APPENDIX 4: Case Studies - · PDF fileAPPENDIX 4: Case Studies ... and the use of natural and non-toxic materials, ... Steve Gumbley: Shadowgraph machine and kinetic sculpture The

APPENDIX 4: Case Studies

Public Art Sustainability Assessment

SLOW ART TRAIL…p2 THE ART DEPOT…p16 LORD STREET…p25

ST PAUL’S PIPER HILL BSF…p33

APPENDIX 4: PASA CASE STUDIES - Reference to PASA Guidelines

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PROJECT TITLE: SLOW ART TRAIL PASA Case Study: by Kate Maddison, Sept 2009 Commissioners, Clients, Artists, Funders, Awards Commissioner/Client: Chrysalis Arts, project devised by Christine Keogh, Kate Maddison, Rick Faulkner Public Artists/Creative Practitioners: Laura Ellen Bacon, Jane Revitt, Andy Plant, Steve Gumbley, Johnny White, Steven Bailey, David Morley, Kate Maddison Community Workshops: Van Nong, Miles Salter, Larna Campbell Funders and Supporters: Calouste Gulbenkian Foundation, Arts Council England, Craven District Council, Yorkshire Dales Millennium Trust, Yorkshire Dales National Park Authority, Bolton Abbey Estate, Skipton Auction Mart, Yorkshire Dales Society Project Description SLOW ART TRAIL was a pilot, public art project – exploring sustainability and creative practice – developed by Chrysalis Arts to raise awareness of environmental issues and explore how artists could develop a more sustainable approach to their creative practice. Chrysalis Arts encouraged local community participation in the Slow Art Trail through a programme of creative writing and visual arts workshops. The project connected with the slow food concept of taking more time to appreciate quality, sourcing materials locally where possible, and the use of natural and non-toxic materials, and aimed to highlight issues such as re-using and recycling, sustainable transport and responsible travel. Visitors to the Slow Art Trail were invited to experience it at a slow, leisurely pace and enjoy the beautiful North Yorkshire scenery, whilst making minimum impact on the environment. The installations ranged from pieces that tempted visitors to sit down and contemplate their surroundings to those which challenged perceptions about contemporary art-making in a traditional rural landscape. The works highlighted issues affecting landscape, agriculture, global warming and climate change. ARTWORKS Artworks at Skipton Auction Mart:

1. Cycling to Work – Johnny White: Kinetic Sculpture from re-used materials Artworks at Strid Wood, Bolton Abbey; Strid Wood Exhibition Centre

2. Community Exhibition: Work by local schools and community groups Christmas Tree Plantation


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3. Talking Cactus – Andy Plant: Interactive sculpture from re-used materials Cumberland Trail

4. Text Installations: A series of specially commissioned poems by David Morley and realised by Chrysalis Arts 5. Kinetic Sculpture - Johnny White: Water sculpture from re-used materials 6. Fallen Tree - Laura Ellen Bacon: Willow sculpture describing the tear in the leaf canopy and the fall of the tree 7. We Are Here - Steven Bailey: Maps made from litter found in the National Park

8. Banquet - Jane Revitt :Furniture for an Oak Wood The Stable 9. From Horse Power to Hydrogen Power – Steve Gumbley: Shadowgraph machine and kinetic sculpture The Barn 10. A Change In The Weather – Chrysalis Arts: Video installation Budget £70,000 Timetable Project development: 2007–2008 Implementation: during 2008 with the temporary installation on site in September/October 2008 Completion: October 2008 Decommission: October 2008 PASA SUMMARY Score CRITERIA SCORE TABLE CRITERIA CALCULATOR LOW MEDIUM HIGH ARTISTIC PRACTICE & APPROACH 20 HIGH up to 11 12 to 19 20 to 24 PROJECT MANAGEMENT 25 HIGH up to 14 15 to 24 25 to 30 COMMUNITY INVOLVEMENT 30 HIGH up to 17 18 to 29 30 to 36 ENVIRONMENT & RESOURCES 35 HIGH up to 17 18 to 29 30 to 36 SITE & CONTEXT 22 HIGH up to 11 12 to 19 20 to 24 OVERALL OVERALL OVERALL OVERALL PASA Benchmark 132 HIGH Up to 74 75 to 124 125 to 150

This is a full assessment of an artwork, project or activity with reference to the PASA guidelines five sections, each criteria listed in the sections has been given a score of either: 1=Low sustainability; 2=Medium sustainability; 3=High sustainability. The sum of the criteria scores gives a numerical PASA Benchmark (The higher the score the more sustainable the project) and an overall category of LOW MEDIUM or HIGH.


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The criteria scores and PASA Benchmark can be used to indicate where changes could be made to improve sustainability. To calculate the overall PASA % (PASA benchmark 132 /150) x 100 = PASA percentage 88% PASA 88 % SUMMARY Slow Art Trail was a pilot project that successfully achieved many of its objectives. The consistency of high scoring across the five sections of PASA is testament to the diligence with which all those involved in the project held to the principles of sustainable practice. The issues that the company encountered in implementing the project were significant and had a greater impact than originally envisaged. Some of these were directly linked to implementing sustainable practice, others were linked to doing any sort of public art project in a national park and some were directly due to carrying out a site-specific art project in a rural location. The last was the main reason for the limitations in the scope for community participation possible and the major issue it highlighted was a lack of availability of regular public transport to the site. Slow Art Trail’s effects on Chrysalis have been and continue to be significant and its legacy will endure long after its practical completion. Through information dissemination, other artists and art commissioners will benefit from the experience gained by the company; Slow Art Trail was a landmark project. PASA SECTION 1 ARTISTIC PRACTICE & APPROACH LOW MEDIUM HIGH CRITERIA A] OVERALL

i. Artists’ work promotes sustainability 3 ii. Art practice is sustainable 3 iii. Professional development opportunities 2 iv. Collaboration and team working 2 v. Interaction with audience/public 2 vi. Monitoring, evaluation and critique 3

B] ACTIVITY OR SPECIFIC PROJECT i. Creativity of concept and design 2 ii. Quality of artwork produced 3

SUB TOTAL SCORE 20


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Artistic Practice And Approach Strid Wood was an inspirational setting which the artists responded to very well. All the artwork seemed to be sited appropriately and in a way that animated their location and had an artistic discourse with it. The artists all entered into the spirit of the project and their varied approach made a valuable collective contribution to the artistic aims. Examples of artwork directly promoting sustainability include the following: Johnny White said about his Water sculpture made from reused materials, COME IN NUMBER 24, YOUR TIME IS UP! “The piece is, hopefully, water powered by the stream it is mounted in, and gains its title from the decrepit ex-hire boat around which it is based. Most of the materials and objects in this piece (over 95%) are either re-used or reusable. I have tried to keep the use of new metal and wood to a minimum. The gearboxes are from old steelworks switchgear, other parts coming from a wind-powered irrigation pump, immersion heater tanks, scrapped theatre sets, house renovations, etc.” Andy Plant said about TALKING CACTUS, his interactive sculpture made from reused materials. “The Cactus is a humorous look at climate change, it is built from reused copper. “I like the combination of the cactus image, the material and the way it is welded together with heat. It looks hot and dry like a cactus. Push the button and listen to what sounds emerge.” David Morley spent time in this area of the Yorkshire Dales in his youth and, following more recent visits, created a series of SLOW ART TRAIL POEMS for the project. These have been ‘written’ into the woodland trail in innovative and sustainable ways and are on display at the Strid Wood Exhibition Centre. His writing formed a thread of continuity between the artworks and offered delight and interpretation to visitors along the trail.

ON THE INVISIBLE MAP OF STRID WOOD Here Be Dragons. Here Be Darters, Skimmers, drawn flame. Here Be Dragonflies.

Kate Maddison worked with flax rope, cotton fabric, coppice material from Strid Wood and reclaimed timber to install David Morley’s poems in Strid Wood and at the Strid Wood Exhibition Centre, and create the two sculptural SLOW ART TRAIL BUS

STOPS. “I have always liked working with natural materials and have wanted to use resources responsibly. The concept of storing and re-using is something I have chosen to do, so the challenge of working sustainably is a joy really!” Laura Ellen Bacon created FALLEN TREE, a Willow Sculpture describing the tear in the leaf canopy and the fall of the tree.


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“My use of materials is low-tech but intuitive. Processes of accumulation interest me, for example, the creation of a bird’s nest or the build up of drift timber on a riverbank. I have a fascination with organic growth and intend my forms to appear as if gravity has intervened. I hope viewers have a sense that the forms are perhaps swelling and haven’t finished ‘growing’. Varieties of materials and fresh landscapes fuel my work.” Steven Bailey’s WE ARE HERE, was a map made from litter collected in the area. In his artistic statement he quoted “maps not only show us where we are and how to get from A to B, they also tell us something about how we view the world around us.” He also acknowledged “the contribution made to this work by the numerous anonymous donors who, without so much as a second thought, have generously provided the raw materials. Without their unstinting help creating this sculpture would not have been possible or, indeed, necessary.” Jane Revitt created BANQUET, furniture for an oak wood, made in steel and wood. “My work is usually made for indoor spaces. The site at Strid Wood has given me the opportunity to design furniture for woodland and I took the shape of the oak leaf from the sessile oak trees growing here to pattern the furniture. The pieces were made in Yorkshire by local fabricators. The materials are recyclable.” Steve Gumbley’s Electric Galloper FROM HORSE POWER TO HYDROGEN POWER: “This artwork is a sculpture designed to generate shadows . . . The theme is energy . . . presented as a merry-go-round of images. It’s a table-top model, of different forms of power stations. It’s lit from one side and slowly revolves, throwing large shadows across the walls of the old stables room. I enjoy the way the shadows change size and move in opposite directions, with contrasting images of horses and machines.” A CHANGE IN THE WEATHER video installation by RICK FAULKNER, PORL MEDLOCK, KATE MADDISON & VAN NONG: The video features short interviews with local people and documents as part of a project themed on climate change and moving to a sustainable existence for Apedale Community Country Park, commissioned by Staffordshire County Council in October 2006. “The ‘sustainability’ agenda strongly influenced the possibilities and constraints of the project and issues explored have been instrumental in the development of the Slow Art Trail and are likely to be relevant to the future work and practice of Chrysalis Arts.” The artists were mixed in their approach to collaboration, some did collaborate but mostly this was limited by the artistic approach they each chose to take and by the practical constraints of time and budget. The artists were all based relatively close to each other, although the project did throw into question the general issue of justifying travel by car and the practical difficulties of using public transport efficiently.


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The professional development opportunities were primarily in artists developing their understanding of sustainable practice. An evaluation process was undertaken and has been very informative. The artwork produced was very site-specific, of very good quality and realised significantly the creative potential of the site. “It did make me reflect on my processes and made me more aware of how I work and why.” – Laura Ellen Bacon, artist “I thought the choice/range of artists was remarkable, producing an eclectic mix of surprising and thought-provoking work.” – Anne Robinson, Community Coordinator PASA SECTION 2 PROJECT MANAGEMENT LOW MEDIUM HIGH CRITERIA A] INITIATING AND COMMISSIONING I. Clarity of brief and project objectives, responsible use of resources 3 ii. Adequate time and budget to achieve sustainable objectives 2 iii. Supportive management, funding and commissioning process 2 iv. Collaboration where possible and inclusive team management 3 B] CONSTRUCTION & SITE PRACTICE I. Secured by design - inherently safe, vandal resistant and secure for the public and users 2 ii. Construction, site management, health and safety 3 iii. Sustainable briefing, management and audit policy 3 iv. Maintenance and decommissioning 3 C] TRANSPORT & TRAVEL I. Cycling & Walking - encouraged & cycle storage available 2 ii. Transport - low impact travel, proximity to resources 2 SUB TOTAL SCORE 25

Project Management Chrysalis were very diligent in the coordination and management of Slow Art Trail. The issues that arose and were successfully dealt with, but far exceeded the time and budget allocation for the management role. Individuals were very committed and worked collectively to meet the challenges that the project presented.


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Gaia Research contributed to the content of the sustainable parameters of the artists’ brief and this was monitored by Chrysalis throughout the project development and implementation. Maintenance and decommissioning were all thought through and resolved. Bidding for and obtaining the necessary funding was very time-consuming for Chrysalis. The funders were mostly very supportive of the process, although each had their own agenda which had to be catered for. A late reduction in one funding offer did result in last-minute spending cuts, which had a knock-on effect on the company, which had already committed most of the budget. “Great planning and co-ordination; thank you” – Moira Smith, Bolton Abbey Estate Manager “Hindsight is a great thing but I wouldn’t do it this way in future. I think we tried to deliver too much stuff in too big an area and that a more condensed approach with more challenging artwork would have been a better result. . . . An interesting and difficult learning process” – Rick Faulkner, Chrysalis Arts “Co-ordination and management was excellent, in spite of imposed delays.” – Steve Gumbley “The budget was too small for the work I produced. However, I decided to produce a piece of work that was beyond the budget I had been allocated, and that I felt was appropriate to the site as it was an opportunity for me to try something new. I’m pleased to have had the chance to take part.” – Jane Revitt, artist “I liked the holistic planning including buses and suchlike . . . I really enjoyed working on the project and appreciated the effort Chrysalis made to see it through…Brilliantly organised against all odds; all aspects of the process made clear throughout. Great to meet up with and work alongside the other artists.”– Johnny White, artist “I enjoyed being part of the project, and thought its values were highly relevant. It was well organised…Thanks for asking me!” – Miles Salter, writer & workshop leader


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PASA SECTION 3 COMMUNITY INVOLVEMENT LOW MEDIUM HIGH CRITERIA A] PUBLIC PERCEPTION & INFORMATION i. Promotion and Publicity- public informed about project 2 ii. Local community engagement 2 iii. IT/Community web- art information integrated with local community web 1 iv. Facility for community interaction 3 v. Community groups 3 vi. Interaction and evaluation 3 B] INCLUSION I. Access- proactively encourage use and provision for less able 3 ii. Support social cohesion, inclusion and equal opportunities 2 iii. Cultural heritage and identity 3 C] FACILITATION i. Community Consultation- actively sought/ establish steering group/ exhibition and feedback 2 ii. Community Workshop & Education programme 3 iii. Engagement with local businesses 3 SUB TOTAL SCORE 30

Community involvement Community workshops in creative writing and visual arts were held – with enthusiastic and experienced facilitators. This encouraged a wide variety of community participants to be involved and made the process accessible and inclusive. The community workshops involved adults, children and young people in Skipton, Austwick, Clapham, Bentham and Bolton Abbey, with Clapham Primary School, Pioneer Projects and the Looking Well Centre in Bentham, Austwick C of E Primary School, the Upper Wharfedale Extended Schools Initiative, North Yorkshire County Council Youth Service and Connecting Youth Culture, Skipton Girls High School and Skipton Library all taking part. “Working with waste” installation workshops were led by Van Nong, Chrysalis Arts associate artist, and creative writing workshops led by Miles Salter. Other workshops were held using local art workshop facilitators and youth workers who regularly worked with these groups. Due to the project’s rural location, the target community was the not in the immediate vicinity of the Slow Art Trail (SAT) location and was spread over a large area of Craven. Issues of distance and travel affected contact between community groups and visiting the site at Bolton Abbey. Spontaneity and interaction between participant groups was not easy to generate and community contact with the team of artists, while they were creating the commissioned work, was not really


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possible. There was some contact during the installation with passers by and SAT visitors were encouraged to add their ideas and thoughts to the community exhibition in the café area at Bolton Abbey. The opportunities and possibilities to promote SAT were affected by the project delays (outside of the control of Chrysalis) and the funding shortfall. Despite this, the project was fairly well attended and received good coverage in press and publications (with the aid of a publicity consultant). The distribution of a promotional leaflet and the community participation programme together with networking and word-of-mouth contributed significantly. There was a promotional Slow Art Trail weekend event for visitors with a free bus service from Skipton. The artworks remained in place for three weeks, with free access for visitors on foot or arriving by public transport, but a parking charge was made for those that came by car. “The only criticism I have is that visitors were sometimes struggling to find all the exhibits, indicating that mapping and signage could have been clearer.” – Steve Gumbley, artist. “I also believe the message was not that clear for people visiting after the first weekend when the event stood alone.” – Moira Smith, Bolton Abbey Estate Manager


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PASA SECTION 4 ENVIRONMENT & RESOURCES LOW MED HIGH CRITERIA A] BIODIVERSITY

i. Promoting biodiversity of plants and habitat types 2 B] RESOURCES

i. Use of local materials and resources 3 ii. Manufacture/Processing- minimal amount of energy and process required 1 3 iii. Maintenance: choice of materials and techniques inherently low maintenance 3 iv. Efficient design and material use 3 v. Design for re-use / deconstruction - reclaimable/recyclable materials used 3 vi. Waste plan, use local eco-station for recycling 3 vii. Ethically Sourced Labour and Materials 3

C] MINIMISE POLUTION i. Embodied energy: Avoidance of High, use of Low alternatives 3 ii. CFC/HCFC- No ozone depleting materials 3 iii. Low toxicity materials and the avoidance of halogens and allergens 3

D] HEALTHY LIVING - WORK SPACE - PRACTICE i. Low noise & low energy use: natural ventilation, daylight, heating, cooling 3

SUB TOTAL SCORE 35 Environment and Resources Some artists’ work was inherently ‘green’ and easily fitted the brief. Willow is an indigenous species and willow sculpture can provide a natural habitat. However, sourcing it locally is not easy and in this case we were offered a supply from Cumbria, but the artist chose to bring some of her own stock, originally sourced from Somerset. The project presented some environmental dilemmas. To adhere completely to the planners’ wish that no trace of the artworks remain beyond the project period meant that the willow sculpture had to be removed, even though it could have been left to decay naturally where it stood, while providing a natural habitat. Although the sculpture material was still piled up in the undergrowth to provide a natural habitat, it would have been a greater one for a longer period, if the sculpture had been left intact. Artists were able to bring a variety of approaches to producing work. Most chose to pre-fabricate most of their work in their own studios and as this was beyond the control of the project, a detailed study of this was not carried out. The healthy living/workspace assessment therefore applies to work on site at Strid Wood. The choice of materials and work practice was significantly led by the sustainable brief developed for this project, although the interpretation of ‘sustainable practice’ was


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left to individual artists’ subjective judgement. This was thought appropriate by Chrysalis, who aimed to foster a team-led approach to this pilot project with established professional artists. Steve Gumbley, artist, said of sustainability: “Making this artwork has used materials such as steel, plywood, plastic and clay. It also uses electricity, although only 93 watts for the motor and 35 watts for the illumination and these are activated by a sensor, so it only works when needed. Building in model size allows the use of small amounts of materials, including scraps that might otherwise be discarded. The nuclear power station is made from the packaging of a cordless drill. Once built it can function for many years. It could also be used in a much bigger room, for example, filling a large gallery space with moving shadows. At the end of its use, most of the material could be re-used or recycled”. “It certainly made me consider these kinds of aspects more during the making process, and I am sure this also applied to the other artists.” – Johnny White, artist “I think the overall project was led by an environmental and sustainable approach and the individuals within the team responded enthusiastically to this challenge. I think the community participants and SAT audience were supportive and impressed by this.” – Kate Maddison, artist, Chrysalis Arts “You may be interested to know that Craven Museum & Gallery is now doing school assemblies around ‘reduce, reuse and recycle’, where they look at war-time practices around these themes and how you can do the same in the present day. I think it’s realistic to say that your project helped towards looking at different ways of delivering the waste message for us as a council and that this has been a successful development for us.” – Catherine Johnson, Craven District Council


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PASA SECTION 5 SITE AND CONTEXT LOW MED HIGH CRITERIA A] APPROPRIATENESS

i. Site 3 ii. Lifespan 3 iii. Durability - easily maintained 3 iv. Potential of the site to support the creative activity 3

v. Potential of the context to support those involved in the creative activity 2 B] RELEVENCE

i. Renewable- artworks can be developed, changed or replaced 3 ii. Synergy to current events and other relevant initiatives 3 iii. Economic and creative opportunities beyond the project period. 2

SUB TOTAL SCORE 22 Site and Context The site was one of the most significant and difficult choices of the project. Location was critical to sustainable issues like transport/travel and crucial to fulfil the artistic expectations, funding criteria and overall project objectives. The time originally planned for the project was to commence in spring and be in place for the whole of the summer season, with decommissioning in autumn. However, the project became the subject of lengthy discussions on planning issues, the negotiation of which delayed the project for most of the summer and restricted it to remaining on site for less than 28 days. This in turn caused considerable difficulty and extra time/expense in managing the project and coordinating it with everyone involved whose own timetables were disrupted. The reduced timetable of the project also affected the expectations of the funders and supporters of the project who had expected a longer lifespan. “An interesting and timely project, glad I was involved.” – Steve Gumbley, artist “Due to the short period and time of year the Slow Art Trail was exhibited, I do believe the opportunity to reach many people was missed.” – Moira Smith, Bolton Abbey Estate Manager “I thought the life span should have been much longer . . . it meant that for us as funders what we got the benefit of was very short lived . . . This was the first time we had managed to get money from a waste management budget for public art and we were disappointed that we weren’t able to boast about it more. Congratulations on what you achieved, despite the obstacles put in your way.” – Catherine Johnson, Craven District Council


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“Very good concept somewhat weakened by pernickety interference by the planners, but Chrysalis kept us informed of developments at all times.” – Steven Bailey, artist “I think that if any follow-up had been built in – perhaps by Craven’s Waste Management – then the Trail would have been part of a continuing awareness campaign. As it was, it had to stand alone and its value would have been greater had it been exploited by others.” – Anne Robinson, Community Coordinator

SUSURRATION The Academy Of Ancient Rootsystems is Open. Hush. Listen.

Haiku by David Morley


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PROJECT TITLE: THE ART DEPOT PASA Case Study: by Kate Maddison, October 2009 Commissioners, Clients, Artists, Funders, Awards Commissioner and Client: Chrysalis Arts Public Artists/Creative Practitioners: Chrysalis Arts (artists), Wales Wales & Rawson (Architects) Funders: Foundation for Sports and the Arts, National Lottery Fund, Arts Council of England, Chrysalis Arts Ltd, The Countrywork Scheme, European Regional Development Fund, Wilson Braithwaite & Scholey. Awards: The Art Depot building won the Royal Institute of British Architects, Yorkshire region White Rose Award in 1998 and the Rural Building Award 1998, Rural Design and Building Association and Royal Agricultural Society of England. Project Description The Art Depot is the result of a collaboration between Chrysalis Arts and architects Wales Wales and Rawson and comprises an office, design studio and workshop for the public art company. It also provides space for an international centre for training artists and other design professionals in working methods for commissioning, making and integrating art into the public realm. Lead artist Kate Maddison worked with architect Jim Wales to create a building that reflects the true integration of art and architecture. From its inception, the project sought to involve local trades and crafts people in its development, design and construction, to demonstrate the high quality of skills in the Gargrave area and the economic impact and development that national and international funding can have on the local economy. ART DEPOT ARTWORKS Interior Floor: Four tiled strips are inset into the floor, creating a series of undulating blue lines, a reference to the canal and the naturally occurring flow of water across the site. Exterior: Mosaic, Light & Fibre Optic/Glass Paving: A circle of mosaic and light at the entrance to the Art Depot links in with the interior tiled floor. Leading from this circle, a strip of fibre optic-lit glass paving, flanked by blue tiled mosaic, forms an undulating line which extends along the south elevation from the entrance to the car park area. Canopy Brackets: In hand cut steel, the shaped canopy brackets make strong reference to the grid system of the Art Depot plan and south elevation. Wall Seat: Steel and timber seat, mosaic back and dry stone wall with granite cobbled paving. Main Entrance Door: A glass door and side panels clad in sand-cast aluminium reflect the aesthetic of the extruded aluminium and glass wall system. The 'shadow' of a canopy bracket is cast diagonally across the side panels and door from the top to bottom corner sandblasted into the glass.


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Art Depot Sign: An illuminated sign cast in recycled glass and supported on a steel frame, is a continuation of the glazed canopy. This piece was developed through experimentation with sand cast glass. Budget Building £161,000 + unfunded work by Chrysalis Arts Timetable Project development: 1995–1996 Implementation: 1996–1997 Completion: 1997 Decommission: Ongoing use, no planned timetable for decommissioning. PASA SUMMARY: ART DEPOT SCORE Overall CRITERIA SCORE TABLE CRITERIA CALCULATOR LOW MEDIUM HIGH ARTISTIC PRACTICE & APPROACH 22 HIGH up to 11 12 to 19 20 to 24 PROJECT MANAGEMENT 22 MEDIUM up to 14 15 to 24 25 to 30 COMMUNITY INVOLVEMENT 33 HIGH up to 17 18 to 29 30 to 36 ENVIRONMENT & RESOURCES 26 MEDIUM up to 17 18 to 29 30 to 36 SITE & CONTEXT 20 HIGH up to 11 12 to 19 20 to 24 OVERALL OVERALL OVERALL PASA Benchmark OVERALL SCORE 122 MEDIUM Up to 74 75 to 124 125 to 150

This is a full assessment of an artwork, project or activity with reference to the PASA guidelines five sections, each criteria listed in the sections has been given a score of either: 1=Low sustainability; 2=Medium sustainability; 3=High sustainability. The sum of the criteria scores gives a numerical PASA Benchmark (The higher the score the more sustainable the project) and an overall category of LOW MEDIUM or HIGH. The criteria scores and PASA Benchmark can be used to indicate where changes could be made to improve sustainability. To calculate the overall PASA % (PASA benchmark 122 /150) x 100 = PASA percentage 81 % PASA 81% SUMMARY The Art Depot was a very successful project for Chrysalis Arts, for the local district and the North Yorkshire region. The premises were built to accommodate the company, its public art activity, and its arts development and training work in a purpose-built studio/workshop and office. The artistic approach was to collaborate with the architects and seamlessly integrate art and architecture in a building that could remain an enduring design in its own right, while accommodating


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further creativity. It has received two building awards for artistic and architectural merit: a RIBA White Rose Award and a Rural Building Award 1998. The project management was led by the artists and supported their objectives, but was achieved at considerable cost to them as a company in terms of unpaid time managing the project and consequent time out from other creative and economic opportunities. The public art elements carried out simultaneously with the building work offered ideal opportunity for their creative integration and were subject to the same site management and health and safety control. Sustainable briefing and auditing was not specifically undertaken but the sub contractors were mostly local, many of the building materials used were locally sourced and are reclaimable. Maintenance is minimal. Decommissioning in the long term was considered as re-use of the building for other commercial use or redeveloped for domestic use. Overall the artistic, economic and contextual sustainability of The Art Depot were adequately covered. Environmental issues could have been more successfully addressed if they had been approached with more understanding, although economics and contemporary practice played a part in the decision-making at the time. Engagement with the community of artists in North Yorkshire has been ongoing since its inception and the long-term use of The Art Depot by Chrysalis Arts for arts development work in the locality, continues to be very successful. PASA SECTION 1 ARTISTIC PRACTICE & APPROACH LOW MEDIUM HIGH CRITERIA A] OVERALL



SUB TOTAL SCORE 22 Artistic Practice And Approach The artistic approach taken was to integrate art and architecture in a seamless inter-dependence. The artist/architect design team did collaborate intensely, a process that evolved through a number of concept ideas before agreement was reached


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and trust and openness were at the heart of it. The quality of the design and workmanship achieved was considerable, local character and distinctiveness was matched with contemporary interpretation and this was recognized by the project receiving the RIBA White Rose award and Rural Building Award 1998. Artistic practice was well intentioned with regard to sustainable practice although the awareness level is much higher now than it was in the mid 1990s. The project offered excellent opportunity for artist development. The Art Depot premises were built to accommodate artists working in a purpose built studio, the design of which could accommodate further creativity, while remaining an enduring design in its own right. PASA SECTION 2 PROJECT MANAGEMENT LOW MEDIUM HIGH A] INITIATING AND COMMISSIONING I. Clarity of brief and project objectives, responsible use of resources 2 ii. Adequate time and budget to achieve sustainable objectives 2 iii. Supportive management, funding and commissioning process 3 iv. Collaboration where possible and inclusive team management 3 B] CONSTRUCTION & SITE PRACTICE I. Secured by design - inherently safe, vandal resistant and secure for the public and users 3 ii. Construction, site management, health and safety 3 iii. Sustainable briefing, management and audit policy 1 iv. Maintenance and decommissioning 2 C] TRANSPORT & TRAVEL I. Cycling & Walking - encouraged & cycle storage available 1 ii. Transport - low impact travel, proximity to resources 2 SUB TOTAL SCORE 22

Project Management The process of defining the brief and project objectives was sustainable at the time but not as comprehensive as current practice should be. The timetable and budget were extended to ensure that the project achieved the highest standards possible. The budget was high for a building of this size, but the cost of management work and artwork contributed by Chrysalis Arts was not adequately covered. Funders, local authorities, organisations, businesses and contractors who were involved were very supportive of the project and Chrysalis Arts managed the process as client, main contractor and artist. Collaboration was very proactive between the


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artist and architect, the management process was very responsive to the individual needs of those involved including revising and developing the detailed design to best utilise the skills and expertise of local sub-contractors, materials and resources. Secure by design was carefully considered for The Art Depot and pitched at an appropriate level to the rural location where opportunism is more of an issue than vandalism. The public art elements were subject to the same site management and health and safety control as the building work. Sustainable briefing and auditing was not specifically considered. Most of the building materials would be reclaimable; maintenance was planned to be minimal and has proved so. Decommissioning in the long term was considered as re-use of the building for small commercial or domestic use. Cycling, walking and low impact travel were used where possible with some bike storage available. The lack of proximity to resources and local amenities does increase the need for travel. Gargrave is not very well served by public transport. PASA SECTION 3 COMMUNITY INVOLVEMENT LOW MEDIUM HIGH CRITERIA A] PUBLIC PERCEPTION & INFORMATION i. Promotion and Publicity- public informed about project 3 ii. Local community engagement 2 iii. IT/Community web- art information integrated with local community web 3 iv. Facility for community interaction 2 v. Community groups 3 vi. Interaction and evaluation 3 B] INCLUSION I. Access- proactively encourage use and provision for less able 3 ii. Support social cohesion, inclusion and equal opportunities 2 iii. Cultural heritage and identity 3 C] FACILITATION i. Community Consultation- actively sought/ establish steering group/ exhibition and feedback 3 ii. Community Workshop & Education programme 3 iii. Engagement with local businesses 3 SUB TOTAL SCORE 33

Community involvement The ‘community’ considered in the Art Depot project was primarily the artists community of the region and artists and administrators that would use the building. The local community of Gargrave was aware of Chrysalis Arts and the development of the Art Depot and key individuals and businesses were involved directly where they had a specific role to


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play. Local community engagement with the public art project was not thought appropriate. Web based information and artists networking has been developed and significantly improved since broadband reached Gargrave and this IT aspect is maintained and under ongoing review. An access audit was carried out and acted upon. Social cohesion, inclusion and equal opportunities were considered as a long-term part of the activities carried out in The Art Depot. Cultural heritage and identity were at the heart of the project and informed its development. Community education was considered as a gradual process and a long-term role of The Art Depot, from the local contractors involved in creating the artworks with the artist, working in new ways with new techniques, to the training, education and arts development activities of Chrysalis Arts in North Yorkshire. PASA SECTION 4 ENVIRONMENT & RESOURCES LOW MED HIGH CRITERIA A] BIODIVERSITY


i. Use of local materials and resources 3 ii. Manufacture/Processing- minimal amount of energy and process required 2 iii. Maintenance: choice of materials and techniques inherently low maintenance 3 iv. Efficient design and material use 3 v. Design for re-use / deconstruction - reclaimable/recyclable materials used 2 vi. Waste plan, use local eco-station for recycling 1 vii. Ethically Sourced Labour and Materials 3



SUB TOTAL SCORE 25 Sustainable use of resources was good within the context of the time during the mid 1990’s but does not now meet current expectations of practice. Biodiversity was not particularly a part of the Art Depot project but was improved from the site’s previous state.


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The stone used for three of the four walls and some of the timber was reclaimed. The local economy was significantly supported but some techniques used high-embodied energy components. Transport distances were short from local suppliers but their suppliers were mostly not taken into account. The materials used were inherently low maintenance and design detailing was carefully considered. The decommissioning of The Art Depot in the long term was considered and most of the building materials, ie stone, timber, steel, stainless steel, aluminium, glass are reclaimable, but elements such as the concrete base and under-floor heating are not so easily reused. Waste disposal was not considered in the planning of the building work, but recycling and minimising waste has become a part of running The Art Depot. Renewable energy generation was looked into but found to be economically unworkable on this scale of building at the time. It is not known if paints containing CFCs were used by sub-contractors and suppliers. A re-used fridge is in the kitchen and the refrigerants will be disposed of responsibly when it is scrapped. Low noise, controlled natural ventilation and good daylight are all design features of The Art Depot. Heating is a gas/water under floor system and the boiler was of high specification for the time but more sustainable heating systems are now available. Pilkington ‘K’ glass was used for the sliding front wall glazing to improve sunlight reflection and heat retention, and insulation was to a good standard for the time.


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PASA SECTION 5 SITE AND CONTEXT LOW MED HIGH CRITERIA A] APPROPRIATENESS




SUB TOTAL SCORE 20 Site and Context The site was ‘brown field’ and had been used as the North Yorkshire County Council’s works depot since the 1930s before becoming an industrial estate in the 1980s. In an undeveloped state, it had been the base of Chrysalis Arts since 1988 and was part of their long-term commitment to continue art development work in rural North Yorkshire, despite some of the inherent difficulties of networking with other artists, transport and access to amenities that this posed. The durability of The Art Depot as a local resource over its planned long lifespan is the sustaining factor in this. The creative potential of Chrysalis Arts on the Gargrave site was significantly enhanced by The Art Depot project. The surrounding Craven District was not a very supportive place for an art company at the time the company arrived, but continual development work by Chrysalis Arts has significantly improved the ‘context’ of the surrounding area. Networking and art development initiatives led by Chrysalis Arts like ‘Art Connections’ and ‘North Yorkshire Open Studios’ have increased the profile and economic potential of the arts sector in the region. The local contractors – dry stone wallers, steel fabricators and building/paving companies that worked with the artists on The Art Depot – all gained confidence and new skills, and have gone on to get further work in the arts sector.


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PROJECT TITLE: LORD STREET ARTWORK, SOUTHPORT PASA Case Study: by Kate Maddison, Sept 2009 Commissioners, Clients, Artists, Funders, Awards Commissioner and Client: Sefton Metropolitan Borough Council, Planning and Economic Regeneration Department Public Artists/Creative Practitioners: Chrysalis Arts (artist-led team) Funders: Funding sourced by Sefton Metropolitan Borough Council Awards for the Lord Street Improvements including the Public Art Project: Local Government News Street Design Awards overall winner, Award for Excellence from the Worshipful Company of Paviors (London), Royal Town Planning Institute Award for Best Enhancement of the Public Realm at the RTPI will be awarded at the North West Annual General Meeting 2009 Project Description Chrysalis Arts was commissioned by Sefton Council to create new artworks to complement the refurbishment of Lord Street Gardens, which were originally designed by Thomas Mawson in 1906, a renowned landscape architect of the arts and crafts movement, and retain many of their original features. Artist team Kate Maddison and Van Nong produced the designs and worked with a series of specialist manufacturers and skilled trades people to implement the work. These included Trapp Forge from Burnley, Mosaicart from Lancaster, Carrilho Paving from Southport, NJO (LED lighting) from Kendal and Water Sculptures from Morecambe. Balfour Beatty (main contractors to Sefton Council) carried out some preparation and infrastructure work on site. THE ‘NAUTILUS’ ILLUMINATED WATER SCULPTURE The illuminated water sculpture of a Nautilus was made from stainless steel, granite sett paving and pebble mosaic is sited between the North Gardens on Lord Street. The gradient of the site adds to the dramatic effect of the sculpture that can be seen easily from Lord Street. The stainless steel Nautilus shell rises from the surrounding paving and is illuminated at night with subtle coloured LED lighting that will gradually change over time. The sculpture is animated with water that will spurt from the Nautilus head, flow out of the Nautilus eye and fan out over the pebble mosaic tentacles. THE ‘NAUTILUS’, ‘MERMAID’, ‘SUNDIAL’ SEATS AND BENCHES 15 new artwork seats and benches were created for Lord Street by Chrysalis in hand-forged stainless steel. Scroll curves and wave forms combined with Nautilus, Sun and Mermaid themes. The individual seat and bench designs were specially designed for their locations. THE COMMUNITY MOSAIC is a circular paved area in the North Gardens, which was created by local residents who attended a series of community mosaic workshops held in Southport, working with mosaic artist Janette Ireland and Van Nong of


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Chrysalis Arts. The design features a series of circular images of Southport life and history that flow from a Nautilus shell on a sweeping parquet background. Budget £137000 Timetable Project development: 2006 Implementation: 2007-2008 Completion: 2008 Decommission: Permanent PASA SUMMARY Score CRITERIA SCORE TABLE CRITERIA CALCULATOR LOW MEDIUM HIGH ARTISTIC PRACTICE & APPROACH 18 MEDIUM up to 11 12 to 19 20 to 24 PROJECT MANAGEMENT 19 MEDIUM up to 14 15 to 24 25 to 30 COMMUNITY INVOLVEMENT 29 MEDIUM up to 17 18 to 29 30 to 36 ENVIRONMENT & RESOURCES 17 LOW up to 17 18 to 29 30 to 36 SITE & CONTEXT 20 HIGH up to 11 12 to 19 20 to 24 OVERALL OVERALL OVERALL OVERALL PASA Benchmark 103 MEDIUM Up to 74 75 to 124 125 to 150

This is a full assessment of an artwork, project or activity with reference to the PASA guidelines five sections, each criteria listed in the sections has been given a score of either: 1=Low sustainability; 2=Medium sustainability; 3=High sustainability. The sum of the criteria scores gives a numerical PASA Benchmark (The higher the score the more sustainable the project) and an overall category of LOW MEDIUM or HIGH. The criteria scores and PASA Benchmark can be used to indicate where changes could be made to improve sustainability. To calculate the overall PASA % (PASA benchmark 103 /150) x 100 = PASA percentage 68 % PASA 68 % SUMMARY Public Art for Lord Street was widely regarded as a successful regeneration project that fulfilled some sustainable objectives. It achieved high merit in: quality, implementation and appropriateness of the artwork to the site and context. Other issues like project management and community involvement were moderately able to achieve sustainable objectives. Environment and resources were not addressed adequately for the sustainable criteria.


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There was significant creative potential in the site as a ‘historic arts and crafts’ street and there was active pursuit of artistic excellence to fulfil this potential, but the artworks made no direct statement about sustainability and indirectly their implementation did not sufficiently encompass all the issues. Community engagement was treated as a priority with community consultation and planning processes ensuring that approval was obtained from community representatives. There were some limitations to the scope for practical involvement within the restrictions of the site, the preservation of heritage, the overall regeneration process, budget and timetable. Environment and resources were treated in a way that is consistent with contemporary construction industry practice. It does, however, fall short of contemporary guidelines on the practice of sustainability. The site was a very appropriate location for a public art project in the spirit of the historic arts and crafts surroundings and in the context of landscape regeneration and renewal. PASA SECTION 1 ARTISTIC PRACTICE & APPROACH LOW MEDIUM HIGH A] OVERALL



SUB TOTAL SCORE 18 Artistic Practice and Approach The Lord Street Artworks did not directly present issues of sustainability and were not implemented in a way that particularly promoted all aspects of sustainable practice. The artists’ work and practice are a relatively sustainable means of employment, although this includes acceptance of a dedicated lifestyle choice rather than a profitable business. Professional development was limited to work experience gained during the project. Collaboration and team working was encouraged by the commissioner and was a necessity to implement the project. Public interaction was encouraged where possible with the work promoted through local press and exhibition. There was pursuit of excellence in the design of artwork, and this was achieved in the quality with which it was realised. There was significant creative potential in the site as a ‘historic arts and


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crafts’ street and the regeneration of the surrounding landscape generated the opportunity for change and innovation, but the scope for artistic creation had given parameters. PASA SECTION 2 PROJECT MANAGEMENT LOW MEDIUM HIGH CRITERIA A] INITIATING AND COMMISSIONING I. Clarity of brief and project objectives, responsible use of resources 2 ii. Adequate time and budget to achieve sustainable objectives 2 iii. Supportive management, funding and commissioning process 2 iv. Collaboration where possible and inclusive team management 2 B] CONSTRUCTION & SITE PRACTICE I. Secured by design - inherently safe, vandal resistant and secure for the public and users 3 ii. Construction, site management, health and safety 3 iii. Sustainable briefing, management and audit policy 1 iv. Maintenance and decommissioning 2 C] TRANSPORT & TRAVEL I. Cycling & Walking - encouraged & cycle storage available 1 ii. Transport - low impact travel, proximity to resources 1 SUB TOTAL SCORE 19

Project Management After a process of competitive bidding by short-listed artists and selection by the commissioner, negotiation of the brief established agreement between the artist and commissioner with some sustainable objectives in place. While art elements were considered important in the regeneration of Lord Street, the funding and commissioning process was linked to a large landscape scheme and the sustainable development of public art was not specifically addressed. Individual managers were supportive of the artists in their agreed objectives, but the system was not geared to prioritise sustainability over other considerations. Collaboration and inclusive team working was encouraged by the commissioner, but this was more difficult to apply successfully as the implementation progressed to the artists working with the main contactor on site. Resource use was partially in support of sustainable principles. Public safety, security and artwork vandal resistance was considered in depth, along with construction, site management, health and safety. Maintenance was carefully considered, but decommissioning was not. Cycling and low impact travel was not really considered, although efficiency of transport was practised where possible.


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PASA SECTION 3 COMMUNITY INVOLVEMENT LOW MEDIUM HIGH CRITERIA A] PUBLIC PERCEPTION & INFORMATION i. Promotion and Publicity- public informed about project 3 ii. Local community engagement 2 iii. IT/Community web- art information integrated with local community web 1 iv. Facility for community interaction 2 v. Community groups 3 vi. Interaction and evaluation 2 B] INCLUSION I. Access- proactively encourage use and provision for less able 3 ii. Support social cohesion, inclusion and equal opportunities 3 iii. Cultural heritage and identity 3 C] FACILITATION i. Community Consultation- actively sought/ establish steering group/ exhibition and feedback 2 ii. Community Workshop & Education programme 3 iii. Engagement with local businesses 2 SUB TOTAL SCORE 29

Community involvement The commissioner took a proactive approach to managing the generation and dissemination of information and the local community was encouraged to participate in some consultation activities. Web presence was limited and not interactive with the public or the artists. Exhibitions were held, with facility for public feedback. Community groups were encouraged to participate and some ongoing evaluation was carried out. Art workshops were held in venues close to Lord Street; access was considered a priority, as were social cohesion, inclusion and equal opportunities. Culture and local identity were reflected in the artworks. Community education beyond the actual artwork creation was not really considered. A design steering group was in place and presentations were made to local community representatives and feedback was responded to. A community workshop programme was developed for local groups with open sessions held for any interested adults, youth and families. Local businesses were involved in the overall Lord Street regeneration consultation and local suppliers/contractors were considered and used when appropriate.


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PASA SECTION 4 ENVIRONMENT & RESOURCES LOW MED HIGH CRITERIA A] BIODIVERSITY





SUB TOTAL SCORE 17 Environment and Resources The sustainability issues of environment and resources were not really considered in this project, and most aspects have not scored well. Biodiversity and natural habitation are not features of Lord Street that have been considered historically, and while the landscape garden is an unusual ‘green’ feature for an urban shopping street, the design is formal and the planting is maintained and replenished fairly intensively. The use of local materials and sustainable resources was not promoted over economy and the amount of energy and effects on communities, local economies or depleting effects on the environment was not monitored. The artists did manage the manufacture of most of the artworks relatively close to, and in, Southport where possible. Transport and travel was reduced. Sustainability of the environment and resources was considered, where possible, within the project constraints and, in particular, efficient design and material use. Maintenance was carefully considered and appropriately resolved. Deconstruction is inherent in most of the prefabricated and the engineered components. A significant part of the artworks could be reclaimed and recycled. There was no waste plan or monitoring. Materials and labour were not knowingly sourced unethically, but there was insufficient information to confirm this.


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The process of manufacture was fairly intensive and not monitored for energy use. Electrical systems, motors and pumps were included in the water feature. Stainless steel manufacture, resin grouts, glues, cement, ceramics – all used in the production of the artworks are produced through intensive and industrialised process. Whilst no unhealthy conditions were knowingly tolerated, sustainable healthy living and working was not monitored, that of suppliers was not known. Manufacturers were within their normal work practice. Community activities were mostly carried out in their own spaces or public buildings. PASA SECTION 5 SITE AND CONTEXT LOW MED HIGH CRITERIA A] APPROPRIATENESS



i. Renewable - artworks can be developed, changed or replaced 1 ii. Synergy to current events and other relevant initiatives 3 iii. Economic and creative opportunities beyond the project period. 2

SUB TOTAL SCORE 20 Site and Context The artwork sites were all in Lord Street, a location of historic importance and cultural significance in the centre of Southport. The artworks were specifically designed for each location with a long lifespan to match the longevity of the surrounding landscape. Whilst the artworks have been built for durability, their construction has not been considered to support every aspect of sustainable practice, maintenance, decommissioning and recycle-ability. The site is a very appropriate location for contemporary examples of arts and crafts in the spirit of the historic surroundings and the context of landscape regeneration and renewal was very supportive of the creative potential of a public art project. Renewal and continuing change was not catered for in the brief. The public art project was carried out in the context of current events, and the work included contemporary interpretation. The overall refurbishment of Lord Street has been considered in terms of economic regeneration of the area. The artwork project has developed some new creative skills amongst participants.


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PROJECT TITLE: TRANSITION - St Paul’s and Piper Hill Schools, Manchester BSF PASA Case Study: by Kate Maddison, Sept 2009 Commissioners, Clients, Artists, Funders, Awards Commissioner and Client: Manchester City Council (MCC), Building Schools for the Future Public Artist/ Creative Practitioner: Chrysalis Arts (artists) Funders: Manchester City Council as part of the Building Schools for the Future Programme Project Description Manchester City Council’s Building Schools for the Future (BSF) programme is in the process of refurbishing its schools. St Paul’s RC High School and Piper Hill High School (for students with special needs) occupied two separate sites in Wythenshawe and were being brought together as two schools that would share some facilities in new premises on the St Paul’s RC School site. Chrysalis Arts worked with the students and staff of St Paul’s RC High School and Piper Hill High School to create a new artwork to celebrate the two schools coming together and to symbolise their ‘transition’ to a new beginning. The artwork has been sited in the new school’s three-storey entrance atrium and is attached to a suspended aluminium rig that can be raised and lowered. The artwork is itself an eight-metre suspension structure of rope, wood and stainless steel, occupying the space above the reception area, but it can concertina into a compact volume on the floor to facilitate installation, maintenance and allow for its future renewal or removal. The artwork TRANSITION included an eight-metre helix spiral, a fundamental and dynamic form in nature, and the concept of a sailing boat was associated with travel, adventure, history and geography and the aspiration of making a journey by harnessing the earth’s natural power in a sustainable way. The helix spiral is made from rope and the wooden spars from the climbing frame that used to be in the Gym Hall at St Paul’s School. The ropes and twine are made from natural flax and cotton that have been spliced and knotted in a similar way to traditional boat rigging. The spiral banners symbolise the boat sails and have words printed on them that were written by students in different languages. The words are all associated with moving, transition and journey. The boat frame is made from stainless steel and the hull is a series of banners made from natural cotton hopsack with designs by the school students working with the artists: Van Nong, Kate Maddison, Rebecca Stoner, and the staff of both schools.


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The bow and stern bulkheads and tiller are assembled from salvaged woodwork and metalwork tools and a hand-made harp from St Paul’s School The additional artwork sampler was made for Piper Hill High School for display on their old premises during the year of the construction of their new premises on the St Paul’s School site. The schools’ occupation was staggered and theirs was scheduled for the second stage. Budget £30,000 Timetable Project development: MCC up to Oct 2007 and Chrysalis Arts involved during Oct 2007 Implementation: Nov 2007 – Nov 2008 Completion: Dec 2008 Decommission: None planned PASA SUMMARY Score CRITERIA SCORE TABLE CRITERIA CALCULATOR LOW MEDIUM HIGH ARTISTIC PRACTICE & APPROACH 21 HIGH up to 11 12 to 19 20 to 24 PROJECT MANAGEMENT 21 MEDIUM up to 14 15 to 24 25 to 30 COMMUNITY INVOLVEMENT 28 HIGH up to 17 18 to 29 30 to 36 ENVIRONMENT & RESOURCES 25 MEDIUM up to 17 18 to 29 30 to 36 SITE & CONTEXT 21 HIGH up to 11 12 to 19 20 to 24 OVERALL OVERALL OVERALL OVERALL PASA Benchmark 116 MEDIUM Up to 74 75 to 124 125 to 150

This is a full assessment of an artwork, project or activity with reference to the PASA guidelines five sections, each criteria listed in the sections has been given a score of either: 1=Low sustainability; 2=Medium sustainability; 3=High sustainability. The sum of the criteria scores gives a numerical PASA Benchmark (The higher the score the more sustainable the project) and an overall category of LOW MEDIUM or HIGH. The criteria scores and PASA Benchmark can be used to indicate where changes could be made to improve sustainability. To calculate the overall PASA % (PASA benchmark 116 /150) x 100 = PASA percentage 77 % PASA 77%


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SUMMARY The project displayed dedication to the involvement and participation of the two schools, their pupils and staff in the creative process and achieved highly in the sustainable objectives of the artistic approach and in the appropriateness of the commission to the site and context within which it took place. Planning within the management of the art project was linked significantly to the BSF construction programme and both schools’ education timetable. Decision-making therefore became more complex as a result and did not always prioritise sustainability issues. Community involvement was decided at the outset to be the schools’ community and not the wider local community. The underlying decision behind this was that the schools encompassed a large enough number of appropriate participants within the scope of the BSF art project and with the given time and resources available. Environment and resources were prioritised by the artists, but as with project management, the art project was linked significantly to the BSF construction programme, whose agenda did not consider environment and resource sustainability over other considerations. PASA SECTION 1 ARTISTIC PRACTICE & APPROACH LOW MEDIUM HIGH CRITERIA A] OVERALL



SUB TOTAL SCORE 21 Artistic Practice and Approach The artists chose to develop the artwork in as sustainable a way as they could within the given circumstances. The extent to which this was possible was dictated by the integration of the public art project within a major building programme that was already well underway and under tight financial and budgetary control. Professional development opportunities were not specifically identified but direct experience was gained. Collaboration was


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essential and team working was encouraged. The wider public was not directly involved, as the project was undertaken during school hours, where school pupils and staff were prioritised as the ‘audience’. There was continual artistic self-monitoring from all those involved and ongoing critique from the design steering group. The artwork was developed to a high standard of design and high quality of production. Many pupils and staff from both schools were significantly involved in the creative process and the artwork was designed to include their collective creative input. PASA SECTION 2 PROJECT MANAGEMENT LOW MEDIUM HIGH CRITERIA A] INITIATING AND COMMISSIONING I. Clarity of brief and project objectives, responsible use of resources 2 ii. Adequate time and budget to achieve sustainable objectives 2 iii. Supportive management, funding and commissioning process 3 iv. Collaboration where possible and inclusive team management 3 B] CONSTRUCTION & SITE PRACTICE I. Secured by design - inherently safe, vandal resistant and secure for the public and users 3 ii. Construction, site management, health and safety 3 iii. Sustainable briefing, management and audit policy 1 iv. Maintenance and decommissioning 2 C] TRANSPORT & TRAVEL I. Cycling & Walking - encouraged & cycle storage available 1 ii. Transport - low impact travel, proximity to resources 1 SUB TOTAL SCORE 21

Project Management The brief was clear in some aspects of sustainability but the initial project objectives did not pay particular attention to environment and low impact considerations. Time was dictated by the building programme, which could not be delayed by sustainability issues thrown up by the art project, although supportive management did, in practice, resolve many issues. Collaboration and team working were essential in these project circumstances.


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The resources used were very modest in scale with the impact of the artwork and the number of people involved in its creation, particularly as the artwork provided a vent for pupils and staff to express their hopes and feelings about this major schools’ relocation and upheaval in a work of collective creativity. Security was maximised by the positioning of the artwork out of reach and inside the school entrance by the reception area. The winch gear was protected with tamper-proof boxes. Adherence to health and safety procedure was a requirement of working on site with the main contractor. There was no specific sustainable briefing, management or audit policy applied to the art project. Maintenance was considered and will be undertaken for the lifespan of the artwork. Decommissioning was suggested (by the artists) to take place when the artwork was no longer appropriate or relevant to the schools and this could be achieved sustainably, although no actual time was identified or plan put in place to undertake the work with regard to sustainable principles. Travel was planned efficiently although it did not achieve low impact. Cycling and walking were mostly not practical for the project. Workshops were held in both schools and their facilities were made available for pupils and staff to participate in the art project. PASA SECTION 3 COMMUNITY INVOLVEMENT LOW MEDIUM HIGH CRITERIA A] PUBLIC PERCEPTION & INFORMATION i. Promotion and Publicity- public informed about project 3 ii. Local community engagement 1 iii. IT/Community web- art information integrated with local community web 1 iv. Facility for community interaction 1 v. Community groups 2 vi. Interaction and evaluation 3 B] INCLUSION I. Access- proactively encourage use and provision for less able 3 ii. Support social cohesion, inclusion and equal opportunities 3 iii. Cultural heritage and identity 3 C] FACILITATION i. Community Consultation- actively sought/ establish steering group/ exhibition and feedback 3 ii. Community Workshop & Education programme 3 iii. Engagement with local businesses 2 SUB TOTAL SCORE 28


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Community involvement Within the school the art project was well promoted and publicised but the community outside the school was not involved and were not invited to comment or interact with it. Community groups outside the schools did not participate directly. Within the school community, interaction was sought and evaluation proactively managed. There was consultation with a design steering group, which included representatives from both schools. Access was facilitated for school participants and cooperation between the schools was encouraged. There was sensitivity to diversity with opportunities for individual creative expression in a variety of ways. Both schools’ individual character and shared identities became an underlying theme of the work. The artists did originally hope to encourage educational activity related to the art project to integrate with school activity across the disciplines and across the schools, but response at St Paul’s was mainly from the art and library departments. Piper Hill were able to dedicate more school time to the art project, although the integration of the students from both schools together into shared workshops did not happen, despite the intention to do so from both schools at the outset. Local businesses were involved in some construction work related to the artwork. PASA SECTION 4 ENVIRONMENT & RESOURCES LOW MED HIGH CRITERIA A] BIODIVERSITY





SUB TOTAL SCORE 25


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Environment and Resources Biodiversity was not considered in the art project. Local materials and resources were sought and used where possible. Materials and manufacturing techniques that favour low embodied energy and support local economies were actively sought where possible. Materials and techniques chosen were inherently low maintenance and appropriate to the design and lifespan of the artwork. Efficient design solved the inherent difficulty of creating, installing and maintaining an artwork in a 12-metre high atrium. The construction is designed to be demountable. Reclaimed materials were used, and new and reused materials could be reclaimed. There was no waste plan in place during the process of creating the artwork or for its decommissioning. Nothing was knowingly sourced unethically but this cannot be verified. Use of natural materials: unbleached cotton, hemp and reclaimed pine with inherently low toxicity were prioritised but processes associated with stainless steel are high energy. Fabric printing and flame-proofing were used. Whilst the art project was linked to the new building of schools to provide new living/workspace for participants, these were not available for use during the public art project. Both schools’ facilities used were not designed to current standards and St Paul’s was in a poor state of repair and about to be demolished. The presence of building work at St Paul’s contributed to nuisance and the temporary arrangements around the school grounds limited the real possibilities for outdoor working. PASA SECTION 5 SITE AND CONTEXT LOW MED HIGH CRITERIA A] APPROPRIATENESS




SUB TOTAL SCORE 21


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Site and Context The art project was integral to the relocation of both schools to the St Paul’s site but the choice of location for the artwork was decided by (the artist) carrying out a detailed feasibility study on five possible options and presenting the pros and cons of each. This was a very informative process and the artwork location was decided by the steering group on the basis of the best results. The lifespan of the artwork was proposed to be durable but temporary, to encourage the school to renew it when TRANSITION was no longer felt an appropriate concept. The potential for creativity of the atrium location was excellent. The art project did provide a creative platform for individuals, pupils and staff to express how they felt about the schools undergoing this major change. It offered an opportunity for the schools to experience working together before they actually came together on the same site. The installation of a suspended frame in the ceiling of the atrium, to support the artwork, ensured that renewal of the artwork is possible and relatively manageable by the schools.

Documents

APPENDIX 4: Case Studies - · PDF fileAPPENDIX 4: Case Studies ... and the use of natural and non-toxic materials, ... Steve Gumbley: Shadowgraph machine and kinetic sculpture The