The proposal to imprint each façade onto its opposite ties in with the narratives in the theatre script of  different times and places co-existing, and of cycles of change and transformation. As all the people who have lived and worked in Bridge Street over the years have affected each other, so the buildings along this narrow street have influenced each other: they bear the traces of countless iterative transformations, large and small. From the moment the painting started in June, and the street was closed for several hours a day it became a place to bump into neighbours and to stop and pause to admire it’s beauty. During this period people gave t Daily furniture making workshops were run by Studio Weave and a trained carpenter, and children could drop in and learn about operating hand tools and joining timber.heir time after work to the project and each evening the street was filled with theatre rehearsals, music, singing and people painting and making. The street painting at low level was open to everyone and the design of the paint scheme included differing levels of detail and complexity to cater for a range of skill and ability. The public furniture made as part of the project was designed as a collection of individual light weight cubes to give them flexibility. The form of the stools allowed them to be arranged in multiple configurations and enabled users to personalise their arrangement to suit their needs. The stools acted as seating and infrastructure for the Bridge Street theatre performance but their design means they can be stacked and stored easily allowing them to be retained as a community resource, providing infrastructure for future public realm activities in the town.