The Barbican Research

ALFRED LION

Written

by Lea Julienne

BLUE NOTE RECORDS A VISUAL HISTORY 1939 1965 REID MILES 1

THE BARBICAN 15 March 21 June 2020

B SIDES

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THE BARBICAN

ROLE

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GROUP D PROJECT

My Role in my group research was to identify and list exhibitions, popups, talks, screenings, library, book shop, music expo, theatre, film, dance, lectures, restaurants.

The barbican website provided the information needed in an easy to follow way, by colour coding all their different type of offerings. I ran through all their different facilities and events to post on the miro board. What I saw was that they had many different types of spaces such as a music hall and a cinema as well as exhibition spaces which informs all their different types of events and workshops.

I had also contributed to the personas with Colm’s persona, I based this off a person I knew so I could understand a full scope of their personality. Once I had finished his likes and dislikes I then thought about what would attract him to the barbican and what my event could do to attract him.

B SIDES

Miro Board 4

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B SIDES

Blue Note Records are concerned with identifying its impulse, not its sensational and commercial adornments.

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THE BARBICAN

3 INSIGHTS

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GROUP D PRJECT

1. There is a huge amount of facilities, music hall/ theatre/cinema/exhibition spaces/different restaurants which means they can hold a vast amount of different type of events, from music concerts to documentary screenings and food workshops.

2. There is a free exhibition space called The Curve which I particularly like as its open to everyone. This I think is relevant to my project as I stress that the mentality of Blue Note Records was passion over profit.

3. It’s a very community based in the way the barbican is designed. It was originally designed to be a residential quarter. Its built defensively which makes the centre of the estate very calm, you have storeys of flats surrounding you but you don’t feel overlooked. Optimistic post war design made to be better and for the people. The offerings of the barbican also reflects this sentiment.

B SIDES

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TAKIN’ OFF

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1 Utopian Brutalist Architecture 2 Barbican Music Hall 3 The Curve

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B SIDES

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THE BARBICAN

UNEXPECTED

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GROUP D PROJECT

I like brutalist architecture so I knew the barbican for its architectural design and that it had exhibition spaces.

I was, however, completely unaware of all the facilities it hosted and how active it was with the people of London; talks, workshops screenings etc. From looking at all those facilities I then saw how active it was with the public but also the relationship the residents of the barbican have with the building. Before I had seen it as a beautiful piece of architecture that had exhibition spaces, but now I understand its importance for the residents, the people of London and how much of a cultural institution it is.

B SIDES

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THE BARBICAN

FORMAT

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GROUP D PROJECT

A well rounded celebration of Blue Note Records (1939-1965). This would include an exhibition of the record sleeve designs, photography of Francis Wolff, a concert celebrating Blue Note featuring Blue note artists. Screenings of Beyond the Notes, a documentary I reference in my essay, type workshops in reference to Reid Miles’ designs, talks about music and politics featuring academics whom I reference in my essay. I want to use as much of the barbican as possible and almost give a festival-feel approach with lots of different types of presentations. As the barbican is colour coded I will also use a colour code approach to the different types of events hosted in the space. I’ve done this in my catalogue design and I would intend to continue this in wayfinding and advertisements to make it as easy to follow as possible.

B SIDES

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THE BARBICAN

USE OF SPACE

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GROUP D PROJECT

Exhibition Space: Photography of Francis Wolff, Record Sleeve designs of Reid Miles. In the curve as my viewpoint has a focus on BNR being concerned with passion for the music rather than commercial gain. I would have the space dimly lit to give a feel of a music studio or jazz bar.

Talks about: Jazz and politics with Eric Porter. The Shift in the perception of Jazz in the 1950s with Christopher May. Music Hall: An evening celebrating Blue Note Jazz ft Blue Note artists of the time eg Herbie Hancock – as well as including more contemporary Blue Note artists such as Norah Jones and Madlib – in keeping with the feel of 19391965 Blue Note Records (eg Madlib rap over a Miles Davis song). Using the barbican music hall.

Screening: ‘Beyond the Notes’ Documentary about Blue Note Records by Sophie Huber (which I used in my essay) followed by a Q&A with the director. Using the barbican cinema Workshop: Typography workshop – playing with type (in reference to how Reid Miles would play with type for the cover designs)

B SIDES

PROFIT PASSION

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