Its disproportionate size in conjunction with the many symbolic and political communist structures and establishments both in and around it contribute to an ineffably stifling sensation, and a similarly sterile human behavioral pattern within its tightly controlled confines. Three overall factors seem to contribute to a performative effect in which political pressures and processes seem to shape a cultural environment by inhibiting activity, rather than stimulating it.
In most open urban spaces, being unoccupied by architecture, a wide array of human activity emerges, in which both deliberate and chance encounters and congregations between people occur, defining a place of unobstructed and undefined community where multitudes of human transactions and recreational activities might develop. However, in Tian An Men, no such transactions occur. Whereas the open square in Western cultures often signify a type of democratic order in which access is not a means of privilege or restriction, Tian An Men Square is not only fenced off from direct access, but is also heavily policed, requiring access through security points that involve metal detectors and scores of peace officers and related personnel. In addition, an incomprehensible array of security equipment, both audio and visual, that demonstrates no effort at concealment or visual integration pollutes the landscape with the overall impression of a jailyard.
Secondly, the sheer proportions of the square, which was enlarged four times since 1950, make it the largest uninterrupted urban square in the world, covering about 440,000 square meters in total (Solely in terms of size, the Imam Reza Shrine Complex in Iran is the largest, but its nearly 600,000 square meters are spread across seven distinct courtyards). The general human behavior in a square is not often to occupy wide open spaces, but to nucleate around objects within it, or to remain near the periphery by some margin. Due to this behavioral pattern, Tian An Men Square features an incredible amount of vacant space that does not encourage or specify any use.
Lastly, the square is both surrounded and occupied by a wide array of Chinese administration facilities and landmarks that were built for or insinuate the Communist party of China. The structures include the Great Hall of the People to the West, the National Museum to the East, the Forbidden City with its gargantuan portrait of Chairman Mao to the North, the Memorial Hall of Chairman Mao within the Square, and the Monument to the People's Heroes just North of the Memorial Hall. From the presence of these structures, most of which are relatively large compared to surrounding urban fabric, a great sense of forboding emerges that seems capable of exerting a sensation of great pressure.
A extremely sparse and indistinct human movement and density pattern constitutes the combined resultant of these factors. Visitors, both local and international, mill about quietly along the premise, partaking in little merriment or activity beyond the occasional photo with one of the administrative monuments or structures as a backdrop, tracing relatively indistinct trajectories as they move, as there are no obvious places to even sit to rest or trees beneath which they may take shelter from the sun. Visitors do not even seem drawn to the monument. The only other activity on the premise seems to be some mild hawking of photo services and concessions. Some people are drawn towards the two large screens near the north end of the Square, but as the content is strictly advertising in nature and not especially relevant, the attention span devoted to these screens is relatively brief. In short, the performative aspects of this urban entity seem to deal with control, insinuating the government's power through its extravagant architectural expressions and devices. It seems equally concerned with preserving itself by asserting its physical dominance as it does with preserving an atmosphere and decorum, for in all effectiveness, although the Communist regime of Chairman Mao's creation is no longer an extant political reality, its likeness is capable of conjuring a sensation of great foreboding. Chairman Mao's intent in expanding the Square was to produce the most spectacular of its kind in the world. As his vision was carried out by the descendants of his movement, we could easily qualify the success of his ambitious venture by the survival of his architectural brainchild.
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