Protesting forms a crucial social function in democratic systems. However, in a world of digital communication, perception is becoming more important than reality. Performers and spectators, stage and set are to be directed, edited and manipulated to maximise reach and communication.

These themes have been explored through two propositions. The first explored covert architectures of protest in London. The second involved a theatrical sports and spa complex in Tskatulbo which developed an architecture reliant on performers and viewers; the building's users actively create the building's dynamic aesthetic.