whe<strong>the</strong>r creative 

placemaking interventions do focus on creating connections, not just objects. An important 

step for this to be understood is to first observe whe<strong>the</strong>r people respond to <strong>the</strong> changes <strong>of</strong> 

a place due to creative placemaking interventions, and to provide insight into whe<strong>the</strong>r this 

change <strong>of</strong> behaviour and/or experience has parallels with aspects which pertain to <strong>the</strong> positive 

outcomes stated by <strong>the</strong> purpose <strong>of</strong> <strong>the</strong> movement (Lehtovuori & Ruoppila 2012). 

As a result, <strong>the</strong> challenge for creative placemaking for its growth and livelihood is clear. As 

described by Nicodemus (2013), ei<strong>the</strong>r ‘mature and gain substance, or shrivel up under 

<strong>the</strong> heat <strong>of</strong> scrutiny’. There needs to be greater research into <strong>the</strong> human experience within 

creative placemaking spaces, <strong>the</strong>re needs to be greater measurability and accuracy <strong>of</strong> this 

research, and <strong>the</strong>re needs to be a widely adopted and established framework that provides 

greater depth for research to be more cohesive and collaborative with all stakeholders (Bishop 

& Williams 2012). For Sydney, this type <strong>of</strong> research can be fur<strong>the</strong>red through observing a 

specific form <strong>of</strong> creative placemaking that exists; ‘visual catalysts’ (Lydon & Garcia 2015). 

10

Figure 2.2 - A rudimentary framework <strong>of</strong> <strong>the</strong> key attributes <strong>of</strong> creative placemaking 

(The National Consortium for Creative Placemaking 2012) . 

'VISUAL CATALYSTS' 

Lydon and Garcia (2015) describe ‘visual catalysts’ as being <strong>the</strong> visual improvements that 

humanise public spaces. Visual catalysts, being one specific form <strong>of</strong> creative placemaking, 

are wide in scope; ranging from <strong>the</strong> graffiti <strong>of</strong> blank walls to installations <strong>of</strong> vertical artwork in 

laneways. However, what makes this form <strong>of</strong> creative placemaking noteworthy is <strong>the</strong>ir claim 

to act as stimuli for revealment and long term change through simple, and <strong>of</strong>ten cost effective 

temporal interventionism. 

As noted by Bishop and Williams (2012), ‘visual catalysts’ are able to achieve this through 

<strong>the</strong>ir short term ‘punch’ - something which creates a noticeable mark in <strong>the</strong> public domain 

and draws <strong>the</strong> immediate attention <strong>of</strong> <strong>the</strong> community to facilitate discussion. In addition, 

many <strong>of</strong> <strong>the</strong> forms <strong>of</strong> creative placemaking in Australia are ‘visual catalysts’. Yet, as it is 

such a new phenomenon, little has been researched or written about <strong>the</strong>ir influence over 

people’s understanding, and use <strong>of</strong> place; and whe<strong>the</strong>r <strong>the</strong>ir influence translates to long term 

outcomes for <strong>the</strong> betterment <strong>of</strong> place. 

11

PLACE ATTACHMENT 

For <strong>the</strong> most part, place attachment can be understood as <strong>the</strong> “affective bond or link between 

people and specific places” (Hidalgo & Hernandez 2001). However, <strong>the</strong> meaning <strong>of</strong> place 

attachment is not necessarily so clear-cut. The concept is still largely ambiguous, principally 

due to <strong>the</strong> expansive variation in research perspectives, <strong>the</strong> lack <strong>of</strong> a clearly adopted 

<strong>the</strong>oretical framework, and <strong>the</strong> contemporary state <strong>of</strong> <strong>the</strong> concepts evolution (Katlenborn & 

Bjerke 2002). 

Humanistic geographers and environmental psychologists were <strong>the</strong> first to study <strong>the</strong> concept. 

Having been inspired by <strong>the</strong> work <strong>of</strong> <strong>the</strong> attachment <strong>the</strong>orist Bowlby in 1969, academics 

argued that <strong>the</strong> concept <strong>of</strong> place attachment centred around <strong>the</strong> link with space as a common 

emotional bond that fulfils essential human needs (Relph 1976; Tuan 1977). This concept was 

subsequently explored fur<strong>the</strong>r; with <strong>the</strong> work <strong>of</strong> Schroeder (1991) and Altman & Low (1992) 

who proposed <strong>the</strong> clear distinction <strong>of</strong> place attachment being centred around ‘meaning’, 

ra<strong>the</strong>r than <strong>the</strong> ‘preference’. 

In turn, <strong>the</strong> meaning <strong>of</strong> place attachment has maintained this view at its core, yet has 

diversified in content as experts across various fields have sought to explore <strong>the</strong> concept 

fur<strong>the</strong>r in more niche, focused ways (Lewicka 2010). Researchers, such as Stedman (2003), 

sought to argue that place attachment was in fact a smaller fragment <strong>of</strong> our connection to 

place; with place containing <strong>the</strong> various sub-categories <strong>of</strong> place identity, attachment and 

dependence. O<strong>the</strong>rs have focused <strong>the</strong>ir work on place attachment pivoting around idea 

<strong>of</strong> desire (Hay 1998), and o<strong>the</strong>rs have looked at <strong>the</strong> role <strong>of</strong> various scales and settings in 

specifying attachment to place; ranging from <strong>the</strong> home (Giuliani 1993), to expansive landscape 

and recreational spaces (Fishwick & Vining 2003; Katlenborn & Bjerke 2002; Kyle, Graefe & 

Manning 2005; Hammitt, Backlund & Bixler 2006). 

This has led to an extensive breadth and depth <strong>of</strong> research on place attachment. Yet, at 

<strong>the</strong> same time <strong>the</strong> disunity <strong>of</strong> meaning has, in many respects, created more questions than 

answers on <strong>the</strong> fundamental understandings <strong>of</strong> place attachment (Lewicka 2010). Current 

<strong>the</strong>orists have aimed to create greater clarity around what place attachment means, and what 

elements can be universally applicable (Hidalgo & Hernandez 2001; Scannell & Gifford 2010). 

PHYSICAL AND SOCIAL DIMENSIONS 

Hidalgo and Hernandez (2001) proposed that place attachment should be understood as 

part <strong>of</strong> two broad <strong>the</strong>oretical categories; <strong>the</strong> physical and social dimensions <strong>of</strong> place. The 

social dimension refers to <strong>the</strong> human experience and cognition <strong>of</strong> place, whereas <strong>the</strong> physical 

dimension refers to a more grounded form – <strong>the</strong> actualities <strong>of</strong> place that are graspable and 

visualised (Burley 2007). Research has included both <strong>the</strong> intertwinement and segregation <strong>of</strong> 

<strong>the</strong> two dimensions, yet for <strong>the</strong> most part <strong>the</strong>re has been a vast concentration on <strong>the</strong> social 

dimensions <strong>of</strong> place attachment in <strong>the</strong> literature (Scannell & Gifford 2010). 

12

This is substantially a result <strong>of</strong> <strong>the</strong> imbued meaning behind <strong>the</strong> concept <strong>of</strong> place; a word which 

lends itself to a more meaningful association with people ra<strong>the</strong>r than form (Gustafson 2001). 

This segregation between <strong>the</strong> social and physical is also a result <strong>of</strong> researchers being skewed 

to having interest, or priority, <strong>of</strong> one over <strong>the</strong> o<strong>the</strong>r. Likewise, <strong>the</strong>re is also some purpose in 

segregating <strong>the</strong> two, as Lewicka (2010) notes “<strong>the</strong> majority <strong>of</strong> place attachment researchers 

assume that <strong>the</strong> two dimensions <strong>of</strong> place are worth distinguishing as that <strong>the</strong>y may play 

different roles in attachment processes.”. Although <strong>the</strong>re is certainly value in <strong>the</strong> distinguishing 

between <strong>the</strong> physical and social elements <strong>of</strong> place, it is also arguable that in fact this 

dichotomy is damaging <strong>the</strong> progression <strong>of</strong> a stronger, more coherent <strong>the</strong>oretical framework 

(Burley 2007). 

As such, <strong>the</strong>re is a growing consensus that <strong>the</strong>re needs to be a greater focus on <strong>the</strong> 

interrelationship between <strong>the</strong> physical and social dimensions <strong>of</strong> place when looking to gain 

depth <strong>of</strong> knowledge on place attachment (Lewicka 2010; Williams & Vaske 2003). 

SCALE AND SCOPE 

In relation to <strong>the</strong> physical and social dimensions <strong>of</strong> place attachment, <strong>the</strong>re is also <strong>the</strong> 

segregation, and association, <strong>of</strong> <strong>the</strong> scale and scope; that specifically being <strong>the</strong> type <strong>of</strong> setting 

and demographic. Early work on place attachment focused primarily on <strong>the</strong> relationship 

between residents and <strong>the</strong>ir home (Altman & Low 1992). The scale <strong>of</strong> research has since 

expanded, as researchers now look at people’s attachment to place in terms <strong>of</strong> <strong>the</strong>ir 

neighbourhood and city (Hidalgo & Hernandez 2001). In fact, this three tier system <strong>of</strong> <strong>the</strong> 

home, neighbourhood and city is still a widely adopted matrix. Yet, it’s only been in recent 

years that this matrix has been challenged, as globalisation and urbanisation has become 

more pronounced (Lewicka 2010). 

Researchers are now looking towards <strong>the</strong> role <strong>of</strong> <strong>the</strong> everyday public realm in understanding 

place attachment; with a particular focus on tourist, recreational and landscape spaces 

(Fishwick & Vining 1992; Kaltenborn & Bjerke 2002). Although <strong>the</strong>re has been a growth in 

research on <strong>the</strong>se places, <strong>the</strong>re is still a distinct gap in research on <strong>the</strong> smaller scale spaces; 

such as streets, parks, plazas and beaches (Lewicka 2010). Likewise, <strong>the</strong>re is an evident gap 

in research into <strong>the</strong> role, or lack <strong>of</strong> role, that underutilised public space plays in people’s 

attachment to place; specifically in terms <strong>of</strong> what happens when that space becomes activated 

and deactivated through placemaking interventions. 

Fur<strong>the</strong>rmore, research has expanded from simply looking at residents attachment to place to 

o<strong>the</strong>r demographics; such as certain cultures, tourists, newcomers, and specific age groups 

such as children (Trentleman 2009). This has, in turn, led to an expansive range <strong>of</strong> new types 

<strong>of</strong> research, particularly in regards to <strong>the</strong> comparison <strong>of</strong> different groups in relation to <strong>the</strong>ir 

attachment to place, and as to how <strong>the</strong> amount <strong>of</strong> time can alter <strong>the</strong>ir intensity <strong>of</strong> attachment. 

13

TIME AND TEMPORALITY 

The role <strong>of</strong> temporality, and time, in place attachment has been understood as significant 

since <strong>the</strong> work <strong>of</strong> Altman and Low (1992). They identified that attachment to place can 

undergo temporal variation; one in which <strong>the</strong> relationship can fluctuate depending on a range 

<strong>of</strong> internal and external factors (Altman & Low 1992). Yet, since <strong>the</strong>n much <strong>of</strong> <strong>the</strong> focus in 

research has been around <strong>the</strong> relationship <strong>of</strong> length <strong>of</strong> time towards <strong>the</strong> experience <strong>of</strong> place, 

and less about <strong>the</strong> physical mechanisms that can cause <strong>the</strong>se temporal variations (Kyle, Graefe 

& Manning 2005). 

To illustrate this, <strong>the</strong> work <strong>of</strong> Hay (1998) and Smaldone (2006) focused on testing <strong>the</strong> widely 

held view that time spent at a place correlates strongly with <strong>the</strong> intensity <strong>of</strong> one’s attachment 

to that place. They argued that, for <strong>the</strong> most part, people who have spent insignificant 

amounts <strong>of</strong> time in places have a weaker affective connection compared to those who have 

spent a longer time in a place (Hay 1998; Smaldone 2006). As a result, Smaldone (2006) 

puts forward <strong>the</strong> notion that people who have spent limited time in a place tend to have a 

somewhat superficial ‘attraction’ to place, ra<strong>the</strong>r than an attachment. In o<strong>the</strong>r words, limitedtime 

persons tend to have a greater bond with <strong>the</strong> physical form and conditions <strong>of</strong> a site, 

ra<strong>the</strong>r than any imbued affective connection. However, Smaldone (2006) also indicated that 

place attachment can be impacted significantly dependant on <strong>the</strong> intensity <strong>of</strong> experience, 

and that more research is needed on <strong>the</strong> physical attributes <strong>of</strong> place that can cause temporal 

variations in catalysing, and deepening, attachment. 

Conversely, recent researchers have challenged this traditional viewpoint <strong>of</strong> <strong>the</strong> dependency 

on time for streng<strong>the</strong>ned attachment (Kaltenborn & Bjerke 2002; Korpela, Ylen, Tyrväinen & 

Silvennoinen 2009; Stedman 2006;). From research on <strong>the</strong> comparison <strong>of</strong> long-time residents 

and newcomers to place, <strong>the</strong>se academics propose that it is possible for newcomers to 

form a pr<strong>of</strong>ound attachment to place through intense, short term interactions. Fur<strong>the</strong>rmore, 

<strong>the</strong>ir claims have been streng<strong>the</strong>ned by support <strong>of</strong> both <strong>the</strong>oretical and empirical evidence 

(Brown & Raymond 2007) which has shown <strong>the</strong> presence <strong>of</strong> deep affective bonds between 

newcomers and <strong>the</strong> places <strong>the</strong>y visit. However, a lack <strong>of</strong> substantial research into <strong>the</strong> 

mechanisms that support this still leaves open some potential for greater clarity in <strong>the</strong>ory. 

In particular, research has not been conducted to see whe<strong>the</strong>r temporary place-based 

interventions can promote an attachment to place. Hence, to confirm, or argue against, <strong>the</strong> 

overarching value <strong>of</strong> time being a fundamental feature <strong>of</strong> impacting people’s place attachment 

<strong>the</strong>re needs to be more research on <strong>the</strong> role <strong>of</strong> temporality <strong>of</strong> form in places which are not 

valued/depended upon. Additionally, this needs to be compared against contemporary, widely 

accepted <strong>the</strong>oretical framework such as <strong>the</strong> one proposed by Scannell and Gifford (2010). 

14

THEORETICAL FRAMEWORK 

As a result, in recent years a <strong>the</strong>oretical framework has emerged that looks at providing a 

holistic approach to <strong>the</strong> understanding <strong>of</strong> <strong>the</strong> affective conditions and grounded determinants 

<strong>of</strong> place attachment; with that being framework proposed by Scannell and Gifford (2010). 

Scannell and Gifford (2010) have collated a vast amount <strong>of</strong> research on place attachment and 

distilled <strong>the</strong> overarching commonalities into a <strong>the</strong>oretical framework including three main 

categories; person, place and process. 

The person category is divided into that <strong>of</strong> <strong>the</strong> individual and <strong>the</strong> group. The main focus <strong>of</strong> <strong>the</strong> 

person category is to understand how <strong>the</strong> individual and/or group is attached through a range 

<strong>of</strong> complementary and singular influences; that being <strong>the</strong> influences <strong>of</strong> religion, history, specific 

milestones, realisations and experiences (Scannell & Gifford 2010). The category <strong>of</strong> place is 

divided into that <strong>of</strong> <strong>the</strong> social and physical; with that being aligned with <strong>the</strong> work <strong>of</strong> Hidalgo & 

Hernandez (2001). The process category refers to <strong>the</strong> way people are connected, experience, 

and act in place; and in turn reflect <strong>the</strong>se elements in <strong>the</strong>ir ability to alter and impact one’s 

attachment to place. 

This <strong>the</strong>oretical framework, as stated by <strong>the</strong> authors, can be used for a wide range <strong>of</strong> 

studies. Additionally, <strong>the</strong> framework also provides <strong>the</strong> potential to build on some <strong>of</strong> <strong>the</strong> less 

understood elements <strong>of</strong> place attachment; with that being <strong>the</strong> elements <strong>of</strong> place and process 

(Scannell & Gifford 2010). In particular, it could be used to look at <strong>the</strong> role <strong>of</strong> <strong>the</strong> physical 

elements <strong>of</strong> place alongside that <strong>of</strong> <strong>the</strong> relationship it plays with <strong>the</strong> behavioural element <strong>of</strong> 

process in <strong>the</strong> reconstruction (or construction) <strong>of</strong> attachment itself. Hence, it provides <strong>the</strong> 

opportunity to look at <strong>the</strong> role <strong>of</strong> temporality in form <strong>of</strong> impacting one’s attachment to place. 

CONCLUSION 

As outlined, <strong>the</strong>re are significant opportunities for original research into <strong>the</strong> relationship 

between creative placemaking (in particular ‘visual catalysts) and whe<strong>the</strong>r <strong>the</strong>se transient 

forms can influence a person’s attraction and use <strong>of</strong> place. In particular, for creative 

placemaking <strong>the</strong>re are significant gaps in research into <strong>the</strong> role <strong>of</strong> temporality <strong>of</strong> <strong>the</strong>se 

transient interventions in <strong>the</strong> use <strong>of</strong> place both immediately and as an enduring construct. In 

parallel with this, <strong>the</strong>re is limited research into how this phenomenon affects our relationship 

with place – in particular whe<strong>the</strong>r it can promote an attachment to place. 

This opens up particular opportunity to explore a widely adopted form <strong>of</strong> creative placemaking 

on influencing people’s attraction and use <strong>of</strong> place in Sydney; that being ‘visual catalysts’. This 

research, in <strong>the</strong> form <strong>of</strong> a quantitative case study, will add fur<strong>the</strong>r insight into <strong>the</strong> physical and 

social implications <strong>of</strong> <strong>the</strong>se transient forms both in <strong>the</strong> short term and long term. 

15

PART THREE _ 

METHODOLOGY & METHOD 

16

RESEARCH QUESTIONS 

By establishing <strong>the</strong> aims and objectives <strong>of</strong> <strong>the</strong> project, and through doing a detailed literature 

review on <strong>the</strong> concepts <strong>of</strong> placemaking and place attachment, three research questions 

emerged, and solidified, <strong>the</strong> fundamental purpose <strong>of</strong> <strong>the</strong> research project. These questions 

are: 

1 Do ‘visual catalysts’, as a form <strong>of</strong> temporary place-based intervention, influence <strong>the</strong> 

attraction and use <strong>of</strong> place? 

2 Is <strong>the</strong>re evidence <strong>of</strong> a sustained interest in <strong>the</strong> location <strong>of</strong> <strong>the</strong> ‘visual catalyst’ after <strong>the</strong> 

intervention has ceased? 

3 Can temporary place-based interventions, such as ‘visual catalysts’, be used to ignite 

place attachment to underutilised public places? 

The first question revolves primarily around <strong>the</strong> exploration <strong>of</strong> whe<strong>the</strong>r a specific form <strong>of</strong> 

creative placemaking, being ‘visual catalysts’, can or cannot influence a person’s attraction 

to, and use <strong>of</strong>, place. Much like in <strong>the</strong> aims and objectives, this research question emerged 

through <strong>the</strong> understanding that little in-depth research has been conducted on <strong>the</strong> grounded 

physical and social impacts <strong>of</strong> creative placemaking in relation to place-centred experience. 

The second research question delves into a gap <strong>of</strong> knowledge in <strong>the</strong> literature on placemaking; 

that being whe<strong>the</strong>r <strong>the</strong>re is a sustained interest in <strong>the</strong> place after <strong>the</strong> intervention has 

concluded and been removed. This question goes to <strong>the</strong> heart <strong>of</strong> <strong>the</strong> movement <strong>of</strong> creative 

placemaking – that short term interventions can lead to lasting, long term opportunities and 

changes. 

The third research question seeks to explore whe<strong>the</strong>r creative placemaking has <strong>the</strong> ability 

to promote greater place attachment in underutilised public places. Like <strong>the</strong> previous two 

question, this one seeks to fill an existing gap in <strong>the</strong> knowledge around place attachment and 

<strong>the</strong> role <strong>of</strong> temporary place-based interventions on promoting a relationship with place. 

METHODOLOGY 

Quantitative research is <strong>the</strong> primary methodological paradigm that has been selected for 

this <strong>the</strong>sis. Quantitative research is purposeful in noting <strong>the</strong> direct use, behaviours and <strong>the</strong> 

qualities <strong>of</strong> a place both for people and across time; several significant elements which are 

interrelated with <strong>the</strong> overall objectives and aims for this people-place centred study (Creswell 

2005). It can provide direct answers to <strong>of</strong>ten ambiguous concepts, and can act as a solid 

footing for fur<strong>the</strong>r detailed research to sprout from. As such, <strong>the</strong> discussion and rationale <strong>of</strong> 

quantitative research in relation to this is outlined, as well as a discussion on <strong>the</strong> suitability <strong>of</strong> a 

case study research perspective to ground <strong>the</strong> research project. 

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QUANTITATIVE RESEARCH 

The study <strong>of</strong> placemaking and use <strong>of</strong> place has been subject to both quantitative and 

qualitative research. Quantitative data can be understood as <strong>the</strong> approach to research that 

utilises numerical and statistical data to draw conclusions and resolve problems, something 

which William Whyte (1980) first documented by observing people’s behaviours and 

experience <strong>of</strong> different public spaces in New York (Creswell 2005). His approach <strong>of</strong> simply 

observing, and numerically counting, <strong>the</strong> amount and behaviours <strong>of</strong> people in a given space 

provided insight into what made that space exceptional, or unexceptional. It provided insight 

into <strong>the</strong> relationship between place and people through <strong>the</strong> collation <strong>of</strong> quantitative data to 

provide a narrative <strong>of</strong> people’s attraction and use <strong>of</strong> place. 

The data Whyte ga<strong>the</strong>red is consistent to this day with much <strong>of</strong> <strong>the</strong> quantitative data collated 

for placemaking studies; including <strong>the</strong> numerical counting and tallying <strong>of</strong> what people do, 

where <strong>the</strong>y are, how many <strong>the</strong>re are, how old and what gender, where <strong>the</strong>y go to and from, 

and <strong>the</strong> particular behaviours which show a direct relationship to <strong>the</strong> experience <strong>of</strong> place. 

Yet, <strong>the</strong>re has been little quantitative research into transient public places. In particular, 

quantitative data can provide insight into <strong>the</strong> impact <strong>of</strong> <strong>the</strong>se transient interventions through 

<strong>the</strong> ability <strong>of</strong> <strong>the</strong> paradigm to test ideas and notions, such as those <strong>of</strong> <strong>the</strong> proposed role <strong>of</strong> 

creative placemaking. 

In current research, qualitative research is <strong>of</strong>ten used to gain a general sense <strong>of</strong> a phenomena 

and to form <strong>the</strong>ories, whereas quantitative research is <strong>of</strong>ten used to test those concepts – a 

notion aligned with <strong>the</strong> methodological proposition <strong>of</strong> this study. This study seeks to discover 

how <strong>the</strong> experience <strong>of</strong> place can be influenced through creative placemaking mechanisms, and 

quantitative research has a strong disposition to be an exceptional paradigm when observing 

and comparing people and place. In particular, it has been noted as a methodical means to 

observe people in <strong>the</strong>ir natural setting when striving to understand social behaviours; such 

as people’s experience <strong>of</strong> place (Treckson 2015). This is because, as mentioned, quantitative 

research strives to find answers to <strong>the</strong> ‘if’ and ‘whe<strong>the</strong>r’, not <strong>the</strong> ‘how’ and ‘why’ as <strong>of</strong>ten 

addressed through qualitative research. Additionally, as this project focuses on observing <strong>the</strong> 

changes in behaviour over time in a fixed setting, it hence makes sense to take a quantitative 

approach to allow for detailed and incremental comparative analysis. 

Moreover, in terms <strong>of</strong> <strong>the</strong> third proposed aim <strong>of</strong> this study <strong>the</strong>re is also great potential in 

exploring <strong>the</strong> concept <strong>of</strong> place attachment through using a <strong>the</strong>oretical framework within a 

quantitative research paradigm. Scannell and Gifford (2010) proposed a <strong>the</strong>oretical framework 

to use for <strong>the</strong> study <strong>of</strong> place attachment. This framework, still relatively new, has yet to be 

widely tested from a quantitative research paradigm. As such, for this research topic utilising 

this framework can not only streng<strong>the</strong>n <strong>the</strong> depth and applicability <strong>of</strong> <strong>the</strong> findings, but can also 

add depth <strong>of</strong> knowledge to <strong>the</strong> field <strong>of</strong> place attachment. Additionally, <strong>the</strong> answers obtained 

from this quantitative research can lead to fur<strong>the</strong>r interrogation in <strong>the</strong> future into a qualitative 

based study that interrogates place attachment more in-depth. 

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CASE STUDY RESEARCH 

The use <strong>of</strong> case study research has been widely adopted in <strong>the</strong> investigation <strong>of</strong> placemaking 

and people’s experience <strong>of</strong> place (Stake 1995). Case study research is used to ground <strong>the</strong> 

understanding <strong>of</strong> a complex phenomenon, and to analyse <strong>the</strong> specific cause and effect 

relationship <strong>of</strong> a place/event on a person or group <strong>of</strong> people (Yin 1984). This type <strong>of</strong> research 

has been utilised for many years across a wide spectrum <strong>of</strong> disciplines; particularly in <strong>the</strong> 

fields <strong>of</strong> landscape architecture and sociology. For this <strong>the</strong>sis, this type <strong>of</strong> research will act as 

a grounding mechanism to explore complex behavioural meanings and affective relationships 

in a people-place paradigm, and will serve as a methodical way to compare <strong>the</strong> relationship <strong>of</strong> 

time and attraction and use <strong>of</strong> place through <strong>the</strong> direct observation <strong>of</strong> two ‘visual catalysts’ <strong>of</strong> 

<strong>the</strong> VIVID 2016 festival in Sydney. 

Case study research, being a fundamental people-place technique, provides insight into <strong>the</strong> 

daily physical/behavioural conditions <strong>of</strong> a site which cannot be obtained through o<strong>the</strong>r forms 

<strong>of</strong> research. For example, <strong>the</strong> relationship between <strong>the</strong> time and conditions <strong>of</strong> a day, <strong>the</strong> 

makeup <strong>of</strong> social groups, <strong>the</strong> possibility <strong>of</strong> unconsidered external influences can all significantly 

alter <strong>the</strong> propensity for a person to engage with a site; thus changing <strong>the</strong> engagement and 

experience with place itself (Creswell 2005). These factors alone cannot be determined without 

<strong>the</strong> use <strong>of</strong> case study research. This is significant when studying <strong>the</strong> concepts <strong>of</strong> placemaking 

and experience <strong>of</strong> place; one which is subject, and dependant, on external forces <strong>of</strong> influence. 

Likewise, it is quite necessary to have a physical place to document <strong>the</strong> behaviours <strong>of</strong> people; a 

case study allows this whereas o<strong>the</strong>rs form <strong>of</strong> research rely on accounts and <strong>the</strong> descriptions 

<strong>of</strong> <strong>the</strong> behaviours <strong>of</strong> people. 

Case study analysis is <strong>of</strong>ten criticised for being something which is broad and lacks reliability 

(Flyvbjerg 2006). However, in this matter it is important to note that <strong>the</strong> use <strong>of</strong> a case study for 

this research is that it should be seen as a piece <strong>of</strong> a larger puzzle – it is one piece <strong>of</strong> research 

that explores <strong>the</strong> relationship between <strong>the</strong> experience <strong>of</strong> place and creative placemaking 

through direct and unobtrusive observations. Moreover, it would be more detrimental for <strong>the</strong> 

study to not use a case study for <strong>the</strong> research, as to understand <strong>the</strong> behavioural inferences 

<strong>of</strong> people and <strong>the</strong>ir relationships with place it is integral to have some form <strong>of</strong> contemporary 

observation and account for validity on what is an ever-changing association. 

CONTEXT OF STUDY 

The site chosen for this study is located in Walsh Bay, Sydney, Australia. It consists <strong>of</strong> <strong>the</strong> 

area under <strong>the</strong> sou<strong>the</strong>rn part <strong>of</strong> <strong>the</strong> Sydney Harbour Bridge. The site is currently used 

predominantly as a transition space; one where people move through without stopping. It 

is linear in form, and Hickson Road runs straight through <strong>the</strong> middle <strong>of</strong> <strong>the</strong> space which is 

bounded by two concrete pathways on ei<strong>the</strong>r side. The site is currently underutilised, and 

does not contain any opportunities for seating or recreational activities. However, <strong>the</strong> site has 

many vantage points <strong>of</strong> out across <strong>the</strong> harbour. These include various landmarks and 

19

distinctive icons <strong>of</strong> Sydney such as Luna Park, <strong>the</strong> Sydney Harbour Bridge, <strong>the</strong> Opera House 

and <strong>of</strong> <strong>the</strong> harbour itself. The location <strong>of</strong> <strong>the</strong> site can be seen through observing figure 4.1. 

VIVID FESTIVAL 

The VIVID festival, held in Sydney every year since 2009, is an outdoor lighting festival with 

immersive light installations and projections (NSW Government 2016). The festival, held during 

<strong>the</strong> winter months from May till June, also includes performances from local and international 

artists and an ideas exchange forum which features public talks and debates from renowned 

creative thinkers. Initially, VIVID began as a way to raise awareness for energy efficiency, 

however it has evolved over recent years to one <strong>of</strong> <strong>the</strong> most significant annual events that 

occur in Sydney. During <strong>the</strong> festival in 2012, over 500,000 visitors attended which generated 

an around $10 million in income for <strong>the</strong> state. Understanding <strong>the</strong> potential <strong>the</strong> festival has 

to create revenue, it was expanded greatly in scope in 2014 which saw light shows on and 

around <strong>the</strong> Opera House, Circular Quay, The Rocks, North Sydney, Walsh Bay, Darling Harbour, 

The Star, and Carriageworks (NSW Government 2016). This can be seen through figure 4.2. 

Since <strong>the</strong>n, <strong>the</strong> festival has grown substantially to become an international tourist attraction. 

During 2016, <strong>the</strong> festival was attended by more than 2.3 million people; a figure which 

continues to grow year after year. 

Due to <strong>the</strong> popularity and scope <strong>of</strong> VIVID, this is an extreme case <strong>of</strong> creative placemaking. The 

sheer scale and widespread knowledge <strong>of</strong> <strong>the</strong> event likely has an impact <strong>of</strong> <strong>the</strong> expectations 

<strong>of</strong> people going, just as it changes <strong>the</strong> way that <strong>the</strong> central city as a whole is occupied. The 

aura and <strong>the</strong> reputation that surrounds <strong>the</strong> event has <strong>the</strong> capacity to alter <strong>the</strong> experience <strong>of</strong> 

place itself, and how people behave during and after <strong>the</strong> event as shown by <strong>the</strong> findings in <strong>the</strong> 

following chapter. 

Figure 4.1 - The study area as delineated by <strong>the</strong> blue outline consists <strong>of</strong> <strong>the</strong> space under <strong>the</strong> 

sou<strong>the</strong>rn part <strong>of</strong> <strong>the</strong> Harbour Bridge where Hickson Road runs underneath 

(Destination NSW 2016 c). 

20

Figure 4.2 - A map <strong>of</strong> <strong>the</strong> 2016 VIVID festival in Sydney. It shows <strong>the</strong> large number and scope <strong>of</strong> interventions that 

occur along <strong>the</strong> harbour front <strong>of</strong> Sydney. The two case studies chosen for this project are shown by <strong>the</strong> blue outlines 

<strong>of</strong> numbers 38 and 40 (Destination NSW 2016 c). 

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CASE STUDY 1 : UNDERFOOT 

One <strong>of</strong> <strong>the</strong> case studies selected for this <strong>the</strong>sis was <strong>the</strong> light display known as Underfoot, 

by Australian artists Indermühle + Indermühle (Destination NSW a 2016). The creative 

placemaking intervention (fitting under <strong>the</strong> category <strong>of</strong> a ‘visual catalyst’) by Aly Indermühle and 

Balthasar Indermühle was exhibited during <strong>the</strong> VIVID 2016 festival in Sydney. This festival ran 

from <strong>the</strong> 27th <strong>of</strong> May to <strong>the</strong> 18th <strong>of</strong> June, and was active during <strong>the</strong> times <strong>of</strong> 18:00 to 23:00. 

The intervention was located at Walsh Bay in Sydney; directly under <strong>the</strong> harbour bridge footing 

along Hickson Road. To understand <strong>the</strong> conceptual grounding <strong>of</strong> <strong>the</strong> project, a description <strong>of</strong> 

<strong>the</strong> case study from <strong>the</strong> artists can be read below: 

“Underfoot celebrates <strong>the</strong> blending <strong>of</strong> light that occurs when <strong>the</strong> warm, rich tones <strong>of</strong> an 

Australian sunset interact with <strong>the</strong> colours and textures <strong>of</strong> <strong>the</strong> sandstone supports <strong>of</strong> 

<strong>the</strong> Sydney Harbour Bridge. The resulting artwork highlights <strong>the</strong> everyday foundations <strong>of</strong> 

Sydney’s landmarks and <strong>the</strong> materials from which <strong>the</strong> city is built. 

The installation lies on <strong>the</strong> boundary between light sculpture and facade illumination; 

it explores complex interactions between <strong>the</strong> viewer, light and <strong>the</strong> surrounding space 

and brings new emphasis to this part <strong>of</strong> <strong>the</strong> bridge’s structure and its location on <strong>the</strong> 

meandering Hickson Road drive way. This scenic road and its paved footpath hug <strong>the</strong> 

harbour foreshore, yet are <strong>of</strong>ten overlooked by visitors. 

With <strong>the</strong>ir keen sense <strong>of</strong> atmosphere, <strong>the</strong> Indermühles have created a work that takes an 

everyday illumination point and elevates it to light art.” (Destination NSW a 2016) 

The installation was chosen for study for its applicability to <strong>the</strong> research aims and objectives; 

that being to understand whe<strong>the</strong>r a ‘visual catalyst’ in a public space can influence a person’s 

experience <strong>of</strong> place. This case study was located in a site which is currently underutilised, 

so an understanding <strong>of</strong> whe<strong>the</strong>r an experience <strong>of</strong> site can be cultivated can also emerge. 

Additionally, <strong>the</strong> purpose <strong>of</strong> wanting to change <strong>the</strong> relationship and attraction <strong>of</strong> <strong>the</strong> place 

as stated in <strong>the</strong> project description is a notion which links strongly with this research project 

which seeks to explore <strong>the</strong> relationship <strong>of</strong> temporality and interventionism. It was also chosen 

due to it being in Sydney; a place <strong>of</strong> proximity and also a place which has not undergone 

significant research into creative placemaking outcomes. 

22

23 

Figure 4.3 - Photos <strong>of</strong> <strong>the</strong> case study Underfoot (Destination NSW a 2016).

CASE STUDY 2 : EORA - THE LAND 

The second case study selected was <strong>the</strong> light display known as ‘EORA – The Land’, by Stephen 

Page and Jacob Nash as part <strong>of</strong> <strong>the</strong> Bangarra Dance Theatre (Destination NSW b 2016). The 

creative placemaking intervention (fitting under <strong>the</strong> category <strong>of</strong> a ‘visual catalyst’) was exhibited 

during <strong>the</strong> VIVID 2016 festival in Sydney. This festival ran from <strong>the</strong> 27th <strong>of</strong> May to <strong>the</strong> 18th <strong>of</strong> 

June, and was active during <strong>the</strong> times <strong>of</strong> 18:00 to 23:00. The intervention was located at Walsh 

Bay in Sydney, and was directly projected onto <strong>the</strong> sou<strong>the</strong>rn sandstone pylon <strong>of</strong> <strong>the</strong> Sydney 

Harbour Bridge. To understand <strong>the</strong> conceptual grounding <strong>of</strong> <strong>the</strong> project, a description <strong>of</strong> <strong>the</strong> 

case study from <strong>the</strong> artists can be read below: 

“One <strong>of</strong> Australia’s leading performing arts companies, Bangarra Dance Theatre, creates a 

work that gives visitors an insight into <strong>the</strong> Eora Aboriginal people and <strong>the</strong> ways that <strong>the</strong>ir 

deep spiritual and cultural connections with <strong>the</strong> land have sustained <strong>the</strong>m over thousands 

<strong>of</strong> years. 

Eora people are <strong>the</strong> traditional owners <strong>of</strong> a territory that encompasses most <strong>of</strong> <strong>the</strong> city 

<strong>of</strong> Sydney, <strong>the</strong> surrounding coastal areas and parts <strong>of</strong> greater Sydney. It includes river 

systems, bushland, sandstone cliffs, beaches, bays and caves. For thousands <strong>of</strong> years <strong>the</strong> 

Eora people have shared a vital relationship with this land and its flora and fauna. They 

regard it as a source <strong>of</strong> <strong>the</strong>ir life force, spirituality and internal strength. 

The installation uses animation and <strong>the</strong> latest digital technology to light up <strong>the</strong> sou<strong>the</strong>rn 

pylon <strong>of</strong> <strong>the</strong> Sydney Harbour Bridge and illuminate <strong>the</strong> rich history <strong>of</strong> <strong>the</strong> Eora Nation; to 

depict how, for thousands <strong>of</strong> years, <strong>the</strong>y looked after <strong>the</strong> sacred place we live on today. 

Bangarra’s artistic director Stephen Page and head designer Jacob Nash have created a 

breathtaking work inspired by creation stories <strong>of</strong> <strong>the</strong> waratah and cockatoo; it also depicts 

how <strong>the</strong> people lived with natural elements showing <strong>the</strong>ir vital relationship with flora 

and fauna. The li<strong>the</strong> ochre-covered bodies <strong>of</strong> <strong>the</strong> dancers represent <strong>the</strong> land and its living 

connections to all things in <strong>the</strong> natural world.” (Destination NSW b 2016) 

The installation was chosen for study for its applicability to <strong>the</strong> research aims and objectives; 

that being to understand whe<strong>the</strong>r a ‘visual catalyst’ in a public space can influence a person’s 

attraction and use <strong>of</strong> place. Additionally, this case study was chosen as it presents a concept 

<strong>of</strong> place which is greater than a physical idea; it presents one which is narrative driven and 

culturally engaging. It was also chosen due to it being in Sydney; a place <strong>of</strong> proximity and also 

a place which has not undergone significant research into creative placemaking outcomes – 

particularly through <strong>the</strong> method <strong>of</strong> place-centred behaviour mapping as a method <strong>of</strong> research. 

24

25 

Figure 4.4 - Photos <strong>of</strong> <strong>the</strong> case study EORA - The Land (Destination NSW b 2016).

METHOD 

PLACE CENTRED BEHAVIOUR MAPPING 

Behaviour mapping is a form <strong>of</strong> systematic observation research that tracks behaviour over 

time and space (Sommer & Sommer 2001). It involves <strong>the</strong> entry <strong>of</strong> data into ei<strong>the</strong>r a simple 

table <strong>of</strong> significant tallied attributes (such as gender and people sitting down) or/as well 

as <strong>the</strong> mapping <strong>of</strong> data drawn on a scaled site outline. This tool, predominantly used by 

environmental psychologists, urban designers and landscape architects, developed in <strong>the</strong> late 

1960s and early 1970s (Barker 1968; Ittelson et al. 1976). This method takes two main forms; 

one being <strong>the</strong> focus on a place, and <strong>the</strong> o<strong>the</strong>r being <strong>the</strong> focus on a person. These two forms 

are known as place-centred and person or individual-centred mapping respectively (Manzo & 

Devine-Wright 2016). 

Behaviour mapping is generally understood as a quantitative approach to research, however it 

is equally plausible to use it as a method <strong>of</strong> qualitative research (Cosco et al. 2010). A primarily 

quantitative approach, such as for this <strong>the</strong>sis, aims to observe what happens in a place, and 

provide hard data to record this to turn into substantial finding in relation to <strong>the</strong> prescribed 

research focus (Ng 2016). In <strong>the</strong> case for this project, that would be exploring whe<strong>the</strong>r people’s 

experience <strong>of</strong> place is influenced by ‘visual catalysts’. As such, this lends <strong>the</strong> study <strong>of</strong> this <strong>the</strong>sis 

towards it being a place-centred paradigm, ra<strong>the</strong>r than individual centred. 

Behaviour mapping is also one <strong>of</strong> <strong>the</strong> only methods able to measure detailed changes in 

behaviour and space in parallel with time; a core feature <strong>of</strong> this study as it aims to determine 

<strong>the</strong> role <strong>of</strong> temporality in people’s experience <strong>of</strong> place (Hill 1984). Hence, through observing 

<strong>the</strong> changes in behaviour during different time periods (such as before, during, and after <strong>the</strong> 

intervention) a broad spectrum <strong>of</strong> findings can be collated and analysed comparatively. 

METHOD CONSIDERATIONS 

In terms <strong>of</strong> <strong>the</strong> limitations <strong>of</strong> behaviour mapping as a method <strong>of</strong> study, <strong>the</strong>re is a substantial 

reliance on <strong>the</strong> interpretation <strong>of</strong> results from <strong>the</strong> researcher (Brown et al. 2015). By observing 

what people do in space this can provide insight into whe<strong>the</strong>r people’s experience <strong>of</strong> place 

is influenced by catalytic interventions, however <strong>the</strong>re is no significant comparative work to 

compare <strong>the</strong>se observations against in terms <strong>of</strong> previous research or studies conducted. Yet, 

as this <strong>the</strong>sis is solely focused on <strong>the</strong> notion <strong>of</strong> understanding if, and how long, <strong>the</strong> experience 

<strong>of</strong> place is influenced, ra<strong>the</strong>r than <strong>the</strong> extent or reasoning, behaviouramapping provides <strong>the</strong> 

fundamental source <strong>of</strong> information required through comparative analysis and observations. 

If in <strong>the</strong> future this project were to be fur<strong>the</strong>r researched, an obvious progression <strong>of</strong> this 

method <strong>of</strong> research would be to interlace o<strong>the</strong>r forms <strong>of</strong> qualitative based research to gain 

greater understanding into what causes a person’s experience <strong>of</strong> place to be influenced, 

ra<strong>the</strong>r than simply observing if it does. 

26

FIELDWORK PROCEDURE 

The procedure for behaviour mapping involves <strong>the</strong> observation, tallying and note taking <strong>of</strong> 

what is happening in <strong>the</strong> place <strong>of</strong> <strong>the</strong> case study during <strong>the</strong> allotted times. These observation 

periods, being over two time slots in three session, will provide <strong>the</strong> information needed to 

analyse, and compare, whe<strong>the</strong>r <strong>the</strong> ‘visual catalysts’ have an influence over <strong>the</strong> experience 

<strong>of</strong> place. Each period <strong>of</strong> behaviour mapping involved one hour <strong>of</strong> observation. As such, <strong>the</strong> 

behaviour mapping will occur before, during and after <strong>the</strong> installation as shown by table table 

4.1 below: 

Table 4.5 - Timetable for <strong>the</strong> behaviour mapping sessions. The blue outline delineates <strong>the</strong> 

period <strong>of</strong> time that <strong>the</strong> VIVID displays were in <strong>the</strong> place <strong>of</strong> study. 

The selection <strong>of</strong> dates, days and time blocks were determined by several factors. The most 

significant factor was that <strong>of</strong> <strong>the</strong> temporary public space installation being active during <strong>the</strong> 

early weeks <strong>of</strong> June and during <strong>the</strong> evening – hence why evening recordings are prevalent in 

<strong>the</strong> month <strong>of</strong> June. Ano<strong>the</strong>r factor was <strong>the</strong> desire to also observe <strong>the</strong> changes in behaviours 

across different times <strong>of</strong> days and during busy periods when <strong>the</strong> interventions are not active – 

hence why early afternoon recordings are prevalent. Additionally, <strong>the</strong> time blocks <strong>of</strong> one hour 

shall be sufficient for observation purposes due to <strong>the</strong> small scale <strong>of</strong> <strong>the</strong> site. Lastly, for stage 

three <strong>the</strong>se specific dates were chosen due to it being several weeks after <strong>the</strong> conclusion 

<strong>of</strong> <strong>the</strong> event; with this being important to determine whe<strong>the</strong>r <strong>the</strong> experience <strong>of</strong> place has 

endured as asked by one <strong>of</strong> <strong>the</strong> research questions. 

The behaviour mapping involves <strong>the</strong> use <strong>of</strong> observation, mapping, tallying and note taking. The 

wea<strong>the</strong>r, site conditions and o<strong>the</strong>r unforeseen phenomena will also be noted on <strong>the</strong> arrival 

<strong>of</strong> each period to use for later comparison if <strong>the</strong>y have any effective relationship with <strong>the</strong> 

results. Likewise, following <strong>the</strong> conclusion <strong>of</strong> each period <strong>of</strong> mapping some concluding notes 

will be taken on <strong>the</strong> thoughts and significant behaviours observed in <strong>the</strong> period. A tallying and 

shorthand system will be implemented for <strong>the</strong> mapping and observation <strong>of</strong> key characteristics 

27

<strong>of</strong> people in <strong>the</strong> place – such as <strong>the</strong>ir movement patterns, gender, actions and <strong>the</strong> time <strong>the</strong>y 

spent in <strong>the</strong> place. These are all significant factors in determining, and comparing, people’s 

experience <strong>of</strong> place. A detailed outline <strong>of</strong> <strong>the</strong> table used to record results and <strong>the</strong> map is 

shown by figures 4.5 and 4.6 on <strong>the</strong> following page, and full page images <strong>of</strong> each can be found 

in appendix A and appendix C. 

ETHICAL CONSIDERATIONS 

As this form <strong>of</strong> research is passive and unobtrusive in nature, <strong>the</strong>re are limited opportunities 

for problematic situations or ethical considerations. However, <strong>the</strong>re are some important 

factors to be considered for this project: 

• Research will be conducted during <strong>the</strong> event which will likely involve a significant 

amount <strong>of</strong> people in a small space – consideration is needed to place oneself away 

from main movement lines as to not interfere or obstruct <strong>the</strong> flow <strong>of</strong> people to 

not cause potential injury or contact with <strong>the</strong> general public 

• Anonymity will be enforced during <strong>the</strong> research – to protect <strong>the</strong> identity <strong>of</strong> people 

and to not disclose personal information about particular individuals or groups 

• To not follow or confrontationally observe <strong>the</strong> behaviours <strong>of</strong> people – this may 

cause unease for <strong>the</strong> participants and also skew results 

28

Figure 4.5 - The map used for <strong>the</strong> behaviour mapping sessions. 

Figure 4.6 - The table used for <strong>the</strong> behaviour mapping sessions. 

29

DATA ANALYSIS PROCESS 

For this <strong>the</strong>sis, <strong>the</strong> form <strong>of</strong> analysis will centre around <strong>the</strong> comparative examination <strong>of</strong> results 

from three different stages <strong>of</strong> behaviour mapping <strong>of</strong> <strong>the</strong> case study (that being before, during, 

and after <strong>the</strong> installation). The analysis will primarily be a comparison <strong>of</strong> observed behaviours, 

and will draw out in-depth patterns <strong>of</strong> people’s experience <strong>of</strong> place in relation to how <strong>the</strong>y use 

a space when a ‘visual catalyst’ is active, and when it is not. 

To go into detail, <strong>the</strong> analysis <strong>of</strong> results will involve <strong>the</strong> comparison <strong>of</strong> <strong>the</strong> times <strong>of</strong> day, gender, 

movement patterns, activity and behaviour patterns, amount <strong>of</strong> time spent in place, social 

interactions and engagement with site conditions. These details will be analysed quantitatively 

through <strong>the</strong> tallying <strong>of</strong> numbers, and a statistical comparison to allow for <strong>the</strong> observation 

<strong>of</strong> whe<strong>the</strong>r <strong>the</strong> experience and behaviours observed in that place have changed and/or be 

influenced. However, this, along with incremental notetaking during <strong>the</strong> stages <strong>of</strong> mapping, 

will also provide <strong>the</strong> basis for a narrative to emerge. Likewise, <strong>the</strong> analysis <strong>of</strong> results will not 

just involve <strong>the</strong> comparison <strong>of</strong> drawn maps, but also <strong>the</strong> comparison <strong>of</strong> written notes on 

observations. 

To structure this analysis, and to help determine important findings <strong>of</strong> value, <strong>the</strong> work <strong>of</strong> 

Creswell (2005) will help establish this through his six steps <strong>of</strong> data analysis. Those steps 

include: 

• Organising and preparing <strong>the</strong> data for analysis 

• Reading through <strong>the</strong> data 

• Beginning detailed analysis with <strong>the</strong> coding process (spreadsheet individual 

sessions) 

• Use <strong>the</strong> coding process to generate a description <strong>of</strong> <strong>the</strong> setting or people as well 

as categories for <strong>the</strong>se for analysis – linking significant data in relation to <strong>the</strong> 

experience <strong>of</strong> place 

• Advance <strong>the</strong> triangulation <strong>of</strong> data and present findings 

• Interpret <strong>the</strong> meaning <strong>of</strong> <strong>the</strong> data parallel to <strong>the</strong> literature 

As such, from using Creswell’s (2005) method for analysis findings will provide <strong>the</strong> basis 

to compare <strong>the</strong> key data obtained from <strong>the</strong> behaviour mapping sessions in relation to <strong>the</strong> 

experience <strong>of</strong> place, and <strong>the</strong> attachment to place. Through observing <strong>the</strong> <strong>the</strong>mes <strong>of</strong> behaviour, 

such as <strong>the</strong> amount <strong>of</strong> engagement, form <strong>of</strong> activity and <strong>the</strong> amount <strong>of</strong> time spent doing an 

activity, an understanding <strong>of</strong> whe<strong>the</strong>r <strong>the</strong> experience <strong>of</strong> place has been influenced can become 

apparent as a result <strong>of</strong> <strong>the</strong> creative placemaking intervention. Consequently, findings can <strong>the</strong>n 

be established and presented. 

30

RESEARCH DESIGN DIAGRAM 

DEFINE RESEARCH TOPIC 

<strong>Exploring</strong> <strong>the</strong> role <strong>of</strong> ‘visual catalysts’ on influencing people's 

attraction and use <strong>of</strong> place 

LITERATURE REVIEW 

Place Attachment 

Creative placemaking 

Gaps and Opportunities ? 

AIMS AND OBJECTIVES 

1 To understand if creative placemaking interventions, such as ‘visual catalysts’, make places more 

attractive to people and increases <strong>the</strong> use <strong>of</strong> underutilised 

2 To understand if any increase in <strong>the</strong> use <strong>of</strong> underutilised places induced by <strong>the</strong> temporary 

intervention is sustained after <strong>the</strong> intervention has concluded 

3 To understand if creative placemaking interventions could be used to ignite place attachment in 

underutilised public places 

1 To compare and analyse <strong>the</strong> attraction and use <strong>of</strong> place before, during, and after <strong>the</strong> ‘visual 

catalysts’ <strong>of</strong> ‘Underfoot’ and ‘EORA – The Land’ as part <strong>of</strong> <strong>the</strong> VIVID 2016 festival in Sydney 

2 To analyse whe<strong>the</strong>r <strong>the</strong>re is a sustained increase in <strong>the</strong> use and interest <strong>of</strong> place beyond <strong>the</strong> 

conclusion <strong>of</strong> <strong>the</strong> ‘visual catalysts’, and to articulate what attributes <strong>of</strong> <strong>the</strong> use have and have not 

changed 

3 To consider whe<strong>the</strong>r <strong>the</strong> ‘visual catalysts’ <strong>of</strong> ‘Underfoot’ and ‘EORA - The Land’ could potentially 

promote greater attachment to <strong>the</strong> immediate underutilised place 

RESEARCH QUESTIONS 

1 Do ‘visual catalysts’, as a form <strong>of</strong> temporary place-based intervention, influence <strong>the</strong> attraction and 

use <strong>of</strong> place? 

2 Is <strong>the</strong>re evidence <strong>of</strong> a sustained interest in <strong>the</strong> location <strong>of</strong> <strong>the</strong> ‘visual catalyst’ after <strong>the</strong> intervention 

has ceased? 

3 Can temporary place-based interventions, such as ‘visual catalysts’, be used to ignite place 

attachment to underutilised public places? 

METHODOLOGY & ETHICS 

Quantitative Case Study 

METHODS 

Place Centred Behaviour Mapping 

2 x BEFORE 2 x DURING 2 x AFTER 

DATA ANALYSIS 

An analysis <strong>of</strong> <strong>the</strong> results from each behaviour mapping session, <strong>the</strong>n triagulated and compared 

against one ano<strong>the</strong>r 

SYNTHESIS & WRITE UP 

Distillation <strong>of</strong> findings into results, discussion and final conclusions 

31

PART FOUR _ 

DATA ANALYSIS 

32

FINDINGS 

This chapter contains <strong>the</strong> findings obtained from <strong>the</strong> designated method <strong>of</strong> research; placecentred 

behaviour mapping. Summaries <strong>of</strong> each session <strong>of</strong> behaviour mapping are presented 

– <strong>the</strong>se sessions were completed before, during, and after <strong>the</strong> VIVID festival. Then each 

session is comparatively presented through <strong>the</strong> triangulation <strong>of</strong> findings. This triangulation 

explores <strong>the</strong> observed behaviour that ‘visual catalysts’ have <strong>the</strong> capacity to stimulate, and 

redirect, attention to different reference points <strong>of</strong> a place both physically and socially. This is 

seen through <strong>the</strong> comparative analysis <strong>of</strong> data which presents observation patterns, duration 

<strong>of</strong> ‘stay’ in place, amount and flow <strong>of</strong> people, and ‘displays <strong>of</strong> affection’ presented in place. 

Following this, <strong>the</strong> findings are <strong>the</strong>n addressed through <strong>the</strong> three established research 

questions: 







This chapter concludes with a summation <strong>of</strong> findings to prelude <strong>the</strong> discussion <strong>of</strong> how <strong>the</strong>se 

findings correspond, and potentially embolden, our understanding <strong>of</strong> <strong>the</strong> role <strong>of</strong> ‘visual 

catalysts’ in people’s attraction and use <strong>of</strong> place. 

SESSION DATA 

The behaviour mapping was separated into three main sessions with two periods <strong>of</strong> fieldwork 

– two periods before <strong>the</strong> VIVID festival, two during, and two after. One period in each session 

included mapping <strong>of</strong> <strong>the</strong> time period from 1:30-2:30PM, whilst <strong>the</strong> o<strong>the</strong>r period <strong>of</strong> each 

session included <strong>the</strong> mapping <strong>of</strong> <strong>the</strong> time period from 6:15-7:15PM. Data collated included <strong>the</strong> 

tallying and note taking <strong>of</strong> gender, number <strong>of</strong> people, grouping <strong>of</strong> people, wea<strong>the</strong>r and on-site 

conditions, speed <strong>of</strong> movement, displays <strong>of</strong> affection, observations and photos taken by <strong>the</strong> 

sample, and any o<strong>the</strong>r behavioural patterns that are determined to be <strong>of</strong> significance during 

<strong>the</strong> behaviour mapping sessions. Each period is presented and compared in parallel with <strong>the</strong> 

o<strong>the</strong>r in <strong>the</strong> same session, which is in turn triangulated with <strong>the</strong> o<strong>the</strong>r sessions to present <strong>the</strong> 

overall findings. 

33

BEFORE VIVID 

The first period <strong>of</strong> behaviour mapping for session one, known as S1 (1), took place on <strong>the</strong> 22nd 

<strong>of</strong> May 2016 from 6:15-7:15PM. On this Sunday evening, a total <strong>of</strong> 153 people were observed 

during this hour with a proportionally even split <strong>of</strong> gender. The second period <strong>of</strong> behaviour 

mapping for session one, known as S1 (2), took place on <strong>the</strong> 25th May 2016 from 1:30-2:30PM. 

On this Tuesday afternoon, a total <strong>of</strong> 176 people were observed during this hour with also a 

proportionally even split <strong>of</strong> gender. 

Approximately 29% <strong>of</strong> people in S1 (1) were determined to have observed some element <strong>of</strong> 

<strong>the</strong>ir environment around <strong>the</strong>m with direct intent; something which is observed for longer 

than a passing glance or brief moment <strong>of</strong> interest. Similarly, 26% <strong>of</strong> people in S1 (2) were 

determined to have observed some element <strong>of</strong> <strong>the</strong>ir environment around <strong>the</strong>m. As shown 

by figure 5.1, <strong>the</strong> most observed landmark/feature <strong>of</strong> both periods was <strong>of</strong> <strong>the</strong> harbour, which 

was determined by people looking out towards <strong>the</strong> water and observing <strong>the</strong> activity <strong>of</strong>, and on, 

<strong>the</strong> harbour. The harbour was observed by 16% <strong>of</strong> people is S1 (1), and 20% <strong>of</strong> people in S1 

(2). This included people observing boats, <strong>the</strong> water itself, as well as <strong>the</strong> lights reflected on <strong>the</strong> 

water during <strong>the</strong> evening period <strong>of</strong> mapping. 

As such, people were most directed to an outward experience <strong>of</strong> place during this session; 

one which saw people less interested in <strong>the</strong>ir immediate, intimate relationship with <strong>the</strong> place, 

but ra<strong>the</strong>r one which saw <strong>the</strong> majority <strong>of</strong> people engaging with landmarks/features that were 

measurably far<strong>the</strong>r away; such as <strong>the</strong> harbour. A diagrammatic plan <strong>of</strong> what landmarks/ 

features were observed for both periods S1 (1) and S1 (2) can be seen by figures 5.3 and 5.4. 

The amount and flow <strong>of</strong> people observed in <strong>the</strong> space during <strong>the</strong>se two periods <strong>of</strong> mapping 

was also comparable in findings. As shown by figure 5.2, <strong>the</strong> main type <strong>of</strong> movement observed 

in this space was walking, and <strong>the</strong> two less common types were running and cycling. Likewise, 

<strong>the</strong> most common speed <strong>of</strong> people who moved through <strong>the</strong> space was classified as fast, 

meaning <strong>the</strong>y were moving through <strong>the</strong> space with intent and at a reasonable pace alike to 

that <strong>of</strong> any o<strong>the</strong>r typical transition space. Whereas some people moved through <strong>the</strong> space at 

a moderate pace, and o<strong>the</strong>rs slowly at a meandering pace stopping frequently and observing 

around <strong>the</strong>m. 

The observed pattern <strong>of</strong> people moving through <strong>the</strong> space at a fast speed is a reflection <strong>of</strong> <strong>the</strong> 

type <strong>of</strong> space it is; one which is predominantly used as a transition space where people move 

through undistracted. This is heightened by <strong>the</strong> physical attributes <strong>of</strong> <strong>the</strong> space - <strong>the</strong>re is no 

place to sit, it is lineal in nature, and has a flat ground plane. This is fur<strong>the</strong>r underscored by <strong>the</strong> 

finding that only 20% <strong>of</strong> people is S1 (1) and 19% <strong>of</strong> people in S2 (2) stopped anywhere in <strong>the</strong> 

place at any point during <strong>the</strong> behaviour mapping. 

34

Figure 5.1 - Most observed landmarks/features for S1 (1) and S1 (2). 

FAST MODERATE SLOW 

Figure 5.2 - Movement type and speed for S1 (1) and S1 (2). Most people walked, and most 

people moved through <strong>the</strong> site at a fast speed. 

35

Figure 5.3 - The observation patterns <strong>of</strong> people 

in <strong>the</strong> designated study area for S1 (1) - before 

<strong>the</strong> VIVID festival. The larger <strong>the</strong> coloured areas 

<strong>the</strong> more people, and <strong>the</strong> brighter <strong>the</strong> colour <strong>the</strong> 

longer amount <strong>of</strong> time people spent observing that 

feature/landmark. 

36


in <strong>the</strong> designated study area for S1 (2) - before 





37

DURING VIVID 

The first period <strong>of</strong> behaviour mapping for session two, known as S2 (1), took place on <strong>the</strong> 12th 

<strong>of</strong> June 2016 from 6:15-7:15PM. This was <strong>the</strong> period when <strong>the</strong> place was observed when <strong>the</strong> 

VIVID festival was active. On this Sunday evening, a total <strong>of</strong> 599 people were observed during 

this hour. The second period <strong>of</strong> behaviour mapping for session two, known as S2 (2), took 

place on <strong>the</strong> 14th <strong>of</strong> June 2016 from 1:30-2:30PM. This was <strong>the</strong> period when VIVID was on, but 

was not active due to <strong>the</strong> time <strong>of</strong> day. On this Tuesday afternoon, a total <strong>of</strong> 185 people were 

observed during this hour. Both periods had a proportionally even split in gender. 

Approximately 55% <strong>of</strong> people in S2 (1) were determined to have observed some element <strong>of</strong> 

<strong>the</strong>ir environment around <strong>the</strong>m with direct intent, with a large proportion observing <strong>the</strong> VIVID 

displays that were contained in <strong>the</strong> site. In contrast, 38% <strong>of</strong> people in S2 (2) were determined 

to have observed some element <strong>of</strong> <strong>the</strong>ir environment around <strong>the</strong>m with direct intent. This 

shows a reasonably significant decrease in <strong>the</strong> number <strong>of</strong> people observing some element 

<strong>of</strong> <strong>the</strong>ir environment around <strong>the</strong>m with direct intent when <strong>the</strong> VIVID festival ceased to be 

active. As shown by figure 5.5, <strong>the</strong> most observed landmark/feature <strong>of</strong> <strong>the</strong> S2 (1) was spread 

reasonably evenly across people observing <strong>the</strong>ir immediate surroundings, <strong>the</strong> Sydney Harbour 

Bridge, <strong>the</strong> Sydney Opera House, and <strong>the</strong> VIVID display on <strong>the</strong> sandstone footing <strong>of</strong> <strong>the</strong> 

bridge known as ‘Eora’. In contrast, <strong>the</strong> least observed landmarks/features were <strong>the</strong> harbour 

and Luna Park. The harbour was only observed by 6% <strong>of</strong> people is S2 (1), yet it was <strong>the</strong> main 

observed landmark/feature <strong>of</strong> S2 (2) with 19% <strong>of</strong> people observing. 

As such, in relation to place for S2 (1), people were most directed to where <strong>the</strong> VIVID displays 

were occurring – being <strong>the</strong> displays <strong>of</strong> ‘Underfoot’ in <strong>the</strong> immediate surroundings, ‘EORA 

– The Land’ on <strong>the</strong> footing <strong>of</strong> <strong>the</strong> bridge, <strong>the</strong> Sydney Opera House in <strong>the</strong> distance, and <strong>the</strong> 

Sydney Harbour Bridge directly above. In contrast, for S2 (2) <strong>the</strong> majority <strong>of</strong> people were 

seen to observe less <strong>of</strong> <strong>the</strong>ir immediate context and conditions <strong>of</strong> <strong>the</strong> space, but ra<strong>the</strong>r more 

people observed somewhere with an outward direction <strong>of</strong> interest; such as <strong>the</strong> harbour. This 

suggests a shift in <strong>the</strong> experience <strong>of</strong> place in terms <strong>of</strong> immediacy; <strong>the</strong> VIVID festival drew in 

more people to a clearly directed experience <strong>of</strong> place through temporary interventions which 

people seek out to observe, whereas on a typical day with typical conditions <strong>the</strong> experience <strong>of</strong> 

place remained consistent with <strong>the</strong> observed behaviours <strong>of</strong> people being more interested in 

observing elements which can be seen from <strong>the</strong> site, not <strong>of</strong> <strong>the</strong> site itself. Two diagrammatic 

plans <strong>of</strong> what landmarks/features were observed for both periods S2 (1) and S2 (2) can be 

seen by figures 5.7 and 5.8 which show this clear distinction. 

The observed pattern <strong>of</strong> more people moving through <strong>the</strong> space at a moderate and slow pace 

in S2 (1) can be linked with <strong>the</strong> change in <strong>the</strong> condition <strong>of</strong> place from <strong>the</strong> normal, as well as <strong>the</strong> 

congested nature <strong>of</strong> <strong>the</strong> exhibition due to substantial pedestrian traffic. This contrast between 

S2 (1) and S2 (2) is fur<strong>the</strong>r underscored by <strong>the</strong> finding that 36% <strong>of</strong> people stopped at any point 

during <strong>the</strong> behaviour mapping, compared to 25% respectively. This is shown by figure 5.6. 

These findings <strong>of</strong> <strong>the</strong> number and speed <strong>of</strong> people during VIVID have <strong>the</strong> potential to alter <strong>the</strong> 

38

experience <strong>of</strong> place quite dramatically. The sheer number <strong>of</strong> people who go to see VIVID has 

<strong>the</strong> potential to change <strong>the</strong> experience <strong>of</strong> place by crowding <strong>the</strong> harbour front. This not only 

can act as a deterrent to look out across <strong>the</strong> harbour through blocking viewpoints, but it also 

can cause people to redirect <strong>the</strong>ir attention to what everyone else is observing – a trend which 

was seen in period S2 (1) which people tended to follow <strong>the</strong> observation behaviours <strong>of</strong> <strong>the</strong> 

people around <strong>the</strong>m. 




people moved through <strong>the</strong> site at a fast speed, although less than <strong>the</strong> o<strong>the</strong>r sessions. 

39


in <strong>the</strong> designated study area for S2 (1) - during 





40

Figure 5.8 - The observation patterns <strong>of</strong> people in <strong>the</strong> 

designated study area for S2 (2) - during <strong>the</strong> VIVID 

festival (but not active). The larger <strong>the</strong> coloured areas 

<strong>the</strong> more people, and <strong>the</strong> brighter <strong>the</strong> colour <strong>the</strong> longer 

amount <strong>of</strong> time people spent observing that feature/ 

landmark. 

41

AFTER VIVID 

The first period <strong>of</strong> behaviour mapping for session three, known as S3 (1), took place on <strong>the</strong> 

17th <strong>of</strong> July 2016 from 6:15-7:15PM. On this Sunday evening, a total <strong>of</strong> 173 people were 

observed during this hour. The second period <strong>of</strong> behaviour mapping for session three, known 

as S3 (2), took place on <strong>the</strong> 19th <strong>of</strong> July 2016 from 1:30-2:30PM. On this Tuesday afternoon, a 

total <strong>of</strong> 215 people were observed during this hour. There was a proportionally even split <strong>of</strong> 

gender in both observed periods <strong>of</strong> behaviour mapping. 

Approximately 29% <strong>of</strong> people in S3 (1) and 36% <strong>of</strong> people in S3 (2) were determined to have 

observed some element <strong>of</strong> <strong>the</strong>ir environment around <strong>the</strong>m with direct intent. As shown by 

figure 5.9, <strong>the</strong> most observed landmark/feature <strong>of</strong> both periods was <strong>of</strong> <strong>the</strong> harbour. The 

harbour was observed by 19% <strong>of</strong> people is S3 (1), and 16% <strong>of</strong> people in S3 (2). In relation 

to place, people were had similar observation patterns to that seen before <strong>the</strong> VIVID 

festival was active. People were more interested in looking at things which were not in <strong>the</strong>ir 

immediate place, but were ra<strong>the</strong>r interested in <strong>the</strong> typical landmarks and icons that Sydney is 

synonymous for; being <strong>the</strong> Opera House, <strong>the</strong> Sydney Harbour Bridge and <strong>the</strong> harbour itself. A 

diagrammatic plan <strong>of</strong> what landmarks/features were observed for both periods S3 (1) and S3 

(2) can be seen by figures 5.11 and 5.12 on <strong>the</strong> following spread. 

The amount and flow <strong>of</strong> people observed was also similar between <strong>the</strong> two periods <strong>of</strong> 

behaviour mapping. As shown by figure 5.10, <strong>the</strong> main type <strong>of</strong> movement observed in this 

space was walking, and <strong>the</strong> two less common types were running and cycling. Likewise, <strong>the</strong> 

most common speed <strong>of</strong> people who moved through <strong>the</strong> space was classified as fast. 

These observations were similar to those observed before <strong>the</strong> VIVID festival was active, and 

suggest <strong>the</strong> experience <strong>of</strong> place in terms <strong>of</strong> <strong>the</strong> number and flow <strong>of</strong> people returned to what it 

was like prior to <strong>the</strong> ‘visual catalysts’. This is fur<strong>the</strong>r underscored by <strong>the</strong> finding that only 23% 

and 29% respectively stopped at any point during <strong>the</strong> behaviour mapping <strong>of</strong> S3 (1) and S3 (2); 

similar findings to those seen prior to <strong>the</strong> VIVID installation. 

42




people moved through <strong>the</strong> site at a fast speed. 

43


in <strong>the</strong> designated study area for S3 (1) - after <strong>the</strong> 

VIVID festival. The larger <strong>the</strong> coloured areas <strong>the</strong> 

more people, and <strong>the</strong> brighter <strong>the</strong> colour <strong>the</strong> 



44

Figure 5.12 - The observation patterns <strong>of</strong> people in <strong>the</strong> 

designated study area for S3 (2) - after <strong>the</strong> VIVID festival. 

The larger <strong>the</strong> coloured areas <strong>the</strong> more people, and <strong>the</strong> 

birhgter <strong>the</strong> colour <strong>the</strong> longer amount <strong>of</strong> time people 

spent observing that feature/landmark. 

45

DATA TRIANGULATION 

The core finding is that ‘visual catalysts’ have <strong>the</strong> capacity to influence, and redirect, <strong>the</strong> 

attention and use <strong>of</strong> place to different reference points <strong>of</strong> interest. This can be concluded 

through <strong>the</strong> collective analysis <strong>of</strong> <strong>the</strong> sessions in terms <strong>of</strong> <strong>the</strong> observation patterns, duration <strong>of</strong> 

‘stay’ in place, amount and flow <strong>of</strong> people, and ‘displays <strong>of</strong> affection’ presented in place. These 

findings also suggest that <strong>the</strong>re is some potential for <strong>the</strong> experience <strong>of</strong> place to ‘linger’ beyond 

<strong>the</strong> conclusion <strong>of</strong> <strong>the</strong> ‘visual catalysts’, however conclusive evidence <strong>of</strong> this is not presented as 

fur<strong>the</strong>r discussion <strong>of</strong> this notion is needed in parallel with <strong>the</strong> existing literature. Fur<strong>the</strong>rmore, 

<strong>the</strong> findings also suggest that an attachment to place is possible to be catalysed and cultivated 

as a result <strong>of</strong> <strong>the</strong> VIVID festival and <strong>the</strong> interventions; many <strong>of</strong> <strong>the</strong> findings that have been 

presented have a strong overlap with that <strong>of</strong> <strong>the</strong> attributes needed to establish an attachment 

to place (such as <strong>the</strong> formation <strong>of</strong> memories, <strong>the</strong> increased duration <strong>of</strong> time spent in place, 

and <strong>the</strong> increase <strong>of</strong> affectionate displays). The first data that has been triangulated to present 

<strong>the</strong> notion that <strong>the</strong> experience <strong>of</strong> place is influenced is <strong>the</strong> patterns <strong>of</strong> what people observed. 

PATTERNS OF OBSERVATIONS 

As presented in <strong>the</strong> session breakdown <strong>of</strong> findings, <strong>the</strong> observation patterns show <strong>the</strong>re is 

a significant contrast in <strong>the</strong> percentage <strong>of</strong> people who observed something, and what <strong>the</strong>y 

observed, during <strong>the</strong> periods before and after VIVID compared to when <strong>the</strong> festival was 

occurring. During <strong>the</strong> period where VIVID was active in <strong>the</strong> space, <strong>the</strong>re was a significant 

rise in <strong>the</strong> number <strong>of</strong> people who observed something – over half <strong>the</strong> sample as shown by 

figure 5.13. This can likely be attributed to <strong>the</strong> fundamental basis <strong>of</strong> VIVID being a festival 

which centres around <strong>the</strong> concept <strong>of</strong> visual appeal. It aims to attract people towards certain 

reference points <strong>of</strong> a place through <strong>the</strong> use <strong>of</strong> light and illumination. People come to VIVID 

with <strong>the</strong> expectation to observe, and as such are likely to seek out things to observe. 

The increase in <strong>the</strong> number <strong>of</strong> people who observed something during <strong>the</strong> VIVID festival is also 

likely due to <strong>the</strong>re being a change in <strong>the</strong> normal conditions <strong>of</strong> a place, causing people to take 

more time to observe <strong>the</strong> form and reconditioned elements <strong>of</strong> place. This has ramifications 

for people’s experience <strong>of</strong> place in terms <strong>of</strong> <strong>the</strong> festival shifting <strong>the</strong> focus <strong>of</strong> <strong>the</strong> purpose <strong>of</strong> <strong>the</strong> 

space from one which is predominantly about movement, to one <strong>of</strong> passive observation. 

However, it is important to note that under half <strong>of</strong> <strong>the</strong> sample did not do any form <strong>of</strong> 

observation whilst moving through <strong>the</strong> space during <strong>the</strong> VIVID festival. This suggests that even 

acts <strong>of</strong> creative placemaking are limited in <strong>the</strong>ir ability to change <strong>the</strong> understood experience 

<strong>of</strong> a place. This statistic could also have been exacerbated due to part <strong>of</strong> <strong>the</strong> space being 

barricaded by fencing and <strong>the</strong> prevalence <strong>of</strong> security; two features which have <strong>the</strong> capacity to 

cause people to move faster and take less time to observe <strong>the</strong>ir environment around <strong>the</strong>m. 

This statistic may not represent <strong>the</strong> normal findings <strong>of</strong> o<strong>the</strong>r spaces found in Sydney where 

VIVID exhibitions were being held. 

46

In addition to <strong>the</strong>re being an increase in <strong>the</strong> number <strong>of</strong> people who observed something 

in <strong>the</strong> space, <strong>the</strong>re was also a shift in what landmarks/features were observed as shown 

by figures 5.14 and 5.15 on <strong>the</strong> following spread. Figure 5.15 shows that during <strong>the</strong> before 

and after sessions people were primarily observing <strong>the</strong> harbour, <strong>the</strong> Opera House and <strong>the</strong> 

Sydney Harbour Bridge. These three features are arguably <strong>the</strong> core characteristic <strong>of</strong> Sydney, 

which suggest <strong>the</strong> experience <strong>of</strong> place in very much dependant on <strong>the</strong> viewpoints <strong>the</strong> place 

has. It creates <strong>the</strong> experience <strong>of</strong> a place which is not immediate, but ra<strong>the</strong>r outward looking. 

However, during VIVID, as shown by <strong>the</strong> ight aqua glowing areas, <strong>the</strong> outward observing 

patterns <strong>of</strong> people reversed and became more inward looking as <strong>the</strong> attention <strong>of</strong> people 

shifted to small scale, illuminated displays in <strong>the</strong>ir direct proximity. As such, a greater spread <strong>of</strong> 

observations was seen across all landmarks and environmental features. 

S1 (1) - Before VIVID 


S2 (1) - During VIVID (whilst active) 

S2 (2) - During VIVID 

S3 (1) - After VIVID 


Figure 5.13 - Amount <strong>of</strong> people who observed a landmark or feature <strong>of</strong> each behaviour 

mapping session. During VIVID <strong>the</strong>re were more people who observed something than any 

o<strong>the</strong>r session. 

47

S1 (1) S1 (2) S2 (1) - During VIVID 

S2 (2) S3 (1) S3 (2) 

Figure 5.14 - All <strong>the</strong> behvaiour mapping sessions side by side. 

48

Figure 5.15 - The observation patterns <strong>of</strong> people in 

<strong>the</strong> designated study area for all sessions <strong>of</strong> behaviour 

mapping. The coloured areas represent all sesisons 

that were observed, and <strong>the</strong> light aqua glow represent 

<strong>the</strong> most significant points <strong>of</strong> interest during <strong>the</strong> VIVID 

festival. 

49

NUMBER AND FLOW OF PEOPLE 

Ano<strong>the</strong>r factor which increased in <strong>the</strong> designated space during <strong>the</strong> VIVID festival was <strong>the</strong> 

number <strong>of</strong> people that were observed in, or moving through, <strong>the</strong> space. During <strong>the</strong> periods 

before and after VIVID, a range <strong>of</strong> 153 to 215 people were counted in <strong>the</strong> space. During <strong>the</strong> 

VIVID festival, <strong>the</strong>re was 599 people; more than double <strong>the</strong> amount <strong>of</strong> any period that was 

recorded o<strong>the</strong>rwise. A comparative analysis <strong>of</strong> this data is shown by figure 5.16. This suggests 

that <strong>the</strong> shift in <strong>the</strong> use <strong>of</strong> a place has <strong>the</strong> ability to cause a swelling <strong>of</strong> people who engage 

with <strong>the</strong> place through sheer curiosity and interest. This is particularly exacerbated in <strong>the</strong> 

case <strong>of</strong> this study, as <strong>the</strong> VIVID festival is an internationally marketed, premiere event that 

Sydney runs every year. This alters <strong>the</strong> experience <strong>of</strong> place quite dramatically in terms <strong>of</strong> how 

<strong>the</strong> behaviours <strong>of</strong> people change, as discussed fur<strong>the</strong>r in parallel with <strong>the</strong> literature in <strong>the</strong> 

following chapter. 

The percentage <strong>of</strong> people that moved through <strong>the</strong> space slowly during <strong>the</strong> VIVID festival was 

also larger in proportion compared to when it was not active. During VIVID, <strong>the</strong> percentage 

<strong>of</strong> people that moved through <strong>the</strong> space slowly was 27%; <strong>the</strong> highest amongst all <strong>the</strong> periods 

<strong>of</strong> mapping. This, in part, is due to <strong>the</strong> congested nature <strong>of</strong> <strong>the</strong> event causing people to get 

stuck behind o<strong>the</strong>rs. However, it is also likely a direct link to <strong>the</strong> purpose <strong>of</strong> <strong>the</strong> festival, one 

which aims for people to stop, engage and observe with <strong>the</strong> environment around <strong>the</strong>m. The 

implications for this in terms <strong>of</strong> <strong>the</strong> attraction, use and attachment to place is discussed 

fur<strong>the</strong>r in <strong>the</strong> following chapter alongside <strong>the</strong> understood literature. 

DURATION OF 'STAY' IN PLACE 

During <strong>the</strong> period when <strong>the</strong> VIVID festival was active, <strong>the</strong> amount <strong>of</strong> time spent by each 

individual or group in <strong>the</strong> space increased. During <strong>the</strong> period which <strong>the</strong> VIVID festival was 

active, 36% <strong>of</strong> people stopped at any point in time in <strong>the</strong> space. This compared to <strong>the</strong> o<strong>the</strong>r 

sessions is dramatically higher, as shown by figure 5.17. This is a reflection again <strong>of</strong> <strong>the</strong> intent 

<strong>of</strong> <strong>the</strong> festival; it is something which aims to get people to stop and be engaged with a place 

and ideas. There was slightly more people who stopped in <strong>the</strong> space after <strong>the</strong> VIVID festival 

compared to those before <strong>the</strong> VIVID festival. This may potentially be a result <strong>of</strong> <strong>the</strong> lingering 

effects on <strong>the</strong> festival that cause people to stay more in a place as a result <strong>of</strong> <strong>the</strong>ir positive 

experience <strong>the</strong>y had during <strong>the</strong> activity <strong>of</strong> <strong>the</strong> festival, however future research is needed to be 

able to determine <strong>the</strong> validity <strong>of</strong> this notion. It is also likely that this trend is apparent due to 

<strong>the</strong> increase in warmer wea<strong>the</strong>r as it gets closer to <strong>the</strong> warmer seasons. 

There is significance <strong>of</strong> <strong>the</strong> amount <strong>of</strong> time a person stays in a place in relation to <strong>the</strong>ir 

attraction to place. It is directly related to how much someone personally ‘invests’ into a place; 

<strong>the</strong> longer someone is in a place, generally <strong>the</strong> more vivid <strong>the</strong> memory and interest <strong>of</strong> place 

(Stedman 2003). Additionally, as <strong>the</strong> VIVID festival causes people to spend more time in place 

a consequential effect can be <strong>the</strong> building <strong>of</strong> an attachment to a place as described fur<strong>the</strong>r is 

<strong>the</strong> discussion chapter. 

50

153 

176 

599 

173 

185 

215 







Figure 5.16 - Number <strong>of</strong> people from each session who passed through <strong>the</strong> site. 

37% 

S1 (1) S1 (2) S2 (1) S2 (2) S3 (1) S3 (2) 

Figure 5.17 - Number <strong>of</strong> people from each session who stopped in <strong>the</strong> site. 

51

DISPLAYS OF AFFECTIONS 

Similarly, ‘displays <strong>of</strong> affection’ (such as holding hands, kissing, hugging, having one’s arm 

around ano<strong>the</strong>r waist/shoulder) saw a peak during <strong>the</strong> period <strong>of</strong> mapping when VIVID was 

active, as well as a period <strong>of</strong> higher levels following <strong>the</strong> conclusion <strong>of</strong> <strong>the</strong> exhibition as shown 

by figure 5.18. This is significant in relation to establishing an attachment to place; displays <strong>of</strong> 

affection generally lead to <strong>the</strong> retention <strong>of</strong> memories <strong>of</strong> a specific place and moment in time 

which can lead to a great relation to <strong>the</strong> place in which that interaction has occurred. This can 

also change <strong>the</strong> experience <strong>of</strong> place by creating a more social and hospitable atmosphere by 

changing <strong>the</strong> typical social behaviours in a space. 



16% 





Figure 5.18 - Number <strong>of</strong> displays <strong>of</strong> affection from each session. 

52

FINDINGS SIGNIFICANCE FOR RESEARCH QUESTIONS 



The findings show that ‘visual catalysts’ have <strong>the</strong> potential to influence people’s attraction 

and use <strong>of</strong> place, and in <strong>the</strong> case <strong>of</strong> this study it has <strong>the</strong> potential to fundamentally transform 

<strong>the</strong> experience <strong>of</strong> a place. The place observed in <strong>the</strong> study transformed from one which was 

primarily a transitional zone (one where people moved through to reach a certain destination) 

to one which became a destination itself. It also transformed <strong>the</strong> interest <strong>of</strong> place in a social 

context; <strong>the</strong> behaviours <strong>of</strong> people were influenced by <strong>the</strong> VIVID festival itself, which in turn 

influences <strong>the</strong> attraction and use <strong>of</strong> place. 

The findings present <strong>the</strong> attraction and use <strong>of</strong> place changing in two ways: physically and 

socially. The ‘visual catalysts’ <strong>of</strong> <strong>the</strong> observed case studies for <strong>the</strong> VIVID festival presented an 

opportunity for people to shift how <strong>the</strong>y use a space. The purpose <strong>of</strong> VIVID is to engage people 

with ideas and places through illumination by establishing a range <strong>of</strong> different interventions 

around Sydney. As such, <strong>the</strong>se interventions change <strong>the</strong> form <strong>of</strong> a space, and thus change 

<strong>the</strong> function. During VIVID, <strong>the</strong>re were more people that observed around <strong>the</strong>m due to <strong>the</strong> 

attraction and appeal <strong>of</strong> <strong>the</strong> interventions; this led to <strong>the</strong> experience <strong>of</strong> place becoming much 

more centred on <strong>the</strong> experience <strong>of</strong> <strong>the</strong> user at a human scale. Before <strong>the</strong> intervention, <strong>the</strong> 

site acts as a space to move to and from, and it dominated by large architecture and vehicular 

traffic. Through <strong>the</strong> artistic creations and interventions <strong>of</strong> <strong>the</strong> human scale ‘visual catalysts’ this 

redefined <strong>the</strong> space to become one at a more intimate, manageable scale. Hence, this is also 

likely one <strong>of</strong> <strong>the</strong> reasons why people were less interested in <strong>the</strong> outlook and viewpoints <strong>of</strong> <strong>the</strong> 

place across <strong>the</strong> harbour as <strong>the</strong>y initially were before <strong>the</strong> placemaking intervention as <strong>the</strong>y can 

relate to <strong>the</strong> experience <strong>of</strong> place at a greater human level. 

In a social context, <strong>the</strong> attraction and use <strong>of</strong> place also was influenced in a transformative way; 

predominantly due to <strong>the</strong> number and behaviours <strong>of</strong> people when in a crowd. As discussed, 

VIVID is an event where people travel from all parts <strong>of</strong> <strong>the</strong> world to see it. It has millions <strong>of</strong> 

people that attend annually, and has grown in popularity and scope substantially in recent 

years. This aura and reputation brings with it a sense <strong>of</strong> behaviour that is expected when one 

goes to see VIVID, and this was seen in <strong>the</strong> findings. People during <strong>the</strong> VIVID event were more 

likely to behave as a cohort <strong>of</strong> people, a reflection <strong>of</strong> <strong>the</strong> expected social norms <strong>of</strong> being in a 

crowd, and were more likely to be more engaged with <strong>the</strong> space as <strong>the</strong>y were expecting to 

observe and see things prior to <strong>the</strong>ir arrival. 

Additionally, <strong>the</strong> function <strong>of</strong> a crowd changing <strong>the</strong> experience <strong>of</strong> place was also a substantial 

finding <strong>of</strong> this research. The number <strong>of</strong> people in <strong>the</strong> space was dramatically higher during <strong>the</strong> 

VIVID festival than any o<strong>the</strong>r time period observed, and this changes <strong>the</strong> dynamic <strong>of</strong> <strong>the</strong> space. 

People had to move slower, had more time to take in <strong>the</strong>ir surroundings, and generally had to 

53

follow <strong>the</strong> social expectations that being in a crowded space produces. This lead to two main 

changes in <strong>the</strong> experience <strong>of</strong> place; it became more intimate, whilst it also became a shared 

experience. People revelled toge<strong>the</strong>r in <strong>the</strong> increased attraction and use <strong>of</strong> <strong>the</strong> place. 



The finding show that <strong>the</strong>re is not a strong sustained interest in <strong>the</strong> location <strong>of</strong> <strong>the</strong> ‘visual 

catalyst’ after <strong>the</strong> intervention has concluded. However, <strong>the</strong> findings do show that it potentially 

can leave a ‘lingering’ effect <strong>of</strong> certain attributes which remain. Particularly, <strong>the</strong> findings present 

some insightful findings about <strong>the</strong> variation and consistencies in <strong>the</strong> patterns <strong>of</strong> behaviour 

observed during and after <strong>the</strong> festival, yet for <strong>the</strong> most part <strong>the</strong> experience <strong>of</strong> place is changed 

back to what it was like prior to <strong>the</strong> creative placemaking interventions. 

The majority <strong>of</strong> attributes <strong>of</strong> <strong>the</strong> attraction and use <strong>of</strong> place reverted back to pre-VIVID festival 

patterns – such as what particular landmarks and features people were observing, how <strong>the</strong>y 

moved through <strong>the</strong> space, and what <strong>the</strong>y chose to engage with when in <strong>the</strong> space. This in turn 

changed back <strong>the</strong> interest <strong>of</strong> place accordingly to what it was like prior to <strong>the</strong> VIVID festival; 

one which was dominated as being a thoroughfare with little interaction or interest <strong>of</strong> <strong>the</strong> 

immediate lace. This is noted as <strong>the</strong> number <strong>of</strong> people that came to <strong>the</strong> space, <strong>the</strong> behaviours 

and actions <strong>the</strong>y undertook, and <strong>the</strong> overall conditioned elements <strong>of</strong> <strong>the</strong> space had reverted 

back to what <strong>the</strong>y were like prior to <strong>the</strong> VIVID temporary place-based interventions were being 

exhibited. As such, this suggests that whatever interest <strong>of</strong> place that occurred in <strong>the</strong> period 

when VIVID was active may be mostly transient, and is difficult to allow for a sustained interest 

to occur beyond <strong>the</strong> conclusion <strong>of</strong> temporary place-based interventions. 

However, <strong>the</strong>re was also a slight increase in <strong>the</strong> number <strong>of</strong> people who observed, showed 

signs <strong>of</strong> affection and spent time in <strong>the</strong> place after <strong>the</strong> festival compared to before it occurred. 

This finding suggests that <strong>the</strong>re may be some residual enduring effects <strong>of</strong> <strong>the</strong> interest that 

occur in that space which can conjure positive affiliations with place. 

However, whe<strong>the</strong>r <strong>the</strong>se are a consequential effect <strong>of</strong> <strong>the</strong> VIVID festival is difficult to determine 

as it may be a result <strong>of</strong> <strong>the</strong> transition from cooler months to hotter ones, as well as o<strong>the</strong>r 

various external factors that were seen to occur in <strong>the</strong> site such as <strong>the</strong> prevalence <strong>of</strong> security 

and barricades. 

Although <strong>the</strong> interventions may not have created a substantial change in interest <strong>of</strong> <strong>the</strong> 

location <strong>of</strong> <strong>the</strong> ‘visual catalysts’ <strong>the</strong>y were in, it is possible that <strong>the</strong> VIVID festival on a broader 

scale could have changed <strong>the</strong> interest <strong>of</strong> Sydney with long term consequences. To explore this 

more, a discussion with <strong>the</strong> existing literature is in <strong>the</strong> following chapter. 

54



The influence <strong>of</strong> ‘visual catalysts’ have over <strong>the</strong> attraction and use <strong>of</strong> place can be substantial 

as outlined in <strong>the</strong> previous two research question discussions. The influence it has over 

<strong>the</strong> physical and social attributes <strong>of</strong> a place can also potentially ignite place attachment to 

underutilised public places, as many <strong>of</strong> <strong>the</strong> features that increased during <strong>the</strong> festival, such 

as <strong>the</strong> number <strong>of</strong> people, displays <strong>of</strong> affections, and overall interest levels, can be a strong 

precursor and building block for a positive relationship for people with place. 

As seen in this study, <strong>the</strong> experience <strong>of</strong> place became more centred on <strong>the</strong> user; something 

which creates a more affable and positive relationship with <strong>the</strong> user. The interest <strong>of</strong> what parts 

<strong>of</strong> place altered, and became more intimate <strong>of</strong> an experience with <strong>the</strong> direct human scale. 

This close interaction with place can act as a precursor to a formed attachment. People during 

<strong>the</strong> VIVID exhibition were also shown to be more affection, which is also a direct precursor to 

potentially igniting one’s attachment to place. Displays <strong>of</strong> affection, such as kissing, can create 

a lasting memory <strong>of</strong> place which can lead to positive recollections and affiliations as discussed 

fur<strong>the</strong>r in <strong>the</strong> following chapter. 

People were also found to be in more groups, and engaged with <strong>the</strong> place more readily and 

heartily. The role <strong>of</strong> crowds and being in groups lead to <strong>the</strong> observation <strong>of</strong> people being 

more sociable and interest in one ano<strong>the</strong>r, as well as <strong>the</strong>ir place around <strong>the</strong>m. People were 

observed to not have earphones on as much during <strong>the</strong> VIVID festival, which can be a barrier 

to creating a sense <strong>of</strong> place as one is detached from <strong>the</strong> direct experience. Hence, it is likely 

that people were going to ignite an attachment to place more prominently during <strong>the</strong> festival, 

ra<strong>the</strong>r than when it was not active. 

All <strong>the</strong>se attributes can potentially lead to <strong>the</strong> establishment <strong>of</strong> a greater attachment to place, 

however acts <strong>of</strong> creative placemaking are more likely to be building block towards greater 

attachment to place, such as <strong>the</strong> VIVID festival provided <strong>the</strong> opportunity for more memories to 

be made, and for more personal investment to be established about <strong>the</strong> place. 

CONCLUSION 

The findings presented in this chapter underline <strong>the</strong> core <strong>the</strong>me <strong>of</strong> ‘visual catalysts’ having 

<strong>the</strong> capacity to influence <strong>the</strong> attraction and use <strong>of</strong> place in a transformative manner for both 

people and place. ‘Visual catalysts’ can redirect people’s attention to <strong>the</strong>ir encompassing 

reference points, and created a more receptive place at <strong>the</strong> human scale. Additionally, this has 

<strong>the</strong> potential to lay <strong>the</strong> foundations for attachment to place to grow from. The implications 

<strong>of</strong> <strong>the</strong>se statements in terms <strong>of</strong> people’s experience and attachment to place is fur<strong>the</strong>r 

considered in <strong>the</strong> following chapter, <strong>the</strong> discussion. 

55

PART FIVE _ 

DISCUSSION AND CONCLUSION 

56

DISCUSSION 

This chapter contains <strong>the</strong> discussion <strong>of</strong> <strong>the</strong> three aims. Each aim is addressed separately and 

discussed in relation to <strong>the</strong> literature and findings <strong>of</strong> this study. 

AIM 1 DISCUSSION 

1 To understand if creative placemaking interventions, such as ‘visual catalysts’, make 

places more attractive to people and increases <strong>the</strong> use <strong>of</strong> underutilised public places 

As presented in <strong>the</strong> findings, it is apparent that ‘visual catalysts’ can have a pr<strong>of</strong>ound influence 

on a person’s attraction and use <strong>of</strong> place; particularly for underutilised public places . Similar 

to <strong>the</strong> nature <strong>of</strong> creative placemaking as described by Moran et al. (2014), ‘visual catalysts’ 

can fundamentally change <strong>the</strong> physical and social experience <strong>of</strong> a place in a transformative 

manner. In a social context, <strong>the</strong>y can transform <strong>the</strong> amount and behaviours <strong>of</strong> people. In a 

physical context, <strong>the</strong>y can transform <strong>the</strong> function, narrative and hierarchy <strong>of</strong> a place. In this 

study, <strong>the</strong>se transformations have meant <strong>the</strong> experience <strong>of</strong> place has shifted from one being 

<strong>of</strong> a transitional, outward looking space to one conducive <strong>of</strong> a more intimate, sociable and 

culturally prosperous experience <strong>of</strong> place. However, <strong>the</strong> extent and nature <strong>of</strong> <strong>the</strong> ability for 

‘visual catalysts’ to transform <strong>the</strong> experience <strong>of</strong> place should be understood as being variable; 

as this form <strong>of</strong> temporary place-based intervention is diverse in intent and performance. 

PHYSICAL: FUNCTION, NARRATIVE & HIERARCHY OF PLACE 

‘Visual catalysts’ can influence <strong>the</strong> attraction and use <strong>of</strong> a place through redefining <strong>the</strong> function 

and narrative to centre on two <strong>the</strong>mes – to observe and engage with place and ideas (Lydon & 

Garcia 2015). In <strong>the</strong> case <strong>of</strong> this study, <strong>the</strong> function and narrative <strong>of</strong> <strong>the</strong> interventions aligned 

with <strong>the</strong>se two <strong>the</strong>mes – it changed <strong>the</strong> place from one <strong>of</strong> an outward looking, expansive 

spatial experience to one <strong>of</strong> intimacy, immediacy and inward attraction centred on <strong>the</strong> activity 

<strong>of</strong> <strong>the</strong> ‘visual catalysts’. It is also likely that due to <strong>the</strong> reputation and sheer scale <strong>of</strong> <strong>the</strong> VIVID 

festival that this notion is heightened in intensity and scale. 

Whyte (1980) observes this simple rule – where <strong>the</strong>re are places to sit, people will sit. Similarly, 

in <strong>the</strong> findings <strong>of</strong> this study – where <strong>the</strong>re are places to engage, people will engage. ‘Visual 

catalysts’ provide an opportunity through <strong>the</strong> use <strong>of</strong> graphic appeal, illumination and artistic 

manifestations to achieve this. Through this, <strong>the</strong> function <strong>of</strong> place, as found in this study, 

becomes much more central to <strong>the</strong> user – <strong>the</strong> experience <strong>of</strong> <strong>the</strong> person becomes one <strong>of</strong> 

<strong>the</strong> defining factors <strong>of</strong> that place (Wyck<strong>of</strong>f 2015). As a result, this transforms <strong>the</strong> experience 

<strong>of</strong> place through humanising it; a transformation which is exacerbated in underutilised and 

inhospitable places such as <strong>the</strong> one observed in this study (Desimini 2015). 

57

‘Visual catalysts’ also shift and highlight <strong>the</strong> narrative and physical hierarchy <strong>of</strong> <strong>the</strong> place – one 

where <strong>the</strong> interventions can ei<strong>the</strong>r become <strong>the</strong> dominant experience <strong>of</strong> <strong>the</strong> place, and/or one 

where <strong>the</strong> intervention can imbue a stronger experience <strong>of</strong> place (Lydon & Garcia 2015). In 

<strong>the</strong> case <strong>of</strong> this study, both statements are accurate. The two main ‘visual catalysts’ studied 

imbued a focused experience <strong>of</strong> place through illuminating <strong>the</strong> physical conditions <strong>of</strong> <strong>the</strong> 

space, and illuminating <strong>the</strong> cultural significance <strong>of</strong> <strong>the</strong> place as described in <strong>the</strong> findings – one 

which cannot be told through <strong>the</strong> site’s normal conditions as poignantly (Brunnberg & Frigo 

2012). 

Likewise, <strong>the</strong> experience <strong>of</strong> place has <strong>the</strong> possibility to be changed on a larger scope – such as 

observed in <strong>the</strong> study. One <strong>of</strong> <strong>the</strong> interventions centred around <strong>the</strong> re-engagement <strong>of</strong> a place 

alongside a cultural narrative. It was one which exhibited <strong>the</strong> Eora Aboriginal people and <strong>the</strong>ir 

deep spiritual and cultural connections with <strong>the</strong> land through visual projections (Destination 

NSW b 2016). This changed <strong>the</strong> immediate experience <strong>of</strong> a place, yet through telling a story 

<strong>of</strong> <strong>the</strong> place it also had <strong>the</strong> ability to have broader impacts in terms <strong>of</strong> how people understand 

<strong>the</strong> importance and history <strong>of</strong> that place. As such, it is significant to understand when looking 

at <strong>the</strong> experience <strong>of</strong> place being influenced by ‘visual catalysts’ to understand that broader 

reaching concepts <strong>of</strong> place can also be influenced prominently (Moran et al. 2014). 

SOCIAL: QUANTITY & BEHAVIOUR OF PEOPLE 

Agnew (2011) discusses <strong>the</strong> notion that events transform not only places but people, not only 

physical space but also social space. As seen in this study, that statement holds significant 

truth. During <strong>the</strong> time a temporary place-based intervention is active, <strong>the</strong> attraction and use <strong>of</strong> 

place is prominently influenced by <strong>the</strong> number, and <strong>the</strong>refore behaviour, <strong>of</strong> people it attracts. 

Crowds <strong>of</strong> people inherently changes <strong>the</strong> consistent social behaviours and actions <strong>of</strong> people in 

any given space (Gehl 2006). As observed by Whyte (1980), people attract people, but people 

also tend to do what o<strong>the</strong>r people do. This is significant in <strong>the</strong> sense <strong>of</strong> being in a crowd - <strong>the</strong> 

experience <strong>of</strong> place becomes one which is more holistic and dependant on <strong>the</strong> behaviours <strong>of</strong> 

o<strong>the</strong>rs. Likewise, <strong>the</strong> accepted place scripts are followed more readily which leads to a more 

consistent and predictable use <strong>of</strong> place (Donald & Carter 1994). 

This notion is aligned with <strong>the</strong> behaviours observed during this study – <strong>the</strong>re was a marked 

change in <strong>the</strong> observed behaviours and social structure <strong>of</strong> <strong>the</strong> place before and after <strong>the</strong> 

intervention compared to when it was active. Whilst active, <strong>the</strong> number <strong>of</strong> people who 

occupied that place sharply increased – it became crowded and <strong>the</strong> social structure <strong>of</strong> 

<strong>the</strong> space became dominated by groups <strong>of</strong> people ra<strong>the</strong>r than individuals. Consequently, 

this changes <strong>the</strong> experience <strong>of</strong> place to become one which is less individualistic, and more 

pluralistic – one about groups and <strong>the</strong> experience <strong>of</strong> place and engagement <strong>of</strong> ideas with 

o<strong>the</strong>rs. Likewise, <strong>the</strong> typical behaviours <strong>of</strong> people were more homogenous during <strong>the</strong> event 

as compared to before and after <strong>the</strong> interventions. As such, it is important to note <strong>the</strong> role <strong>of</strong> 

crowds when understanding <strong>the</strong> experience <strong>of</strong> place artists and designers are trying to convey 

and imbue in <strong>the</strong>ir designs. 

58

Additionally, due to <strong>the</strong> interventions being transient and foreign this is something that causes 

intrigue – it causes people to slow down, observe and ultimately spend more time in place 

taking in <strong>the</strong>ir surroundings (Project for Public Spaces 2009). It is ironic to note that by having 

something transient in a space it can act as a mechanism for people to spend more time 

in a place. This means <strong>the</strong> experience <strong>of</strong> place can be more vivid and have greater depth in 

understanding – something which can build across time (Wight 2005). 

It is evident from this study and <strong>the</strong> existing literature that ‘visual catalysts’ certainly have 

<strong>the</strong> ability to influence <strong>the</strong> attraction and use <strong>of</strong> underutilised public places. It is significant 

to note that due to <strong>the</strong> diverse nature <strong>of</strong> ‘visual catalysts’, or creative placemaking for that 

matter, that <strong>the</strong> experience <strong>of</strong> place can be transformed in completely different ways and to 

different degrees <strong>of</strong> success – <strong>of</strong>ten dependant on how <strong>the</strong> noted factors are understood and 

expressed through <strong>the</strong> means <strong>of</strong> observation and engagement. 


2 To understand if any increase in <strong>the</strong> use <strong>of</strong> underutilised places induced by <strong>the</strong> 

temporary intervention is sustained after <strong>the</strong> intervention has concluded 

One <strong>of</strong> <strong>the</strong> most significant gaps in <strong>the</strong> existing literature on creative placemaking is whe<strong>the</strong>r 

<strong>the</strong>se transient forms can have a sustained impact on <strong>the</strong> level <strong>of</strong> interest <strong>of</strong> a place after 

<strong>the</strong> removal, or conclusion, <strong>of</strong> <strong>the</strong> intervention. As described in <strong>the</strong> findings, it was apparent 

that <strong>the</strong> level <strong>of</strong> interest <strong>of</strong> <strong>the</strong> place where <strong>the</strong> temporary place-based interventions were 

active diminished after <strong>the</strong> removal <strong>of</strong> <strong>the</strong>m. People generally reverted back to <strong>the</strong> normal 

behaviours and uses <strong>of</strong> <strong>the</strong> space prior to what <strong>the</strong>y were like before <strong>the</strong> creative placemaking 

interventions. Yet, what can be understood from <strong>the</strong> literature and this study is that <strong>the</strong> 

interest <strong>of</strong> a place being sustaining largely depends on <strong>the</strong> purpose and success <strong>of</strong> <strong>the</strong> ‘visual 

catalyst’ itself. 

Moran et al. (2014) notes, <strong>the</strong> influence from ‘visual catalysts’ on place is one that can be a 

catalysing event that builds an experience across time. This reflects that notion that once 

something happens, generally it is not <strong>the</strong> same again; nothing is inherently temporary. In <strong>the</strong> 

case <strong>of</strong> creative placemaking interventions, it is likely that even after <strong>the</strong> removal <strong>of</strong> <strong>the</strong>m that 

<strong>the</strong>re is a continuum <strong>of</strong> presence and visibility <strong>of</strong> <strong>the</strong> intervention that lives on in <strong>the</strong> minds <strong>of</strong> 

people. However, <strong>the</strong> behaviours and actions that people show in <strong>the</strong> place after <strong>the</strong> creative 

placemaking interventions removal does not necessarily reflect this idea; that although <strong>the</strong>ir 

use has not increased in <strong>the</strong> space, that <strong>the</strong>re are o<strong>the</strong>r inherent qualities that have changed 

as a result <strong>of</strong> experiencing <strong>the</strong> place in a different manner. 

This reflects back to <strong>the</strong> notion <strong>of</strong> ‘visual catalysts’ being a mechanism for long term change 

through short term action; something which inherent in its nature aims to change <strong>the</strong> use <strong>of</strong> 

place more <strong>of</strong>ten than not to be increased and more meaningful (Lydon & Garcia 2015). As 

such, ‘visual catalysts’ have <strong>the</strong> ability to provide a mechanism for long term change, and thus 

59

<strong>the</strong> change <strong>of</strong> use <strong>of</strong> that place, however <strong>the</strong>y are limited in providing a sustaining change to 

<strong>the</strong> use <strong>of</strong> place after <strong>the</strong>ir conclusion unless if <strong>the</strong> aim <strong>of</strong> <strong>the</strong> intervention is to change <strong>the</strong> 

place itself in an enduring way. 

The VIVID festival itself is also unique in <strong>the</strong> sense that it is on a grand scale in terms <strong>of</strong> creative 

placemaking, and this has implications in ano<strong>the</strong>r sense in terms <strong>of</strong> <strong>the</strong> use <strong>of</strong> place. The 

festival started in 2009, and has grown substantially every year. This shows that <strong>the</strong> success 

<strong>of</strong> <strong>the</strong> change <strong>of</strong> <strong>the</strong> use <strong>of</strong> space, and <strong>the</strong> increase in <strong>the</strong> number <strong>of</strong> people using that space, 

through temporary interventions has consequently changed <strong>the</strong> use in a sustained manner 

for Sydney, as now due to <strong>the</strong> events popularity it continues to grow and shape how <strong>the</strong> city is 

experienced every year. This means <strong>the</strong>re is a greater platform for enduring changes <strong>of</strong> place 

to occur, and that <strong>the</strong>re will be an increase in <strong>the</strong> use <strong>of</strong> underutilised public places in Sydney 

which can bring attention to <strong>the</strong>ir significance. 

Additionally, as noted in <strong>the</strong> first aim, <strong>the</strong> experience <strong>of</strong> place during <strong>the</strong> time <strong>of</strong> <strong>the</strong> temporary 

place-based interventions activity became one more conducive to intimacy, sociability and 

cultural prosperity. These factors were short term immediate results reliant on <strong>the</strong> physical 

change to <strong>the</strong> place itself through <strong>the</strong> intervention. Just as Jacobs (1961) found <strong>the</strong> experience 

<strong>of</strong> <strong>the</strong> everyday American city was changing due to <strong>the</strong> shift in how <strong>the</strong>y are planned, <strong>the</strong> 

experience <strong>of</strong> an underutilised space, such as <strong>the</strong> one considered for this study, primarily 

shifted in its use due to <strong>the</strong> physical changes that occurred. Yet, as also observed in <strong>the</strong> 

study and by o<strong>the</strong>r researchers <strong>the</strong>re is potential for <strong>the</strong> increased use <strong>of</strong> space to ‘linger’, 

and potentially result in a progression from something which is purely a change in use and 

attraction to one which is <strong>of</strong> attachment (Smaldone 2006). It may not necessarily maintain a 

physical experience <strong>of</strong> place as observed by this study, but it can imbue a lasting memory <strong>of</strong> 

<strong>the</strong> experience <strong>of</strong> that place which can ‘linger’ when re-established with that place (Stewart). 


3 To understand if creative placemaking interventions could be used to ignite place 

attachment in underutilised public places 

As discussed in <strong>the</strong> previous two aims, <strong>the</strong> experience <strong>of</strong> place can be prominently influenced 

by <strong>the</strong> introduction <strong>of</strong> ‘visual catalysts’. The way <strong>the</strong>se temporary place-based interventions 

impact <strong>the</strong> experience <strong>of</strong> place has a transformative effect on a person’s immediate 

experience <strong>of</strong> place, as well as <strong>the</strong> potential to imbue a ‘lingering’ experience <strong>of</strong> a place. 

Fur<strong>the</strong>rmore, <strong>the</strong>se temporary place-based interventions also have <strong>the</strong> ability to promote 

greater place attachment, as many <strong>of</strong> <strong>the</strong> factors that influence placemaking can also be 

attributed to this concept (Hidalgo & Hernandez 2001). These factors include <strong>the</strong> ability to 

positively reframe an existing relationship with place, <strong>the</strong> cultivation <strong>of</strong> memories, <strong>the</strong> role <strong>of</strong> 

time and temporality in progressing attachment, and <strong>the</strong> ability for personal investment in <strong>the</strong> 

establishment <strong>of</strong> <strong>the</strong> intervention for, and on, <strong>the</strong> place. However, as observed in this study 

and in <strong>the</strong> literature, ‘visual catalysts’ are not likely to be <strong>the</strong> main reason behind someone 

60

procuring an attachment to place (Desimini 2015). However, <strong>the</strong>y can act as a significant 

building block in that process, or be a foundation for greater attachment to occur. 

REFRAMING THE EXISTING RELATIONSHIP OF PLACE 

Whe<strong>the</strong>r ‘visual catalysts’ can promote greater place attachment depends substantially 

on where <strong>the</strong> place is, and what <strong>the</strong> existing experience <strong>of</strong> that place is like before any 

intervention occurs. In <strong>the</strong> case <strong>of</strong> this study, <strong>the</strong> site chosen was one that was inhospitable 

and underutilised – one that was dominated by a main road that runs through <strong>the</strong> site and has 

little features that relate to <strong>the</strong> human form. The ‘visual catalysts’ activated an underutilised 

site and made it more relatable to <strong>the</strong> human form. This, in turn, has made <strong>the</strong> experience 

<strong>of</strong> place more conducive to human centred experiences – something which is essential to 

allow <strong>the</strong> foundation for a positive sense <strong>of</strong> place and attachment to occur (Altman & Low 

1992). On <strong>the</strong> o<strong>the</strong>r hand, where a ‘visual catalyst’ is brought into an already humanised 

space <strong>the</strong>re is also <strong>the</strong> ability for <strong>the</strong> intervention to have a pr<strong>of</strong>ound impact on a person’s 

experience <strong>of</strong> that place, as instead <strong>of</strong> being a foundational event it can act as a building block 

to that establishment <strong>of</strong> attachment as described by Korpela et al. (2009). Yet, it is important 

to note that this catalysed attachment to place may deteriorate following <strong>the</strong> removal <strong>of</strong> <strong>the</strong> 

intervention in <strong>the</strong> place if <strong>the</strong>re is no ‘lingering’ experiences <strong>of</strong> place (Desimini 2015). 

MEMORIES 

‘Visual catalysts’ have <strong>the</strong> ability to create more emotive and sociable interactions – as seen in 

<strong>the</strong> findings <strong>of</strong> this study where people were more affectionate, talkative and likely to be more 

engrossed with <strong>the</strong>ir surroundings. Although all <strong>the</strong>se factors may not be <strong>the</strong> case for all ‘visual 

catalysts’, <strong>the</strong>ir transient nature certainly pertains <strong>the</strong>m to providing poignant and ‘punchy’ 

experiences as described by Kaltenborn and Williams (2002) and Stedman (2006). This, as a 

result, can lead to <strong>the</strong> formation <strong>of</strong> meaningful memories. Memories are a significant factor in 

relation to <strong>the</strong> ability for someone to have an attachment to place (Altman & Low 1992). 

TIME AND TEMPORALITY 

Time and temporality plays a significant role in <strong>the</strong> ability for ‘visual catalysts’ to promote 

greater place attachment. Yet, <strong>the</strong> notion <strong>of</strong> people having a limited amount <strong>of</strong> time in a 

place, such as those which are engaged with temporary place-based interventions, primarily 

promoting attraction ra<strong>the</strong>r than attachment as discussed by Smaldone (2006) is an accurate 

proposition as seen through <strong>the</strong> work <strong>of</strong> this study. However, what fails to be noted is that 

attachment can be cultivated from attraction – a notion which is proposed by Brown and 

Raymond (2007). This is because <strong>the</strong> simple attraction <strong>of</strong> a temporary place-based intervention 

embodies fundamental attributes that influence <strong>the</strong> promotion <strong>of</strong> a person’s attachment to 

place. Through <strong>the</strong>ir transient nature, <strong>the</strong>y can instil poignant memories <strong>of</strong> an experience 

<strong>of</strong> that place – one which is can be treasured just as significantly than that which is not 

61

immediately transient; a reflection <strong>of</strong> our instinctual affliction with loss and <strong>the</strong> desire to 

maintain stability (Altman & Low 1992). 

PERSONAL INVESTMENT 

However, <strong>the</strong>re are limitations <strong>of</strong> ‘visual catalyst’ establishing an attachment between place 

and people in relation to time and temporality. This is not solely because <strong>the</strong> intervention 

is a transient act, but because it is one that is more focused on a product driven result 

ra<strong>the</strong>r than a process driven outcome (Moran et al. 2014). In some o<strong>the</strong>r forms <strong>of</strong> creative 

placemaking <strong>the</strong>re is a holistic community engagement <strong>of</strong> <strong>the</strong> creation <strong>of</strong> a place which leads 

to a much stronger ability to establish one’s attachment to place due to <strong>the</strong> social investment 

put into that place (Marshall & Bishop 2015). The VIVID festival is not one which engages 

<strong>the</strong> community in its establishment - only for <strong>the</strong> experience. This limits ultimately limits its 

ability to form attachment to place, yet it does not exclude it from <strong>the</strong> notion <strong>of</strong> attachment 

being able to occur. As such, an initial attraction to place due to a ‘visual catalyst’ has <strong>the</strong> 

ability to lay <strong>the</strong> foundations for attachment to occur primarily dependant on <strong>the</strong> purpose 

and success <strong>of</strong> <strong>the</strong> temporary place-based intervention.space <strong>the</strong>re is also <strong>the</strong> ability for <strong>the</strong> 

intervention to have a pr<strong>of</strong>ound impact on a person’s experience <strong>of</strong> that place, as instead <strong>of</strong> 

being a foundational event it can act as a building block to that establishment <strong>of</strong> attachment 

as described by Korpela et al. (2009). Yet, it is important to note that this catalysed attachment 

to place may deteriorate following <strong>the</strong> removal <strong>of</strong> <strong>the</strong> intervention in <strong>the</strong> place if <strong>the</strong>re is no 

‘lingering’ experiences <strong>of</strong> place (Desimini 2015). 

RECOMMENDATIONS 

The relationship between creative placemaking and people’s experience <strong>of</strong> place is one 

that requires fur<strong>the</strong>r research. The use <strong>of</strong> a quantitative methodological paradigm for this 

research project was useful in gaining a thorough understanding <strong>of</strong> how people change <strong>the</strong>ir 

behaviours in a place, and how <strong>the</strong> experience <strong>of</strong> place is influenced. This understanding can 

be streng<strong>the</strong>ned through future research with a qualitative methodological paradigm; one 

which examines individuals experience <strong>of</strong> place across <strong>the</strong> lifetime <strong>of</strong> a creative placemaking 

interventions through interviews. This would provide personal insight and a social dimension 

<strong>of</strong> understanding into how <strong>the</strong> experience <strong>of</strong> place can be altered across time. Likewise, 

this could provide fur<strong>the</strong>r insight, and would be a likely next step <strong>of</strong> research, when wanting 

to delve more intently into <strong>the</strong> understanding <strong>of</strong> how <strong>the</strong>se transient forms can potential 

cultivate and catalyse an attachment to place. 

CONCLUSION 

‘Visual catalysts’ have <strong>the</strong> potential to change <strong>the</strong> attraction and use <strong>of</strong> place in a 

transformative manner. They can change both <strong>the</strong> physical and social formation <strong>of</strong> a space. As 

found in this study, <strong>the</strong>y can also have <strong>the</strong> potential to promote greater attachment to place 

62

through <strong>the</strong> ability <strong>of</strong> <strong>the</strong> experience to establish memories and positive affinities with place. 

Creative placemaking is a movement on <strong>the</strong> rise, so by understanding what <strong>the</strong> real social 

and physical outcomes are for our experience and understanding <strong>of</strong> place, we can all be 

more prepared to utilise this phenomenon in more practical, and constructive ways in urban 

planning and design. 

63

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APPENDIX A 

69

NAME __________________________________________________________________ LOCATION ______________________________________________________________________ 

SESSION ___________________________________ DATE _______________________________________ TIME ____________________________________ 

WEATHER 

(temperature, precipitation, 

humidity, light levels, cloud 

coverage, wind, visibility etc.) 

SITE CONDITIONS 

(cleanliness, amount <strong>of</strong> shadow, 

street lights functional, 

maintenance etc.) 

OTHER 

APPENDIX B 

CONCLUDING NOTES 

(to be completed upon conclusion 

<strong>of</strong> session – includes overall 

thoughts, key observations and 

preliminary interpretations) 

70

APPENDIX C 

71

APPENDIX D 

JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC 

PRELIM. RESEARCH + LITERATURE REVIEW UPDATE 1 UPDATE 2 

AIMS, OBJECTIVES & RESEARCH QUESTIONS UPDATE 1 

METHODOLOGY & METHODS 

VIVID 

BEHAVIOURAL MAPPING 

2 x BEFORE 2 x DURING 2 x AFTER 

INCREMENTAL ANALYSIS FINAL DATA ANALYSIS 

PREPERATION AND/OR ASSEMBLY PERIOD 

ACTIVE/IMPLEMENTATION PERIOD 

LITERATURE REVIEW SUBMISSION 

METHODOLOGY & METHODS SUBMISSION 

RESEARCH PROPOSAL SUBMISSION 

CONCLUSION AND FINAL REVIEW 

SYNTHESIS OF FINDGS & WRITE UP OF DISCUSSION 

FINAL SUBMISSION 

72

Exploring the Role of 'Visual Catalysts' on Influencing People's Attraction and Use of Place

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