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If nothing else, it was a fine excuse to appreciate the structure of the building, which is a great old bit of Victorian industrial architecture, re-purposed to good effect in the late 20th century. Byrne's installation turns it into a whistling and clattering void, but it's not so vast or so empty as to be intimidating. The circle of cast-iron pillars supporting the part-glazed roof divide and define the space, and the other visitors - of whom there were plenty when we were there, but not a crowd - create the feeling of an amiable public event.
But if part of the point of this project was the democratization of creativity, well, I think it backfired slightly. Everyone who played with the keyboard - ourselves included - had great fun, but a few places ahead of us in the queue was someone who clearly had a decent grasp of musical technique, and who, with a little thought, turned the installation into a real working instrument. (It wasn't discernibly tuned, but it had at least as much structure as a full drum kit.) This display of deftness and competence earned him a brief round of applause from other people. Apparently, there were evenings when people were invited to bring their own instruments and jam with the building; if whoever nabbed the keyboard at these was skilled enough, the effect may well have been something seriously interesting and pleasing to the ear.
*****
And then, afterwards, we wandered down into Camden, thinking to catch the tube - but, finding a bridge, we realised that we'd come to the Regents Canal, and we could stroll for half a mile along its banks to reach Regents Park. It was a reminder that London is huge, and contains much that merits visiting that I've always missed.
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