Outline planning application to South Cambridgeshire ... · Outline planning application to South Cambridgeshire Council ... and the Cambridge City and South Cambridgeshire District

December 2013

A new urban village for Cambridge

Land north of Newmarket Road, CambridgeOutline planning application to South Cambridgeshire Council

Public Art Strategy

Contents 1.0 Introduction p1

1.1 Aims and objectives

1.2 Background - the masterplan for Wing

1.3 The Landowner / developer

1.4 Enquiry by design

1.5 The design team: masterplanner and architect

1.6 The Lead Artist / Public Art Strategy Manager

1.7 The brief for the Public Art Strategy

1.8 The Public Art Steering Group

1.9 Social infrastructural affect

2.0 Artistic Opportunities p9

2.1 Vision

2.2 Sustainability target

2.3 Artistic alignment / families

2.4 Inspirational resources

3.0 Commissions p13

3.1 Artists in residence

3.1.1 Residency 1

3.1.2 Residency 2

3.1.3 Residency 3

3.2 Metamorphic Art

3.2.1 The identity of Wing

3.2.2 Kingsley Woods

3.2.3 Allotments, community growing and cooking

3.3 Iconic Art 3.3.1 Beta Square

3.3.2 The Market Square

3.3.3 Gregory Park

4.0 Delivery p31

4.1 Governance

4.2 Overall management

4.3 Planning process and indicative phasing plan

4.4 Artists’ selection process

4.5 Maintenance and de-commissioning and future responsibility. 4.6 Insurance and Health & Safety

5.0 Budget p36

"Public art is not an art form. It is a principle whereby the involvement and activities of artists contribute to the identity, understanding, appreciation, and enhancement of public places.

This is best achieved through collaboration with artists in the conception, design development and implementation of changes to the built and managed environment."

Maggie Bolt, PASW (Director of Public Art South West, a leading public art development agency)

Sanderson Sculpture Church Farm Garway Herefordshire

T 01600 750464 www.sanderson-sculpture.com [email protected]

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1.0 Introduction 1.1 Aims and objectives

This document is the Public Art Strategy in support of the planning application to create a new development named ‘Wing’ on the Marshall site north of Newmarket Road.

The aim of the Strategy is to enhance the value and identity of Wing by providing artistic opportunities which will enrich people’s experience of the built environment. Specially commissioned works of art and community art activities will not just provide great experiences for individuals, but will be designed to create a sense of community in Wing and to increase social interaction.

1.2 Background - the Masterplan for Wing

The whole Airport site was identified for redevelopment in the 2003 County Structure Plan, and the Cambridge City and South Cambridgeshire District core strategies subsequently allocated the land for up to 12,000 houses. Following extensive technical and viability studies, Marshall has decided to release the allocated land north of Newmarket Road, known as ‘Wing’, to create a new vibrant mixed community of up to 1,300 homes, which will enhance Cambridge and in particular the communities in the east of the City of which the airport is a long-established part.

Marshall will retain the Airport at its current location. Marshall want Wing to be the best example of a new development on the edge of Cambridge in terms of proximity to Cambridge, the Science Park and the rural countryside beyond –a place where people choose and are proud to live.

In January 2013 a three-day series of community planning workshops was held. This event attracted over 1,100 people, including local authority members and officers, other community leaders, Marshall employees and neighbouring residents, allowing key stakeholders to have their say in the process and to share valuable information which contributed to the emerging proposals.

On this basis the design team has continued to develop the masterplan. Their vision for Wing is that it will contain the balance of homes, commercial and community facilities which one would expect in a thriving village or urban neighbourhood. The built area will be urban in character, but have ready access to countryside both within and surrounding the development boundaries. It will be the size of a substantial settlement and will be an integral part of the City of Cambridge.

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Wing Illustrative masterplan 1.3 The Landowner / Developer

Marshall has great experience in fostering art and design, and Marshall and the project team believe in the value of public art. It is perhaps unusual that the landowner is a product manufacturer, employing some 4500 people with a wide range of skills which cover the whole process from concept development to the sale of products in its own showrooms.

Marshall has also commissioned art and performance events, and recently hosted the 2010Regional Arts and Business Awards ceremony.

The company intends to remain in operation adjacent to Wing, relocating and expanding its enterprise on airport land to the south of Newmarket Road, where its head office is already located in a Grade II listed Art Deco building. They also intend to retain the commercial, community and public open spaces in Wing, and to establish a management company or community trust to manage the spaces. This will also include local representatives and residents. Marshall will therefore take a close interest in the development of the Public Art Strategy.

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1.4 Enquiry by design In January 2013 members of the local community including residents and representatives from a wide base of elected public officers were invited to an open forum lead by the Prince’s Foundation as an independent advisor and chair for the event. This was a three day event in which the idea of Wing was publicly launched and discussed. The key guiding features of the site and principles of the design of a new community of this scale were introduced by various speakers and developed in teams by the people attending. The Statement of Engagement and Design and Access Statement provide more detail on this exercise and the outputs.

The success of this meeting led to continued energetic development of the Masterplan by the design team, whose members include the Architect, Landscape architect and many other development consultants. One of whom was Sanderson Sculpture who was appointed Lead Artist in February 2013, was then introduced to the County and City Public Art Officers and consequently the Public Art Steering Group began its meetings in March.

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1.5 The Design Team: Master-planner and Architect

The design team is led by Pollard Thomas Edwards architects (PTEa), who specialise in the creation of new neighbourhoods and the revitalisation of old ones. Their projects embrace the whole spectrum of residential development and other essential ingredients which make our cities, towns and villages into thriving and sustainable places: schools and nurseries, health and community centres, shops and workspaces, places to recreate, exercise and enjoy civic life.

www.ptea.co.uk

A key member of the Design Team are landscape architects Robert Myers Associates, a landscape architecture and urban design consultancy founded on design excellence and an attention to detail, informed by a wide experience of high profile projects and a sound knowledge of the characteristics and qualities of materials and plants.

www.robertmyers-associates.co.uk

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1.6 The Lead Artist / Public Art Strategy Manager

www.sanderson-sculpture.com

Marshall has appointed Sanderson Sculpture Ltd as the Public Art Strategy Manager and its director Matthew Lane Sanderson as the Lead Artist. Matthew Lane Sanderson has 15 years’ experience of creating and facilitating public art. This has included engaging with communities, and designing, manufacturing and installing commissioned artwork in both urban and rural locations. Matthew also has experience of lead artist roles, of making public presentations, of working with contractors and handling artists’ agreements. He will therefore be able to provide support to the appointed artists throughout the process.

The Lead Artist and Marshall will co-manage the Public Art Strategy from conception and through the delivery phases. They will manage the events and installation of physical features both within the new site and in the adjacent communities. Sanderson Sculpture will be an integral design partner in the Design Team, working closely with master-planner Pollard Thomas Edwards architects and landscape designer Robert Myers Associates. They will also consult directly with all relevant parties to ensure that public art is integrated into the development from the earliest stages.

Sanderson Sculpture’s objective will be to chair the Public Art Steering Group through:

• Phase One – the development of the Public Art Strategy • Phase Two - the selection and appointment of artists • Phase Three - the delivery of the commissions

Also see also Planning Process at paragraph 4.3, for indicative timings.

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1.7 The brief for the Public Art Strategy

Marshall has spelled out its wishes to create a socially and environmentally sustainable urban village of which the family-owned company, potential new home owners, SCDC, and the City as a whole can be proud. Marshall has therefore appointed a design team which believes in the social value of art projects which engage local people throughout the development process.

This Public Art Strategy proposes to engage with local communities and to build art into the infrastructure of the Wing development. The construction of the various phases of the development and the relocation of existing manufacturing facilities is projected to take a minimum of ten years. There are up to 1300 new homes planned and therefore, on the advice of South Cambridgeshire District Council, the guide figure of £500 per home has been used to calculate the budget for public art at £650,000. In order for this capital to benefit the new and surrounding communities it is vital that local people are involved in the whole process.

The team is sensitive to the potential impact of Wing on local residents, and is keen to use the public art programme to share the benefits of the development with neighbouring communities. Success will depend on providing opportunities both for new residents and for established local communities to engage throughout the entire build programme. This may take the form of contributing towards temporary or permanent physical artworks, one-off events or ongoing activity-based projects which directly engage local residents. Emphasis will be placed upon community activities which generate ongoing stimulation and interaction. Ideally, these activities should create a forum for learning, an opportunity to build social networks, and ongoing activities for all ages and interests.

This will be achieved by commissioning artists to provide a range of opportunities for people to engage with each other, the artists and the site, and to share thoughts, experience new challenges, and build relationships.

The various commissions which make up this strategy have been carefully developed by the Public Art Steering Group. Each commission is designed to provide opportunities for people from diverse social groups and with a diverse range of skills. Contributors to the strategy include local residents, City and County public art advisors, walking and cycling group leaders, performing arts advisors, parish councillors, social development officers, architects, artists, Marshall representatives, and the Lead Artist. The building of the School is planned for 2017-19. The public art strategy for the school within the bounds of Wing will be written and applied for separately when the ownership and management of the school has been decided. The art strategy will be submitted with the reserved matters application.

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1.8 The Public Art Steering Group In February 2013 an open invitation was sent out to all parishes, councils, societies and groups adjacent or aligned to the Wing site, calling for interested parties to send delegates to attend the first of four monthly Art Steering Group meetings chaired by the Lead Artist, Matthew Lane Sanderson. There has been a very enthusiastic response, both in terms of attendance at meetings and in input from local residents, Council representatives, social leaders, local artists and county and city public art advisors. This has provided the first opportunity for people to engage with the artistic element of the Wing development.

This document is the product of those team efforts. Three ‘families’ of commission opportunities, described in Sections 2.0 and 3.0, have been conceived by the Public Art Steering Group: they have been designed as the most effective way of involving the whole community in the creative process, both today and in the future.

When the strategy is implemented, representatives from the Public Art Steering Group will be invited to aid in the selection of the commissioned artists, and in overseeing the art activities throughout the build program, providing the maximum opportunity for local people to be responsible for the creation of the place where they live.

The PASG will be reviewed through the phases of development and new members invited as new residents move in. Each of the commissions includes a proportion of community engagement and therefore new residents will be involved and invited to join the group when appropriate. The first residency will set the precedent for this. See also page 34 [4.1.2] For further guidelines

From left to right; Paula Bond (SCDC - Public Art Officer), Chris Thomas (Cambridge Open Studios), Sophie Ellis (Architecture student), Robin Heydon (Cambridge Cycle Campaign), Rose Wood (Abbey Resident), Matthew Lane Sanderson (Lead Artist – Sanderson Sculpture), Manuela Hubner (Cambridge Artist), Simon Martin (Teversham Parish Councillor), Emma Fletcher (Marshall – MCAP), Jenny Parr (Fen Ditton Parish Councillor), Mart Barrass (Cambridge Architect), Michael Corley (Norfolk and Norwich festival Bridge) and Rachel Wood (Sanderson Sculpture). Also, but not pictured- Margaret Starkie (Clerk to Fen Ditton Parish Council), Janny Kent (Cambridge resident and teaching Assistant), Tim Ward (Councillor for Arbury), Hilary Cox (Collaborative artist), Lindsay Davies (Horningsea Residents Association), Matt Ray-Brown (Actor, Hammer and Tong Productions), Mel Fraiser (Sculptor), Lynne Strover (Strover Gallery), Ben Quash (Fen Ditton resident and Professor of Art & Theology at Kings College, London) and Marie–Luise Critchely-Waring (Cambridge Architectural Association).

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1.9 Social infrastructural affects The team is sensitive to the potential social and infrastructural impact of a development like this on the existing neighbouring communities. The Health Impact Assessment appended to the Environmental Statement gives this greater consideration. Marshall is therefore keen to use Public Art intervention to aid transition and deliver community benefits to new and existing residents. Success will depend upon considered and consistent opportunities for new residents and established local communities to engage throughout the entire build program. This may manifest as the opportunity to contribute towards temporary or permanent physical works, one off events or ongoing activity based projects directly engaging residents adjacent to the site.

Emphasis will be placed upon those community activities that generate ongoing stimulation and interaction. Ideally these activities will create a forum for learning, an opportunity to build social networks and propagate ongoing social activities for all ages and interests.

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2.0 Artistic opportunities

2.1 Vision

“There will be a need for a clear and strong identity and vision for the new community” (South Cambridgeshire District Council)

In all cases it shall be the aim of all involved, through the engagement of local people, to create opportunities and ‘things’ that will either provide experience of, or tangibly represent, the very best contemporary art, craft and design practices. Thereby instilling value, and longevity in the identity of Wing.

Critical Artistic Objectives

• Create a unique identity to Wing • To Commission Artists and Designers with a Cambridge connection, stimulating and

supporting the local creative community. • Encourage the connection of communities. • Propagate the passion for growing. • Celebrate the water-courses. • Create unique pedestrian and cycle links. • Encourage the gathering of communities in central spaces. • Create artworks that are engaging for all age groups. • Create original features that are an attraction in their own right. • Foster ongoing art practices and exhibition opportunities for the future • Encourage stewardship for wildlife. • Mark the history of the site. • Provide artwork that functions in all seasons, weathers and light. • To create artworks whether semi permanent or permanent sustainably

2.2 Sustainability Target Consistent with the Waste Statement and Sustainability Statement, through all activities, whether planning, managing, travelling to site, design or delivery of Artworks it is a Primary Objective for all involved to reduce, reuse and recycle wherever possible. See also the selection criteria for applying Artists.

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2.3 Artistic alignment / Families Three key ‘families’ ||| ||| ||| of commissioning are proposed. All commissions include public engagement initiatives and must be original and site specific.

This shall be achieved by the appointment of Artists creating sustainable and contemporary art. Who shall investigate, contact, debate, collaborate, design and deliver the following;

2.3.1 In Residence

Firstly the engagement of an Artist/s “in residence” whose task it shall be to develop the relationships with the local residents already reached by the lead artist and the Public art steering group. To develop these relationships into practical exercises / workshops / ongoing groups, that will foster cultural and historical meaning, engage people in new or existing ways, and immerse participants into the process of designing articles permanent or temporary. A wealth of information and contacts has been collected to hand over to the appointed artist/s by the PAS Group. They shall also work closely with the lead artist and PAS Group but shall have the freedom to research and take advantage of opportunistic events that may occur.

2.3.2 Metamorphic

Secondly; the ‘transformation of the ordinary’. This commission/s will focus upon Art objects with a dual or utilitarian function. These “metamorphic” commissions will maximise the effectiveness of the s106 budget allocation by looking at the opportunities to pair them alongside existing infrastructural budgets as listed in the original art brief devised by the Design Team. These Artist/s will also be encouraged to engage with the public through open workshops and additionally to engage with company employees by way of researching the facilities present and then designing, co- manufacturing and co- delivering the described utilities throughout the development. These activities will provide opportunity for public and company staff to engage in the development and literal creation of their own future built environment.

2.3.3 Iconic

Thirdly; the commissioning of stand-alone “iconic” artworks. The target of an Artist/s applying for this commission/s shall be to use public engagement of their own invention to inform the design and creation of major features / landmarks and focal artworks within the development. They may also be co-budgetary as in section two and therefore certainly work closely with the landscape and architectural master-planners. The object/s must be interactive, maybe functional, and certainly form a strong site specific link to the past and future of the site and therefore enhance daily life and experiences within the development.

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2.4 Inspirational resources. A wealth of inspirational resources exists to help lead and inform the commissions, of which a sample is provided here.

2.4.1 Architecture

The Wing development is contained within the area to the North of Newmarket Road as shown in the Masterplan. To the south of Newmarket Road the Airport will continue to operate and has recently opened a new terminal offering access to European destinations. The most significant architectural feature along the road is;

“The grade II listed control tower at the airport is of national importance. However, the extent of surrounding development has diminished the impact of the building on the road. The remaining group with the Airport Hotel, No. 1 Hangar and the open approach bounded by the low front wall remain. There is opportunity within the redesign of the Newmarket Road and proposed boulevard to better reveal the significance of the control building, or in other works to increase its prominence in the street scene.“ Wing heritage baseline assessment, Technical Appendix D, Environmental Statement.

2.4.2 History

The north eastern fields upon which the Airport now resides was originally farmland and was acquired in 1937 by David Marshall after the original Airport site was compulsory purchased by the City Council for the now Abbey housing estates.

Marshalls is a long-standing family owned company in the business of design and manufacture of auto motive and aeronautical mechanics. It has a fascinating history of extraordinary achievements set against a rapidly changing industrial and social backdrop spanning a century.

“The surrounding landscape is characterized by the increased suburban expansion of Cambridge that has taken place since the mid 19th century and the construction of Newmarket Road cemetery in 1902, Ditton Fields estate in the 1930s and the establishment of Marshall’s Airport and its associated buildings in the same decade.”

“World War II There is a WWII pillbox on the site, to the north west of the park and ride site, which is an undesignated heritage asset identified in the County’s Historic Environment Record (grid ref: TL 4919 5962).” Wing heritage baseline assessment, Technical Appendix D, Environmental Statement.

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2.4.3 Archaeology The site for this development has a history of fascinating archaeology, and adjoins the ancient Fleam Dike, see Technical Appendix D of the Environmental Statement “The significance and importance of the Late Iron Age and Early Roman settlement and pottery production site at Greenhouse Farm cannot be understated,

With respect to the central, northern and eastern parts of the PDA, evaluation has taken

place in the central and northern only. The significant and regionally important Iron Age and Roman site at Greenhouse Farm highlights the potential for finding further significant archaeology of these periods in these areas.” Archaeology study

2.4.4 Ecology

“Of the existing landscape features the fragments of the historic field boundaries include a ditch running east/west that follows a pre-enclosure alignment. This feature is of some local value and its retention and incorporation in to the proposals should be considered.” Wing heritage baseline assessment, Technical Appendix D, Environmental Statement.

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3.0 Commissions

The Artist opportunities are as follows

3.1 Artists in Residence

Three residencies will be awarded over the timeline of the development to lead engagement exercises with local people throughout the development phases of Wing.

Residency Guidance

Each residency will be advertised with a ‘call for expressions of interest’ from locally linked and regional creatives, and responders to this shall make up the ‘long list’. From this the Art Steering Group will compile a short list and these people will then be invited to submit a written statement of intent for the residency. The Artists will be interviewed and appointed according to merit and originality. It will be important to provide evidence for; conducting previous engagement exercises, experience of working with other individuals, and creating site-specific original work.

Appointed artists will receive an open guiding brief allowing them to explore the context, community and client fully without any preconceived idea of the outcomes. The Brief will then be developed by the Artist with the support of Sanderson Sculpture. The research, planned engagement exercises and brief will then be presented to the Steering Group for comment and approval prior to their public work commencing. The Artists will then liaise regularly with the Public Art Steering who will also be acting to support and compound public interest in the activities where appropriate. Thus ensuring that Marshall, appointed Constructors and the other Commissioned Artists are able to work in co-ordination, folding work into the timeline of the build. Each Artist will keep records of all of the activities and make these available as the activities occur. Information from all commissions will be shared between all the Artists as they are commissioned via an online database managed by Sanderson Sculpture. The Lead Artist will ensure that this information is included in the brief for each successive commission, balancing the uniqueness of each proposal yet maintaining the coherence of the overall vision. It will be possible for an Artist/s to engage with other local organizations within the city such as University Departments, organisations and businesses where relevant.

Sanderson Sculpture will provide support to these Artists in planning and delivering all engagement activities.

Residency Budgets for 1, 2 & 3.

Combined contingency allowances £5,500

Combined Management fees £8,000

Artist in Residence Total £95,000

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3.1.1.The First Artist in Residence

The first Artist in Residence will be appointed as soon as outline planning permission for the development has been obtained. Applications may be from existing artists or arts initiatives working in the local area with relevant communities. Existing arts initiatives may wish to extend their current work. Artists are required to interact with local communities in order to support the early stages of the development of Wing. Artist/s will be issued with an open brief allowing them access to the development site and possibly to company employees. They might find sources of inspiration in the archaeology, history, ecology and future of the site. An on-site exhibition space / workspace will be made available by Marshall during the residency. The residency will be expected to have a final outcome of a semi-permanent nature , which might consist of a piece of fine art, textiles, planting, performance, carnival etc… The first residency will be for 24 months. The artist would be expected to commit to one day a week.

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Budget for Residency One

Artist in Residence monthly fee £600 over 24 months £14,400

Activities and events budget £1000

Concept Development £1000

Budget for exhibition, performance or semi permanent art work £4600

Contingency £1500

Management Fee £2000

Total £24,500

Programme

Artist appointed April 2014

Research and plan development June 2014

On-going residency work starting July 2014

Submission of plan for artwork to steering group April 2015

Conclusion June 2016

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3.1.2 The Second Artist/s in Residence

The second Artist in Residence is to be appointed in the mid-build stage. They will engage with Wing’s new resident community and with residents living near Wing. Applications may be from existing artists or arts initiatives operating in the local area involved in relevant work with local communities.

It will be essential for applicants to use original methods to encourage participation and to develop opportunities for bringing together existing residents from nearby communities and new Wing residents.

The artist(s) or arts initiative will be issued with an open brief allowing them to freely interpret the spaces and people that they meet. The collected resources of the first residency and other commissioned work will be made available including details of archaeology, history, ecology etc. There will be a workspace / exhibition site within Wing for the duration of the residency. A final outcome will be expected, of a permanent or semi-permanent nature: this could be a piece of sculpture, textiles, planting, festival, show, performance, carnival etc.

The second residency is for 24 months. The artist would be expected to commit to one day a week.

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Budget for residency two




Budget for exhibition, performance or semi permanent art work £4600

Contingency £1500


Total £24,500

Programme (suggested)



On-going residency work starting July 2017



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3.1.3 The Third Artist/s in Residence

The third Artist in Residence is to be appointed in the mid-build stage. They will engage with new Wing residents and with residents living near Wing. Around half the new homes in Wing will now be occupied, and applicants will be expected to engage fully with the new Wing community. However it will be essential that this community is not considered in isolation and those opportunities should be sought for bringing together existing residents from nearby communities and new Wing residents.

The artist(s) or arts initiative will be issued with an open brief allowing them to freely interpret the spaces and people that they meet. The collected resources of the first and second residency and other commissioned work will be made available, including details of archaeology, history, ecology etc. There will be a workspace / exhibition site within Wing for the duration of the residency.

A final outcome will be expected, of a permanent or semi-permanent nature: this could be a piece of sculpture, textiles, planting, festival, show, performance, carnival etc. The budget for this third commission is higher than the budget for the first two residencies since there is the opportunity to develop an artwork with a good proportion of the new residents and since more locations within the development will be able to receive or host the planned outcome, artwork(s) or performance. The third residency is for 24 months. The artist would be expected to commit to one day a week.

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Budget for Residency Three




Budget for exhibition, performance or semi permanent art work £20,000

Contingency £2500


Total £46,000

Programme (suggested)



Ongoing residency work starting July 2020



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3.2 Metamorphic Artists

3.2.1 The Identity of Wing

The name of the new development has been selected for its reference to the Airport which lies at the heart of Marshall’s activities, and following on from an opinion poll of Marshall’s staff. This commission will be key in reinforcing the identity of the development. Typically this would be achieved by creating an iconic gateway feature, but the design team felt that a more effective approach would be to design and create an integrated range of utilitarian everyday objects. The Artist(s) will be asked to transform everyday items to reinforce Wing’s distinctive identity. This might include, and not limited to, seating, signage, street lighting, manhole covers, drain grilles, bike racks, litter bins, paving and boundary treatments. The elements selected for artistic design will need to be very carefully chosen and delivered strategically through the site. They must relate to the wider public realm design and larger public art commissions. Great care will be needed to avoid simply decorating the community. The Artist/s will need to work very closely with the Lead Artist, Lead Architect and whole design team in, ‘not enhancing’ but designing the character of Wing. They shall be required to propose reinforcement of its historic origins and celebrate its brand new future. These features may perhaps be a very subtle collection. Perhaps these would be treatments, objects or details that unconsciously underwrite the distinction of the site. The artist(s) will engage and consult with the community on the potential strengths and weaknesses of their ideas in aiding the creation of an identity for Wing, and through a shared design process develop attractive, useful and highly individual features. Research and development will begin in the first phase of development so that items can be integrated into all the built spaces throughout the phases of development. The process will also require consultation with the Design Team and the Public Art Strategy Group, who have contributed much time in researching these features in other locations. As developer, Marshall is in the unusual position of being able to support the design and manufacture of these items, and senior representatives of the company have expressed a strong desire to be involved with the production of these features and to work closely with the appointed Artist(s). It has been confirmed by the County and City arts development officers that the base cost of such items would still be carried in the existing budget, so that the public art budget would only have to cover any extra costs in the design and manufacture of these items. This will enable the public art budget to stretch further and to maximise its impact.

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Artist Concept and collaboration fee £8000

Community engagement activities £3000

Detailed design Fee £4000

Capital budget permanent work £74,000

Contingency £7000


Total £105,000

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3.2.2 Kingsley Woods

The Northern Boundary of the site is already marked by a number of features that include an existing belt of trees, High Ditch Road, and the disused railway. The belt of trees is to be enhanced, increasing its variety and ecological diversity under the hand of the landscape Architects, Robert Myers Associates. Different sections of the woodland belt are to be treated differently, reflecting their location and role. The trees largely frame the northern ‘village’ area and along with the linear park make this group of housing an ‘island’. The trees and houses are to be set apart by lowered grassland strip and this will add to the feeling of a dry moat that will be crossed by the dozen planned footbridges that are seen on the Masterplan. There will be a pathway or Woodland Walk running through the woods from the western side of Wing to the sports ground and Park and Ride to the east. There will also be a cycleway and bridleway through the woods. This key natural barrier and green way for the public is an existing popular walking route, creating links with to the historic village centre of Fen Ditton and to the banks of the river Cam. It might also be extended to form a jogging circuit which might circumnavigate the whole site. This commission has the potential to include the following ideas generated by the Public Art Steering Group:

• Footbridges connecting the village island to the woodland belt • Artworks that may provide resting places • Viewpoint markers • An aerial walkway • Ecology enhancement features • Provision for future sculpture trail installations

It is not expected that all these ideas will be included, nor should the list limit the potential uses of the Woodland Walk. Artists may approach the brief in a functional or freely artistic way. There are many sources of inspiration available within the project team’s resources, such as the extensive ecological and archaeological reports. The abundant surrounding flora and fauna, or agricultural activity may also provide suitable starting points.

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Contingency £5000


Total £75,000

Illustration of Kingsley Wood, informal open space, ha-ha and the homes in the north of Wing

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3.2.3 Allotments, community growing and cooking

Wing will have not only an area for allotments, but there may also be homes arranged around courtyards with shared communal gardens. Spaces such as these will become focal points for the new residents, places to meet and work with neighbours. This commission is for a public art intervention in spaces such as these, which might link the spaces together and stimulate community activity around the process of growing. The artist will also be required to help forge links with the Wing school, which will also have a garden area available to them. Since this will necessarily be a long-term commission, the artist(s) will be asked to devise methods to ensure continued engagement with the community. There is a possibility that this commission could be extended to include not only growing food together as a community, but also in preparing, cooking and sharing food: the creation of communal bread ovens and cooking spaces, permanent or portable, could be explored. In order to receive the maximum interest in this community activity it is proposed that the commission should begin in Phase Three.

Artist activation and community projects £18,500

Management Fee £2,500

Total £21,000

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3.3 Iconic Artists

3.3.1 Beta square

This commission is to be based in Beta Square, the large urban square in a prominent location within Wing. Beta Square will be a green space of approximately 150m x 80m surrounded by buildings of up to five-storeys, and is comparable in size to New Square in Cambridge, which is 150m x 70metres. Beta Square will be an ‘urban parkland’ where people can meet, relax, picnic, play, and enjoy the open space. It will be a place where people of all ages and walks of life will spend time. The artist(s) will need to consider who these people might be, whether resident, visitor or Marshall employee, and their needs while they are in the park. The commission demands a strong site-specific link to the people using the park and/ or Marshall. It might be a piece of ‘land art’, using natural materials such as soil, rock, logs and water together with introduced materials such as concrete or metal to create an artwork out of the landscape itself. Alternatively, it could be an aerial artwork designed to be viewed from above. The commission could draw upon the collected resources available to the artist(s) listed in the text above. This commission will involve collaboration with Landscape Architect, Robert Myers Associates

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Budget for Beta Square





Contingency £7000


Total £99,000

Illustrative model of Beta Square

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3.3.2 The Market Square

The Market Square will be adjacent to the primary school, the Park and Ride, the community offices, the petrol filling station, retail outlets, and food store. It will therefore be a major pedestrian intersection, and a bustling and vibrant space which will attract a large number of people. The Market Square will form a vital space for Wing and its neighbouring communities. It will be a social hub and a meeting place. The commission for this area is open to interpretation. However, the work needs to be a community inspired design or artwork. Artists might consider the provision of a shelter where people can meet, eat or linger; an object which people can play with or upon; or the provision of a clock or time-based artwork. As a commission centred around people and place, the engagement exercises will be most important and demand an original and memorable sequence of events which should extend across the phases of the development. The artist(s) will be required to work on this commission in collaboration with the Design Team and the Public Art Steering Group from an early stage in the design process in order to correctly time their interaction with the local community and each phase of the development.

“Within a community space, the community is also the audience and people in the audience engage differently. Someone who lives directly on a public space with an art work will engage and have ownership of the work differently than someone who rushes through that space on his or her daily commute. Public art is for everyone, although people will react to it in different ways, one of the challenges is to develop a shared experience of good public art.” Public art supplementary planning document, CCC, section 5.

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Budget for Market square





Contingency £7000


Total £100,000

Illustrative model of the Market Square

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3.3.3 Gregory Park

The site has an existing manmade watercourse which crosses the site from east to west. This is being enlarged to create a linear park which will accommodate the main water attenuation feature, or canal, and create a major visual feature. The linear park divides the denser southern ‘urban quarter’ and the more open ‘village area’ which is surrounded by water. Two main road bridges cross this watercourse, as well as footbridges and the major cycle route which tracks alongside the waterway on the northern bank. To the west of the linear park the Woodland Walk begins, and to the east the linear park connects to the Park and Ride site. The artist(s) would be asked to hold workshops with local schools and communities as part of the community engagement activities. Inspiration may come from the ecology, geology and perhaps ‘movement’, as all forms of transport intersect here above the water feature. The workshops may explore possible concepts for focal features in social spaces and also increase awareness of the site’s history, in particular the Cambridge connection to water landscapes. There are height restrictions across the site due to airport safeguarding. However, the north-west corner of the site is furthest from the runway, and is the only area able to hold a feature of considerable height. Within the principal Design Team meetings it has been suggested that a ‘landmark feature’ be included in the development and there is potential for this within this brief. In designing such a feature collaboration would be necessary between the selected artist(s) and the project architect and lead artist who can both provide the necessary structural expertise to support such a design. As with all the open space briefs, collaboration with the landscape architect will also be necessary.

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Budget for Gregory Park

Artist Concept and collaboration fee £12,000




Contingency £10,000


Total £135,00

Illustrations of Gregory Park

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4. 0 Delivery

4.1 Governance 4.1.1 Introduction

The Public Art Strategy will be delivered through the arts commissions which will stretch over Wing’s construction period.

The delivery of the Public Art Strategy will remain the overall responsibility of Marshall. Sanderson Sculpture, as their appointed Lead Artist, will manage all the art projects from conception to installation, to ensure quality and commitment throughout and to support the work of those commissioned artists.

4.1.2 The ‘Public Art Steering Group’ (PASG) Led by Sanderson Sculpture, will be retained to oversee the development and delivery of the Public Art Programme and consultation with all relevant design team partners. The commissioning of public art for Wing will be an extended process that will span the timeline of the development. This period will require a committed number of individuals within Marshall, Sanderson Sculpture and the local community to maintain the PASG which will support and guide the Public Art programs. The current PASG will evolve as the phases of development are built out. New representatives will be sought and invited to join the PASG, for example, the new residents of Wing - an important part of this process but who are not currently available. The Steering Group currently has broad and relevant representation and shall at a minimum continue to include;

• Lead Artist (Sanderson Sculpture) • Client Developer (Marshall) • Local Businesses • Local Residents (parish councillors and unelected residents) • Young persons (* see below) • Local Authority (observation) The Group is a voluntary body. It may be necessary at times for the Group to seek expertise advice in the following areas: Local / Regional artists and arts practice, Materials & Technologies, Policies & Regulations. Should further advice from specialists be necessary then the appropriate fees would be made available from the projects contingency budget to enable an advisor to attend a meeting and provide the necessary advice and expertise.

The Steering Group would adopt and develop the following remit: • Assist with the process of creating a long list of Artists (where appropriate) • Contribute to and review the Artists’ briefing packs • Select the Artist (or shortlist where appropriate) • Support and advise on aspects of each projects implementation • Act as Project ambassadors • Support on-going connectivity with the Wing community • Safeguard the quality and integrity of the commissioned artworks • Provide a robust and transparent reporting service to District Council • Support an equal opportunity approach to all commissioning

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(∗ Young persons- It is the aim of the group to include young people throughout the development of Wing ensuring engagement in all the activities but also taking a decision making role in the commissions. These are the young people who maybe living in or next door to new homes on Wing by the time it’s built. It is very important to the growth, balance and health of the new community that a value of arts and culture be instilled within the community as the community builds in front of their eyes. An active role within the public art strategy for all ages, but especially the young, will make this goal more achievable.

4.1.3 Ownership / Financial control

In all cases, responsibility for the delivery of these projects will rest with Marshall. The budget for the Public Art Strategy will also remain with Marshall, rather than plot developers, to ensure that it is spent appropriately.

4.1.4 Observers

It is anticipated that through time the officers are likely to change but representatives of these bodies will be important team members: they will help to oversee the delivery of the Public Art Strategy and they will be invited to participate in the artist selection processes.

Melissa Reynolds SCDC (and/or delegated Arts officer)

City Council Nadine Black Cambridge

South Cambs Landscape officer 4.2 Overall Management

Marshall and Sanderson Sculpture will manage the delivery of the artists’ work with other key stakeholders, such as contractors and resident committees, to ensure a co-ordinated implementation of the Public Art Strategy.

Once planning permission is granted for Wing and the entire masterplan and commissions agreed by the Design Team, artists will be appointed to design detailed proposals for each commission.

The combined responsibilities of Marshall and Sanderson Sculpture are to: • Manage the development of the Public Art Strategy • Manage and renew the membership of the Public Art Steering Group • Create a program for delivery of the commissions through the construction phases • Manage the contractual process of employing artists • Managing the necessary planning consent process • Manage and support the project artists and the delivery of the artworks There will be full consultation and sign off with both Marshall and the local authorities for each public art project.

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4.3 Planning Process and Indicative Phasing Plan The Lead Artist will liaise with the planning authority on issues regarding the Public Art Strategy and ongoing delivery including the production of project specific delivery plans as required, and in accordance with the indicative phasing plan set out here.

Phase location starting Public art project 1 Local centre/market square/retail /petrol station 2017-9 2 Housing 2017-9 3 Gregory Park,school/allotments/sports grounds 2019 4 Community café /offices/ Beta Square / houses 2020 5 Housing / Gregory park / Kingsley woods 2021 6 Housing / Gregory park / Kingsley woods 2022 7 Housing / Gregory park / Kingsley woods 2023 8 Kingsley woods / housing 2024 9 Kingsley woods / housing 2025 10 Car businesses Artist in residence 1 Artist in residence 2 Artist in residence 3 Identity Kingsley Woods Growing Beta Square Market square Gregory Park

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4.4 Artist Selection Processes The broad range of commissions proposed in this strategy will require a variety of selection and appointment processes. Those processes are well established in public art and included the following:

a ‘completion’ – groups and individuals will be invited to submit designs which will be judged by the panel. This process allows for a wide range of abilities to be encouraged to enter the design process. Successful designs from inexperienced artists may be supported by the Lead Artist to ensure that they can be developed and realized successfully.

Long Listing – In the case of some of the commissions many parties will have suggestions for artists and designers that may be suitable. The Public Art Steering Group and the Lead Artist has already begun a contact list of potential artists. The long list would include artists from all backgrounds and from unlimited distances. A theme within the Wing design strategy has been to employ designers with strong links to Cambridge, but all entries will be considered. The long listed artists would be contacted and consulted on their availability and interest in the Wing projects.

Direct appointment – in some cases a single candidate from the long list may be approached to consider a commission and present their ideas to the panel. The panel may then directly appoint that individual.

Short Listing - from the long list the steering group will select a range of suitable candidates for a commission and invite those artists to prepare for and attend the interview stage. Full artist briefs will be given to each candidate.

Interview – Artists will be invited to attend and deliver a short presentation of their past work and their proposed approach to the commission. The interview panel would then select one or more specialists to go forward and develop their designs. The assessment criteria would be agreed in advance.

Appointment – selected artists will then be asked to consider an agreement including the appended brief and upon the signing of this agreement, each artist would then commence the development and public engagement exercises for the brief. The artist will be required to present their developed design to the panel for approval, before the manufacturing phase (individual planning applications may be needed for some structures).

4.5 Maintenance and decommissioning / Future responsibility Maintenance and decommissioning requirements are to be detailed each Artist and reviewed by the Lead Artist and Marshall before commissioning goes ahead.

All of the Public Art Commissions for Wing will be guided by this Strategy AND the individually crafted Briefs that each applicant will receive.

As well as detailing the objectives of each special commission the brief will in each case stipulate the requirements as regards design, manufacturing and installation (eg. process and liabilities via method statements and risk assessments). Successful applicants will also be asked to write a robust maintenance plan called the ‘OMM’ (Operations and Maintenance Manual). Assistance will be given by the lead Artist and Marshall in developing this in order to manage expectations.

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Artists will also be required to provide a life expectancy for the work/s, Guarantees of workmanship, copies of structural engineering drawings and proof of adequate qualifications for those parties manufacturing items such as welding certificates and licenses etc. A specific Decommissioning Strategy will be required for each piece of work. Particularly demonstrating the methods of extraction and recycling (in support of the sustainability statement) that may be used when the work is terminated, which will be at the end of its life expectancy.

4.6 Insurance and Health & Safety Also required will be proofs of insurance regarding public, private and employee cover for any Artist or subcontractor supplying work. Copies of these proofs will be needed before approval will be given for the works construction. In the future all semi permanent / permanent Public Art works will be owned by Marshall. The maintenance plan for each project will take this ownership into consideration. The possible insurance liability for each work will be disclosed / discussed during the design development and final design agreement period so as to allow Marshall control of this projected outgoing annual expense.

Within this document there will be sufficient information for the client to be able to extend the life of the work if they wish, Eg; technical information on working parts and electrical drawings etc.

All works designed and built will need to be carried out with regard to the relevant British and European Standards for each project. It will be the Artist/s responsibility to search for and either work themselves, or provide these standards as a ‘specification’ to any subcontracted supplier. Thus insuring the standards of health and safety are met at all times in the creation and delivery of the work. Method statements and risk assessments will be required before the installation of any works. In some cases, where Artists will be required to step ‘onto a constructors site’, then the relevant level of CSCS card will be required to gain access. Artists will be responsible for arranging their own tests and underwriting the costs for such insurances.

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5.0 Budget 5.1 Artist in Residency One Artist in Residence monthly fee £600 over 24 months £14,400

Activities and events budget £1,000

Concept Development £1,000

Capital budget for exhibition, performance or semi permanent art work £4,600

Contingency £1,500


Total £24,500

5.2 Artist in Residency Two





Contingency £1,500


Total £24,500

5.3 Artist in Residency Three





Contingency £2,500


Total £46,000

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5.4 Residency Budgets for 1, 2 & 3. Combined contingency allowances £5,500

Combined Management fees £8,000

Artist in Residence Total £95,000

5.5 Identity


Community engagement activities £3,000

Detailed design Fee £4,000


Contingency £7,000


Total £105,000

5.6 Kingsley Woods





Contingency £5,000


Total £75,000

5.7 Growing

Artist activation and community projects £18,500


Total £21,000

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5.9 Beta Square





Contingency £7,000


Total £99,000

5.10 The Market Square





Contingency £7,000


Total £100,000

5.11 Gregory park Artists concept and collaboration fee £12,000 Community engagement activities £3,000 Detailed design fee £8,000 Capital budget permanent work £94,000 Contingency £10,000 Management fee £8,000

Total 135,000

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5.12 Overseeing Project Management Time Project meetings & planning meetings

Management time in delivery of all above through project team meetings £20,000

5.13 Totals

Totals for Public Art delivery £650,000 5.14 Indexing The value of all commissions and fees relating to the Public Art Strategy will be indexed to the rate of inflation to maintain the scale and impact of the works undertaken.

Caveat Please note that all images, artists’ sketches and mock ups are indicative only of future projects. This document is prepared as part on an outline planning application.

www.wingcambridge.co.uk

Documents

Outline planning application to South Cambridgeshire ... · Outline planning application to South Cambridgeshire Council ... and the Cambridge City and South Cambridgeshire District