Site-integrity is a working methodology – a particular but original mode of site-specific practice that potentiates a dynamic exchange between site, artist, device, and community.  Artistic devices articulate the material, architectural, social, religious, institutional discourses present in site acting as an interface, a dynamic network or system of exchange. In site-integrity place is apparatus, in each specific site the recording device operates in a distinctly different manner providing different techniques and outcomes in each site. This methodology offers a collaborative approach to fieldwork, transforming the traditional anthropological ‘subject of research’ into the producer of its own voice. This egalitarian approach to art making encourages reflexive conversations that avoid reductive ethnographic portraits of ‘subjects’ and fixed representation.

The personal, aesthetic, and everyday cultures of place and community are often museumized, subjected to the disciplinary gaze of Western art historians and anthropologists. Site-integrity repositions this act of representation from its retrospective or projective dimensions towards that which is experiential and encountered within the context of the place and its people. Taking a non-representational position (Bolt, 2004) this research sees “place as emergent, relational and beyond representational regimes” (Massey, 2005), implicitly performing involvements in, as opposed to observations on, site.


  • responds to the material, architectural, social and institutional discourses present in site
  • conducts fieldwork in collaboration with and for a site-specific community
  • performs place through artistic devices operating in spatial / temporal relations with site
  • repositions the act of representation towards that which is encountered / experienced in site

keywords: site, community, performance, site specific, architecture, representation, cultural heritage, archive.

Moving Pictures

This two year research project has been funded by the Royal Institute of British Architects (RIBA) working closely with Historic England who are project partners. Moving Pictures will use pioneering cross-disciplinary methods to examine the adaptive reuse of cinemas as places of worship. In doing so, the research captures a vital snapshot of faith and diaspora in the contemporary urban landscape, which may be used to inform future heritage practices.

(Coming soon)

Three British Mosques

Three British Mosques explores contemporary multiculturalism through three adapted mosque spaces in London, responding to the theme ‘How will we live together?’ set by Lebanese architect Hashim Sarkis. The project examines three case studies, Brick Lane Mosque, a former Protestant chapel then Synagogue; Old Kent Road Mosque housed in a former pub and Harrow Central Mosque, a purpose-built space that sits next door to the converted terraced house it used to occupy. The pavilion explores the stories of each case study through 3D architectural reconstructions, filmed interviews, LiDAR scans, and photographs.

Virtual Assembly

Virtual Assembly is an interactive virtual space for Old Kent Road Mosque and MANUK (Muslim Association of Nigeria UK) due to the demolition and redevelopment of their mosque on Old Kent Road in Southwark. Built using 3D software and immersive technologies (VR/AR), the space combines spatial scanning technologies with drawings, audio, film, and speculative design. The content is co-created and co-curated by the Old Kent Road Mosque community. The project also explores the potential of new technologies in the creation of interactive spaces/archives, providing a platform for wider engagement on a local and national scale. The Muslim Council of Britain are project partners.