B
BOOK 4
LIVE PROJECT
DEDIC ATED TO THE MEMORY OF
ROB HENRY A TEAMMATE AND A FRIEND
CONTENT.
BOOK 1 BOOK 2 BOOK 3
BLACKBURN FESTIVAL OF MAKING MANUAL
6
INTRODUCTION.
BOOK 4 LIVE PROJECT
IMPRINT Edited and designed by LiveProjectBCC Arts Tower Sheffield, Western Bank, Sheffield, South Yorkshire S10 2TN Copyright Š 2015 by LiveProjectBCC All rights reserved.
First published in 2015 by LiveProjectBCC Arts Tower Sheffield, Western Bank, Sheffield, South Yorkshire S10 2TN Printed and bound in Sheffield in England by LiveProjectBCC.
Special Thanks to Claire Tymon, Carolyn Butterworth, Wayne Hemingway and all the lovely people in Blackburn who give their time.
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4
ENGAGE.
VENUES
WEEK 3
NETWORKS CREATIVE FRAMEWORK PHYSICAL OPPORTUNITIES COMMUNITY OUTREACH
TING
MEE
DER
HOL
KE STA
IEF
E-BR
PE D
T SKY
CLIEN
ng Layout & brandi
WEEK 4
Client M
eeting
BLAC
KBUR
Men
tor M
N VIS
ROJECT FOCUS Brief Research & Analysis
MILESTONES
MA
KIN
Blackburn Te a
m
Sheffield Social
Missed milestone
m
br
Ta pa
sN
ig
ht
ief
GS
&
g
WEEK 5
ES
str
eetin
at
SIO
eg
N
y
g tin ee M
Design Charette
Te a r to en M
Misc
Meeting
Output/ Product
Public Event
Concept & Strategy
de
IT
VER HANDO PROJECT TATION EN & PRES
LIVE PROJECT PRESENTATION
8
WEEK 6
LIVE PROJECT.
10
BRIEF.
12
STRATEGY.
14
STAKEHOLDERS.
16
PROCESS MAPPING.
20
KEY MEETINGS.
22
MEDIA PRESENCE.
24
ENGAGING PUBLIC.
6
INTRODUCTION.
7
Book I: Blackburn
LIVE PROJECT.
Significance The University of Sheffield School of Architecture (SSoA) is a pioneer in the field of socially engaged architectural education. At the heart of this ethos are ‘Live Projects’, an innovative teaching programme that has run since 1999.
The Team Members
8
ROLE:
Rob Henry
NAME:
Health & Safety Graphic Designer
ROLE:
Dave Gibson
NAME:
Ethics, Team Organiser
ROLE:
Alice Knoppek
NAME:
ROLE:
Rob Brimley
NAME:
Masterplanner Team Thinker
ROLE:
NAME:
Mark Cranfield
Live Projects are important in educating the architects of the future because, in contrast to more conventional teaching methods, Live Projects develop the collaborative and participatory skills that are essential to future practice. Live Projects establish an awareness of the social responsibility of the architect and can empower students to produce work of exceptional quality that makes a difference to the communities they work with.
Architectural Illustrator Team DJ
MArch (RIBA Part 2) and Taught Postgraduate (PGT) students work in groups to produce built, strategic and detailed designs for client organisations outside the University. In every case, the project is ‘live’, happening in real time with real people.
The Team Members
9
Route Planner Tea Caddy
ROLE:
Sam Austen
NAME:
Layout Designer Fashion Guru
ROLE:
Ben Hooper
NAME:
Client Contact Public Speaker
ROLE:
Joe Ingham
NAME:
People Illustrator The ‘Questioner’
ROLE:
Becca Goodson
NAME:
Team Writer Community Consultant
ROLE:
Abbie Humphreys
NAME:
Finance Official Photographer
ROLE:
Rob Henry
NAME:
Health & Safety Graphic Designer
ROLE:
Dave Gibson
NAME:
Book I: Blackburn
THE BRIEF. OUR TASK
Overview Blackburn Creative Capital was introduced as a project which aimed to enhance the presence of creative communities in the town of Blackburn. Working closely with Blackburn is Open, an organisation that works as part of Blackburn Council’s vision for revitalising the Town Centre, it aims to improve the night time economy, utilise under-used spaces and empty shops to host arts activities and improve the perception of the town centre. With this is mind, our brief sets out to develop a plan that shows the connectivity between social infrastructure and creative industry development to encourage collaborative programming across Blackburn Town Centre.
Process Initially, we agreed it was important to deconstruct the original brief in order to not only understand the project processes and outcomes, but also to ensure we were clear on what the purpose of the project would be for us and the client. The key phrases we took from the brief were: ‘..connectivity between social infrastructure..’ ‘..creative industry..’ and, ‘..collaborative programming..’ In anticipation of our first visit to Blackburn, we produced a list of questions that were sparked from breaking down the brief, which in the majority were about the role of Blackburn is Open in Blackburn and more specifically, its relationship to local communities and businesses in the town. We wondered whether our role would be to establish a new identity for the creative communities in the town, or whether it would be a case of just mapping physical locations and relationships between the list of venues that were written in the original brief? After visiting Blackburn and understanding more about the role of Blackburn is Open and our aims for the Live Project, we started developing a more evolved version of the brief. In Blackburn, we noticed that there were a large number of further opportunities for alternative venue use and involvement in the project and believed that this should be developed upon. We were also starting to gain a clearer understanding of key stakeholders in the project. It is from this extensive stakeholder mapping that it became clear there were two approaches to urban regeneration already in action in Blackburn, a top-down economic
10
regeneration strategy and a bottom-up cultural regeneration strategy. Both approaches were not only equally important but the success of each relied on the other half to be a success. Despite this and having very similar goals, it appeared that each strand of regeneration was working somewhat independently and therefore were missing potential opportunities to work in a more cohesive manner and achieve greater synergy in promoting urban regeneration in Blackburn. We saw Blackburn Is Open as being central to these islands of urban regeneration and cultural venues and businesses, desperately trying to knit them together. However, we identified that this current model was inherently unsustainable, should the force pulling all those separate pieces of the jigsaw together (Blackburn Is Open) be removed from this model, there is a strong possibility that the connections between economic and cultural regeneration would be lost, with potentially devastating repercussions for Blackburn’s overall regeneration strategy. Therefore, we aligned our brief to create a more sustainable model that brought together all the strands of regeneration in a more integrated system, working in a more cohesive environment without relying on the ‘keystone’ of Blackburn Is Open.
CURRENT MODEL
CULTURAL REGENERATION
ASPIRATIONAL MODEL
ECONOMIC REGENERATION
CULTURAL REGENERATION
ECONOMIC REGENERATION
BLACKBURN: CREATIVE CAPITAL LIVE PROJECT Introduce a Creative Framework Develop the Physical Opportunities Enhance Community Outreach CLAIRE TYMON
BLACKBURN CREATIVE CAPITAL
KEY: CREATIVE INDUSTRIES/VENUES/ BUSINESS AREAS OF ECONOMIC REGENERATION
?
? Reworked Brief
11
Book I: Blackburn
STRATEGY.
CREATIVE VENUES & BUSINESSES WORKING INDEPENDENTLY
INTRODUCE A CREATIVE FRAMEWORK
N THE COTTO EXCHANGE
MUSEUM & ART GALLERY
MAKING ROOMS
CENTRAL LIBRARY KING GEORGE’S HALL
BLACKBURN’S CREATIVE INITIATIVES ACT AS A CATALYST FOR THE NEW COHESIVE CREATIVE CAPITAL
Concept In this Live Project, through introducing creative networks, developing the physical opportunities and enhancing the community outreach, we are aiming to set in place the foundations and building blocks that set in motion this new sustainable model, to foster the Creative Capital. We will also be using the forthcoming Festival of Making (to be held in Blackburn) as the testing ground for our strategies and act as a showcase, and a catalyst for the future sustainable growth of Blackburn as the Creative Capital. THE SUSTAINABLE CREATIVE CAPITAL CONTINUES TO DEVELOP AND GROW
Growth of the Creative Capital
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WESLEY HALL
THE BUREAU
63/65 KING WILLIAM ST.
HAVE YOU HEARD ABOUT THAT GREAT PLACE IN BLACKBURN ...
WESLEY HALL MUSEUM & ART GALLERY
63/65 KING . WILLIAM ST
MONTHS
KING GEORGE’S HALL
? ?
CENTRAL LIBRARY
THE BUREAU
12
MAKING ROOMS
ENHANCE COMMUNITY OUTREACH
6 WEEKS (LIVE PROJECT)
ON THE COTT EXCHANGE
DEVELOP THE PHYSICAL OPPORTUNITIES
Creative Capital.
BEYOND
INTRODUCE A CREATIVE FRAMEWORK
Live Project Breakdown
13
Book I: Blackburn NAME:
Matthew Pilling ROLE:
STAKEHOLDERS.
Director EMPLOYER:
NAME:
Wayne Hemingway MBE ROLE:
Creative Director EMPLOYER:
Hemingway Design
Structure Creative Capital will be working alongside Blackburn is Open, a creative regeneration scheme funded by Arts Council England and backed by Blackburn with Darwen Borough Council. Entrepreneur and designer Wayne Hemingway MBE is the creative director of the organisation, and he will be a key stakeholder in the project for the entire duration. Our main client is Claire Tymon, who is not only a creative collaborator at Blackburn is Open, but also Cultural Planner at Blackburn With Darwen Borough Council. She holds one of the most important positions in the scheme as the ‘key stone’ to our brief, as she liaises directly between all stakeholders whilst also encouraging and presenting our project to relevant people throughout the process.
ordable and social design) OTHER ROLES & RESPONSIBILITIES: co- founder Red or Dead Creative Director @ Blackburn is Open On the Design Council Trustee Board, Design Council CABE Committee, Professor in The Built Environment Dept. @ Northumbria Unbiversity, Dr of Design @ Wolverhampton, Lancster ord, Fellow of Blackburn College & Regents University
MAIN EMPLOYER:
NAME:
Rebecca Johnson ROLE:
Head of Arts, EMPLOYER:
Blackburn with Darwen Borough Council
NAME:
Steve Caton ROLE:
NAME:
Director
Clare Turner
EMPLOYER:
ROLE:
Source Creative
Development Manager
OTHER ROLES & RESPONSIBILITIES: Graphic designer for Blackburn is Open Branding for Festival of Making
EMPLOYER:
Claire Tymon Director
OTHER ROLES & RESPONSIBILITIES: Fab-Lab (printing 3D model of Blackburn)
OTHER ROLES & RESPONSIBILITIES: Chair of ‘Creativity Works’
NAME: ROLE:
Placeshakers Making rooms Hack-Burn
Blackburn with Darwen Borough Council OTHER ROLES & RESPONSIBILITIES: Heads Blackburn Town Strategy regeneration projects Particular focus on The Cathedral Quarter
NAME:
ord
Placeshakers Blackburn with Darwen Borough Council
ROLE:
Deco Publique
Ed Matthews- Gentle
Blackburn is Open
OTHER ROLES & RESPONSIBILITIES: Senior Design Research Associate @ Imagination, Lancaster Institute for Contemporary Arts, Produced cultural events with Hemingway Design
ROLE:
OTHER ROLES & RESPONSIBILITIES: (Creative led regeneration project) Trustee @ Mid Pennine Arts Director @ Placeshakers CIC
Creative Producer EMPLOYER:
NAME:
Creative Industries De EMPLOYER:
Lancashire County Council OTHER ROLES & RESPONSIBILITIES: Representing and supporting the creative and digital businesses of Pennine Lancashire
Stakeholders
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GROWTH & PROSPERITY DEPARTMENT
CREATIVE LANCASHIRE
BLACKBURN CATHEDRAL QUARTER
STEPHEN CATON (GRAPHIC DESIGNER)
ED MATTHEWS-GENTLE (CREATIVE INDUSTRIES) BLACKBURN MALL
ELENA KATE GIFFORD (DECO PUBLIQUE) MATT PILLING (PLACESHAKERS)
RIVEN REGENER IALLY D ATIO ERC N MM CO
CULTURALLY DRIVE TIVE & N RE CREA GEN ER AT IO N
REBECCA JOHNSON (ARTS MANAGER)
CLARE TURNER (DEVELOPMENT MANAGER)
WAYNE HEMINGWAY
CLAIRE TYMON
Camera
ND BOU
RE
Obscu
ra
WESLEY HALL
ON THE COTT E EXCHANG
63/65 KING . WILLIAM ST
MAKING ROOMS
MUSEUM & ART GALLERY
’S
KING GEORGE HALL
THE BUREAU
CENTRAL LIBRARY
MUSIC SCHOOL METHODIST COMMUNITY
BLACKBURN FILM CLUB
ARC PROJECT FAIRGROUND
BLACKBURN PUBLIC RE:SOURCE
MUSIC SPACE LANCASHIRE PUBLIC
Stakeholder Diagram
15
BLACKBURN FESTIVAL LEGACY EXISTING TEMPORARY
Book I: Blackburn
LEGACY
PROCESS MAPPING.
BLACKBURN VENUES NETWORKS CREATIVE FRAMEWORK PHYSICAL OPPORTUNITIES COMMUNITY OUTREACH
INPUT
The timeline opposite summarises where we have invested the six weeks of the project. 16
Research & Analysis
INPUT
Blackburn Sheffield
Missed milestone
Misc
Social
Output/ Product
Design Charette
Concept & Strategy
LEGACY
TH PROJEC TATION EN & PRES
Following this, we continued with brief development whilst also preparing for a public consultation event. Introducing this as the ‘Making Session’, we used a vacant property in Blackburn Town Centre to host a series of ‘making’ workshops, encouraging members of the public to engage with the idea of their town as a Creative Capital by creating coloured paper ‘sheds’ as representation of the creative industry that they would like to see in Blackburn during the Festival of Making. The week following this was spent collating information and preparing outcomes for the final presentations in Blackburn and Sheffield.
Brief
MILESTONES
LIVE PROJECT N PRESENTATIO
We followed this with a meeting with Wayne Hemingway, one of the key stakeholders in the project. Joining him were others who he currently and has previously worked with on creative projects, and who happen to be assisting him with the Festival of Making. This meeting was key, as it communicated to us Wayne’s aspirations for the Festival, whilst also showing where and how we could begin including this into our proposal.
PROJECT FOCUS
Public Event
The first two weeks of the Live Project were spent primarily doing research about Blackburn and about Blackburn is Open, alongside initial client and stakeholder meetings to help with brief development. Visiting Blackburn during the first two weeks also assisted with understanding, as we were able to experience the town for ourselves and contextualise the initial research that we had already undertaken.
LEGACY
Meeting
Process The project has continually evolved and developed throughout the duration of the project. The brief, especially, has been one of the main factors effecting change in the outputs of the project, as this has been consistently updated and reevaluated after almost every meeting.
PROJECT FOCUS Brief Research & Analysis Concept & Strategy Output/ Product Misc
Black
She
eeti
ng
g
WEEK 2 UR
N
M en tor m
older mapp in Stake h
I N T RO C L IEN T
& B R I EF
WEEK 1
AC
KB
BLACKBURN
BL
FESTIVAL
TR
IP
TO
LEGACY EXISTING TEMPORARY
g
tin
ee
rm
to
LEGACY
en
M BLACKBURN VENUES
WEEK 3
NETWORKS CREATIVE FRAMEWORK PHYSICAL OPPORTUNITIES COMMUNITY OUTREACH
TING
MEE
ER OLD
KEH
STA
BRIEF
E DE-
YP NT SK
CLIE
ng
di Layout & bran
WEEK 4
Client M
eeting
BLAC
KBUR
Men
tor M
N VIS
MILESTONES
MA
KIN
kburn
Te a
m
Missed milestone
Social
Ta pa
sN
ig
ht
ief
&
ng
WEEK 5
ES
str
eeti
at
SIO
eg
N
y
ee
rM
to g tin
Design Charette
m
de
br
en
Public Event
Te a M
Meeting
effield
GS
IT
OVER T HAND PROJEC TATION EN & PRES
LIVE PROJECT PRESENTATION
WEEK 6
17
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ENGAGE.
Community Engagement
For the duration of the Live Project, one of the most important resources for the Creative Capital has been community engagement. This has taken on a variety of forms, including regular meetings with our client and alternative meetings with key stakeholders (and other stakeholders found through further networking) and also online presence. In addition, Creative Capital has attempted to interact directly with the community in Blackburn, through visits to the College, talking to people around the Town Centre and involvement workshops at the ‘base’ shop we were able to set up on Town Hall Street during half term.
19
Book I: Blackburn
KEY MEETINGS.
Sam Austen LIVE PROJECTS
Year 5
Robert Henry
Mark Cranfield
LIVE PROJECTS
LIVE PROJECTS
Year 5
Year 6 Carolyn Butterworth LIVE PROJECTS
Mentor Robert Brimley
29/09/15 Arts Tower, University of Sheffield Initially, we were introduced to the client, Claire, and she was able to meet the members of the Creative Capital team. She summarised the brief and explained to us what she hoped would be the outcomes of the Live Project.
LIVE PROJECTS
Joe Ingham
Abigail Humphreys
LIVE PROJECTS
LIVE PROJECTS
Year 5
Year 5 David Gibson LIVE PROJECTS
Year 6 Rebecca Goodson LIVE PROJECTS
Year 6
Year 5
06/10/15 Blackburn Museum During the team’s first trip to Blackburn, we met at Blackburn Museum with Claire Tymon, Clare Turner, Matt Pilling and Rebecca Johnson. This formed an initial discussion regarding the direction of the project, any important information that the client, Claire, felt it was necessary that we knew about the past and future economic regeneration of Blackburn. Matt briefly introduced us to the ‘Making Rooms’ and its relationship with Blackburn is Open, and Rebecca kindly gave us a brief foreword about the Museum. 13/10/15 13 Town Hall Street, Blackburn A smaller group from the team took another trip to Blackburn for a meeting with Wayne Hemingway, Ed Matthews-Gentle, Elena Gifford, Matt Pilling and Steve Caton. We prepared the space we had by pinning up our work up and setting up space to sit and have an informal discussion. By listening to the experience of Wayne and Elena, we were made aware of concepts, organisations and ideas of funding that we previously had not come across, which was of great value to us. Wayne was clear in what he wanted out of the project which we took on board and understood where this fitted into our development of the brief. His passion for the town was inspiring and it made us really excited to take the project forward. 06/10/15 Visit to Blackburn
20
13/10/15 Meeting at 13 Town Hall Street
21
Book I: Blackburn
MEDIA PRESENCE.
Blog and Twitter
Throughout the Creative Capital Live Project, the team have been regularly keeping track of the project progress through the online platforms Wordpress and Twitter. Keeping a blog of the project has meant we have been able to document not only the key milestones, including client meetings, trips to Blackburn and public consultations but also keep readers updated with what has been happening on our studio days and how the project has evolved throughout the six weeks. Our Twitter presence has been key in networking with other organisations and communities via the internet, meaning that we have gained followers and community involvement from important stakeholders retweeting our tweets. It has been a quick and efficient way of communicating our key events and photographs, whilst also promoting the blog. The team has used the hashtag #BBCC (Blackburn Creative Capital) and also #LPShef.
www.blackburncreativecapital.wordpress.com
@BlackburnCCLP
Examples of blog posts
22
Examples of Twitter posts
23
Book I: Blackburn
ENGAGING PUBLIC. e k a M
u o Y val
i t s e F e th
. . . t n Wa
Creative Capital.
Awareness and Preparation The Creative Capital team headed to Blackburn on Monday 26th October to set up the Making Session- a day filled with a series of workshops as a taster day for the Festival of Making in 2016.We were able to use an empty shop on Town Hall Street for the day, which allowed us to be seen by lots of passing people. There was a steady flow of people who came to take part; mainly children participating in workshops, and this led to many interesting conversations with parents/ guardians.
es All agome c l e w
Blackburn! Get Creative in the
Help Blackburn become a creative capital! We’re celebrating Blackburn’s creative culture. The ‘Festival of Making’ will be coming to Blackburn next year and we want you to help us curate the future events honouring the skill and collaboration of making. Sheffield School of Architecture are holding a ‘Making Session’ to explore peoples’ relationship and engagement with making.
13 Town Hall Street, Blackburn (The Spiritual Emporium) Monday 26th October 2015 11.00 - 16.00 @BlackburnCCLP https://blackburncreativecapital.wordpress.com
Making Session Poster
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Create
Crea te
FEST IVA MA KIN
L OF G
FESTIVAL OF MAKING OF AL IV G ST IN FE MAK
Making Session Shop Front
What If? Visual used in participation event
Creating the illusion sign
Graphical content preparation
‘Shed’ templates
Creating a dialogue of local creative events
Inviting public to event
25
Book I: Blackburn
ENGAGING PUBLIC.
Process and Outcome The Making Session was centred around a 2x2m map of Blackburn City Centre. We then asked the children to decorate paper templates of sheds with their favourite things that they would like to see in the town and at the Festival of Making. We populated the map with their request. There was a large variety of ideas which included ice cream parlours, bike huts, fabric decorating workshops, sports skills and creative writing lessons. We ran a finger knitting workshop and printed basic postcards showing key locations in the town for people to colour and write how they would like to be involved in the Festival next year. We also took with us ‘What If..’ images that the team had produced in the hope that this would be a catalyst for inspiration.
Making ‘Sheds’
What If? visuals & Postcards
Finger Knitting
Intentions of Investigation
To establish resources of creative people in Blackburn. To indicate local interest and willingness to contribute to the festival. To promote the Festival of Making and understand how people would like to be included in the festival. To strengthen existing relationships with established key venues
Event Calendar
Results of Enqui ry
Various community groups want to get involved. However, they do not know how to do so.
General positive attitude towards the introduction of the festival.
Promotion of Festival evoved further enquiries to how the Festival would operate within the existing buildings.
Desire for regular creative events, the people want events they can engage with.
Loose general event suggestions, there is a need to further inspire the local community.
Making Session Diagram
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Table of many made objects
Facilitating conversation through making
What If? visuals and response postcards
Getting creative in the Making Session
Working with all members of the local community
Example of ‘Shed’ created in the Making Session
Showing off made objects
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DEDIC ATED TO THE MEMORY OF
ROB HENRY A TEAMMATE AND A FRIEND