Newspaper 2010 /
11
one Issue
STARTING POINT
SPACE
The significance of space is interpreted differently by each one of us. At a personal level we can be very protective of it; a valuable asset where we set strict boundaries and maintain limited distance. Beyond this is the physical space we occupy, it varies in dimension, from large to small, minimal to busy, or somewhere in between. What’s clear is the way we experience it has a clear affect on our mood, our senses, our equilibrium, so in the context of education it is hugely important, affecting our ability to teach, and learn. Space is a constant theme throughout this newspaper, ranging in perspectives from a private contemplative space encountered whilst in an Amsterdam gallery to the challenge of constructing a space that represents a united creative vision, such as in the case of the Rotherham college New Build project. To the metamorphosis of certain spaces, each adopting a new character by removing the traces of the past, experienced as a direct result of the changes that have been undertaken in different areas of the college over the summer, most notably in art and design. This paper is in itself a new space, formally an A4 newsletter, it has expanded to offer an enhanced experience where you can reflect, be informed and hopefully inspired.
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Howells Solicitors Gwen Plant Chris Stanbra Bruce Raw Paul Hodges Nigel Rogers Logan Holmes Jeanette Ledwidge Christopher Watson Bernadette Stanley Rotherham College The Art Dept Fontin Sans Serif 12 Moodle > Art & Design Gwen Plant Rotherham College Eastwood Lane Rotherham S. Yorkshire S65 1EG 01709 362111
Wall Art Commission Art and design students have been invited to submit ideas for a major new art piece to grace the front of the new reception area due to be completed in September 2011. The brief has asked for a piece if art that will present a bold statement about the college creative aspirations and compliment the creative vision that the new building will represent. The art work will stand proud at the top of Howard Street proving a focal point for pedestrians arriving at the college from the train and bus station. 15 Oct ‘10
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Interior Design Art and design students were involved in the interior design process of the refectory. The colour scheme and furnishings were informed by consultation with students, resulting in a contemporary space with a vibrant and lively backdrop. 6 Sep ‘10
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Amsterdam Students from across the departments have just returned from a successful trip to Amsterdam. The residency spanned a week and included visit’s to the Reich Museum, Vincent Van Gogh Museum, Rembrandt’s House, Anne Frank’s House and the Foam Gallery. The students stayed at the infamous Franz Brinker hotel which was perfectly situated to enjoy many of the sights and sounds of the city centre. Read more about the trip inside. 6 Sep ‘10
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Clothes Show Clothes Show Finalists Lucie Jayne Cookson and Nicoll Muir were picked from 5000 entrants for the Young Accessory Designer of the Year 2009. They were asked along with 8 other finalist from various FE colleges around the UK to design and model their bags at the Clothes Show last December. This is the first time the Fashion department had entered a highly regarded, high profile competition. The students worked hard and produced great designer bags, they represented themselves and the college with confidence, enthusiasm and above all great designs. 11 Jan ‘10
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Young Art Apprentice Site Gallery is Sheffield’s flagship international contemporary art centre. Caroline Duncan recently won the opportunity to be involved in their Young Apprenticeship Scheme. Site have recently launched the scheme to give young people between the age of 15-21 the opportunity to be involved in the gallery and have their say. It is an exciting opportunity to be a integral part of the decision making process for commissioning new work and provides the chance to work alongside professional artists. 23 Nov ‘09
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First Diploma First Diploma in Design students were asked by the principle George Trow to produce art work to be displayed at Rother Valley Campus within the refractory for all to admire. The students brief was based on natural forms and they were asked to produce 3 dimensional that reflected the natural and organic colours and textures that the brief required. The piece will hopefully grow and develop over the next few years, inspiring future students. 30 Oct ‘09
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The Wall presents sound bites of news from events and achievements that have occurred during the course of the year, you can read regular updates from the art and design department online, at Moodle > Creative Studies > Art & Design
BE A Vi sit M oo dl e> Ar t&
De sig n
PA RT OF TH EP RO CE SS
The New Build Interview with Bruce Raw Associate Director of Bond Bryan
How did the initial consultation with RCAT begin; was it in the form of a brief? Did you have to present some initial sketches? We always start any new project by listening to the client. It is critical to fully understand your client’s needs before developing this into a brief or design. On this scheme we put forward three proposals based on estimated construction costs for the Senior Management Team to take to the Governors. These were based on sketches, perspectives and an outline brief for each option. You recently received the Making Space award for the Joseph Rowntree School, that earlier in the year had been awarded for its versatility. Is there more scope now due to advances in technology and materials to create an innovative use of space? Are you constantly looking for ways to use space in innovative ways? We are constantly challenging clients to look at the way in which they use spaces and see how we can help them to devise a more effective and creative ways to meet their current and future needs. This is often linked to using more advanced technology, infrastructure and materials.
We are now often set the challenge of designing spaces to incorporate technologies that have not yet been invented to educate students, for jobs that do not currently exist!
However looking to design educational spaces for the next 20 years, we are now often set the challenge of designing spaces to incorporate technologies that have not yet been invented to educate students, for jobs that do not currently exist! The design of a buildings can start with some very loose freehand drawings, an example may include, Frank Gehry’s sketches for the Guggenheim. Is this quite a common way of working to generate some initial ideas, and does the client ever get to see them? We do tend to start with freehand sketches to generate some ideas in the early stages of a project. Often these will be enhanced before they are shared with a client. The sketches are more about the process of developing and testing design ideas rather than presentation material at this early stage.
Is there an overriding concept that fuses the different phases of the new build together? Following on from the initial property strategy, the first phase was identified as critical to the College redevelopment providing a new gateway to the facilities and improving linkages between the disparate buildings. The external spaces will be the linking theme of the site, throughout the phases of the developments. The first phase looks to connect the College estate through internal and external links. Some of these are physical enclosed spaces, while others are more defined routes in the landscape design. The landscape design of spaces between the developments will provide a key theme linking the phases together. The other key theme is to put education on show throughout the proposals. In many current educational buildings, it is difficult to see what is happening inside them. In our developments, we look, where possible, to put education on display. This is achieved through the use of large areas of glazing and full height windows. Were there any key environmental decisions made as part of the design? How did the conservation concerns factor in the design of the building? Through the early briefing meetings key aims were established for environmental performance, including a BREEAM Excellent rating and providing sustainable technologies which could be used as part of the teaching curriculum at the College. The use of on site energy generation, both solar and photovoltaic, rainwater harvesting, high insulation levels and higher air tightness all contribute to the sustainability strategy for the development. These active technologies are linked to passive principles of orientation, natural ventilation, high levels of natural light from windows and rooflights. All these factors have shaped the development of the design to meet its environmental principles. The design for the exterior staircase turned a potentially uninspiring use of space into, as Chris Standbra commented, ‘a work of art in its own right’, how did this come about? Following early design studies we held an internal design review within the practice. This allowed us to pull apart the key elements on the scheme and then put it back together so strengthening the concept. In doing so we realised the potential of creating a beacon through the use of the stair tower to frame the entrance. The design of the stair it’s self now acts as a sign post and orientation devise to lead users to the building.
In our developments, we look, where possible, to put education on display. This is achieved through the use of large areas of glazing and full height windows. How much consultation is undertaken with lecturers & students during the design process and what format does it take? A series of early briefing meetings were held first with the senior management team to set the key principles and then as the design developed with the end users to define the details. This process is still ongoing and will be discussed as the final detailed designs of the building elements are produced. How will the main reception space function, are there key features? The entrance is split over two levels with a main reception at the ground floor linked via a central feature staircase to the first floor social area, cafe and support accommodation. The key feature is the central glazed circulation zone which allows easy orientation and legibility of the space, and provides visual links both to the new accommodation and the Eastwood building. This we hope will help to blur the boundaries between social spaces and teaching spaces. So allowing staff and students to interact with each other as they use and move through the building. Do you (or any of the staff) maintain a sketch/ scrap book to support your work? We do produce sketches on each design and these are kept with the project files. Staff have different methods of gathering ideas and some do keep sketchbooks or folders. Others store them electronically and keep them for reference on future projects. What advice can you offer students who may have an interest in studying architecture? I would suggest either trying to gain some work experience in an architectural practice, or on a building site or speaking to as many people involved in Architecture to find out if it’s for you, for me architecture provides a fantastic combination of art and science. However the subject is so wide it is possible to end up in a whole range of different roles, so the possibilities are very diverse.
As we had arrived in Holland, it was more like entering Narnia; mysterious views framed by giant coach windows revealed white expanses of flat landscape.
Amsterdam by Nigel Rogers
“I would love to live here”, “Why does Rotherham not have surroundings like this?” and “I’m coming back in the summer”.
T
hese were just a few of the responses being uttered by the 34 young adults as they relaxed in the communal area of the wonderful Hotel Hans Brinker just hours after arriving in the cultural capital of the Netherlands, Amsterdam. This was our base for the next few days, and had been designed to make young people feel comfortable and safe. On the afternoon we arrived, students sat around large tables, each with a vase of orange-red tulips, where they contemplated their next move. The rest of the day was theirs, to explore a new found wonderland, over 500 miles from home. The journey from Rotherham to Amsterdam had been a juggernaut stretch across land, sea and snow. As we had arrived in Holland, it was more like entering Narnia; mysterious views framed by giant coach windows revealed white expanses of flat landscape. In Amsterdam itself, the snow had disappeared, and
the students spent the first afternoon exploring the local neighborhood. In the evening they sat chatting and embracing the cities ambiance. The first morning was full of anticipation. Students were up on time and looking forward to the cultural activities about to be explored. After the hotels breakfast offerings of fresh boiled eggs, slices of cheese and ham with bread and butter all washed down with inexhaustible cups of coffee, all 38 of us strolled into the rainy streets of Amsterdam and headed towards the Reich Museum. After queuing outside in the rain, we finally got inside this amazing building. The artifacts inside told us about Dutch history and illustrated the tremendous power and influence this nation had across Europe in the 17th & 18th centuries. We saw paintings of great sea battles, some against the English. Furniture was displayed that revealed such immaculate craftsmanship, that it must have taken thousands of hours to produce. And then there were the Rembrandt’s and Vermeer’s. The only word I can use to describe these paintings, as they glowed and resonated colour from 500 years in the past, is sublime. After lunch, the students walked in the rain, (some of them now had wet shoes soaking into their socks), to the Vincent Van Gogh museum. For some, this was sure to be the highlight of the trip. Before we went upstairs to the main exhibition of Vincent’s life’s work, we got to see paintings by the ‘Hague School’ of art, including work by his cousin Anton Mauve. It is this work that influenced Van Gogh’s early period in painting, and makes a good
introduction before we see the rest. Up stairs I could see RCAT students in various corners of the gallery, studying the work closely and drawing in their sketchbooks. They were seeing great art in the flesh. Van Goghs thoughts and actions revealed by the vivid colours and daubes of paint could not fail to inspire these young and energized learners. This first full day had moved quickly into the late afternoon. The students were ready for a wellearned evening meal and some free time to explore Amsterdam on their own terms. So far, all of them were expressing positive feelings about the trip. They were having so much fun being away from home and experiencing a new sense of freedom and discovery. After good and reasonably priced food at the Hotel Hans Brinker, entertainment was to be found in the Amsterdam night. A group of the students came with us, (the tutors), to a Jazz club. Cool sounds eased us all through the evening, until our pillows beckoned and it was time to say goodnight. I had decided to get up early. It was 7.00 and thought it would be a good idea to go downstairs and get some ham, eggs and coffee before all the students appeared. It was not long before they started to come down and feast on the Dutch breakfast fare. This food was essential to give us energy for the busy day ahead.
By 9.00 o’clock, all 38 of us were bounding through the streets once again, and congregating 20 minutes later outside Rembrandt’s house. Once inside, we were able to explore the rooms that he had once occupied. In one of the rooms, a man was making etchings that revealed the fascinating process used by the artist to make reproducible prints. This conjured up an authentic atmosphere where you could sense a different pace of life that is so different from today. The long preparation involved to make each print, (let alone an original etched plate), would mean only 15 or so could be made each day. In the 1560’s, this was seen as real ‘mass production’. Later that afternoon we prepared for the most powerful and sobering experience of the whole visit. We were to go to the place where Anne Frank had spent the last months of her life before being taken to a concentration camp by the Nazi’s. It was about half an hour’s walk from Rembrandt’s house. When we arrived, there was good couple of hours before we were booked in for the tour. The students dispersed to find various shops and cafes and after a bite to eat with the other lecturers, I went for a stroll on my own, to discover a small piece of Amsterdam for myself. It was a bright afternoon, and I enjoyed taking in the atmosphere and quality of this remarkable city. For a normal Wednesday afternoon, it was surprisingly quiet as I walked along paths that ran along the sides of the canals. Before long it occurred to me that I must have been walking for a bit too long, and had to turn round and race back to get to the Anne Frank tour on time. Everyone was waiting for me. The Anne Frank experience is moving beyond belief and I think a personal experience for anyone that moves through this haunting space. The room of actual posters and newspaper cuttings that Anne Frank had pasted onto her wall during her time here, put you in touch with the reality of what happened to this normal little girl, caught up in the political horrors of the time.
Our students responded with complete respect, and I am sure, will never forget what they experienced during this part of the trip. By the time we came outside, it was dusk. We had a long walk back to the hotel, and a group of us made are way back via the red light district. Nothing quite prepares you for this strange area, where ladies of the night pose in shop windows. Most appeared to be talking on mobile phones and did not seem to be interested in much else. For the students, it was all part of the Amsterdam cultural experience, and they all took it in their stride. Another evening drifted past at the hotel. Students were now settled into a routine of eating wholesome food in the communal area, chatting and reflecting
This I believe had been a real education, far richer than can ever be achieved in a classroom.
on the day’s activities and finally venturing out into the Amsterdam night for a new adventure. They were all so relaxed and comfortable with the situation. I was incredibly impressed with the mature attitude all the students had adopted over the period we had been away from home. They were a credit to themselves, and were making this whole residential a massively enjoyable experience for all involved. Finally, the last day had arrived. As always, the students were ready by 9.00, fed and watered and ready to embrace the day. Although this was a free day for students to explore cultural aspects of their own choosing, many came along with the tutors to the ‘Foam Gallery’, just ten minutes walk from the hotel.
This is Amsterdam’s contemporary photography gallery, and once inside it was clear that the work was cutting edge photographic art in the making. I spent at least half an hour just in the bookshop in reception. This was a very cool place. White gallery walls showing a range of interesting images being presented in new ways. Photographs printed onto glossy metal, white prints on canvas pinned to the walls, layered photographs that had been cut open, revealing images beneath and white card objects with photographs projected onto three-dimensional surfaces. Upstairs there was a complete retrospective of the Great Russian photographer Alexander Rodchenko. Photography students were amazed to see great montage work from the 1920’s, all produced before anyone had even dreamt of Photoshop. After this, the rest of the day was the students to explore, ponder and enjoy. Later, on the ferry home as we approached England, I observed the White Cliffs of Dover. It occurred to me that I had seen them many time over the years, quite often coming back from my own school & college trips as a student in the 1980’s. I hope that in the future, many of these students will look upon the same view, and remember this experience as a great and rewarding one. This I believe had been a real education, far richer than can ever be achieved in a classroom.
11 Students, 1 DSLR, 2 digital compacts, 1 Bronica, 3 tripods, 12 film cameras and a great number of items generously donated... To say the photographic course had a modest start is perhaps understating things!
5 Years On by Logan Holmes
I
n fact the department was so discreet and unassuming you wouldn’t have known it existed unless you happened to take a wrong turn at the top the stairs on your way to music or media. Tucked away in the corner of the Eastwood building, 5 years ago, eleven students were introduced to the delights of analogue photography. The space offered a generous sized dark room and a teaching room; two contrasting environments distinguished most apparent by smell and light. On the one hand the dark room; a curious space, if not somewhat surreal, where the glow of red and orange occupies the darkness and the potent aroma of paper developer, a vinegar smell, fills the air. It’s a space that takes time to become acquainted with, but once the alchemy of analogue becomes apparent, the magic of the space never fails to leave an impression. The teaching room by contrast was modestly sized and reasonably equipped with a host of art and photographic resources from paint brushes to studio lights. There were a plethora of books, mostly dating from the 1970’s, many of which were obsolete library books or car boot finds. Magazine covers, photocopies and other ephemera, mounted on black sugar paper and reflecting a period very much ruled by black and white photojournalism were pinned to the pitted pin board that occupied every conceivable wall space. Over the five years a steadily growing number of students have studied the nuances of photography from forensics to fashion against a monochromatic backdrop punctuated by the RCAT blue and a minor splash of colour from the horizontal roles of paper colourama, stretching almost the width of the room and sitting on creatively engineered drainpipe clamps, fixed one under the other. The walls gradually began to reflect a changing exhibition of students work, to be admired or the source of lively crits where animated students explained their expressive endeavours. Ironically, much like the darkroom, there is occasion to shut out the natural light, but for a very different reason. The departments south facing position invites a vicious sun that delivers an unrelenting glare to which the only reprieve is to block it out, however, the repetitive toil of lowering, tying fast and then unfastenting meant eventually the window blinds, battered and bruised refused to respond to even the more persuasive of requests. Overlooking the space, sitting uncomfortably above the white board a small circular clock hanging by its electrics, tilting slightly downwards reading the correct time but twice a day, perhaps, also fatigued by its own relentlessness, its time of passing unnoticed, a fleeting moment but noteworthy only insofar as to reflect the time for refurbishment was here. Over the years the department has seen students numbers grow and the space become confined and tarnished but most significantly less able to offer a full educational experience.
Tucked away in the corner of the Eastwood building, 5 years ago, eleven students were introduced to the delights of analogue photography.
Today as a student entering the same heavy blue doors only a selection of evidence hints at the past. For example, some of the beautifully crafted books have stood the test of time presenting an intro to photography better than most visual resources to date. A twin lens reflex camera, an Olympus Pen, a 4x5” Horseman and a Cine film camera on display, relics of the past but functioning as a constant reminder of photography’s important beginning. These items now contrasted by a very different backdrop one that has emerged out of the 20th century into the 21st; a very contemporary and creatively functioning space, so new that the smell of paint and newly laid floor covering is very apparent. The layout is vastly different. Two teaching rooms are separated by a movable wall providing a flexible option that offers greater interaction between different groups of students to accommodating visiting lecturers and practising professionals. The dynamic of the space has changed radically, carefully placed windows allow light to fill the new layout. A ‘wood effect’ floor and bright square ceiling tiles enhance the feeling of space and modernity. The splash of green and orange present contrasting colours whilst signifying rejuvenation and optimism. New areas have been introduced to meet the finely tuned needs of teaching and learning. A digital light room equipped with up to date computers and an A1 printer all calibrated and customised for the digital age. A compact but comfortably furnished study room, affectionately known as the ‘Green room,’ sits at the heart of the department, a space for quiet contemplation or busy discussion. Surrounding this room the film room now functions as an enhanced space and as a grand entrance to the refitted dark room, not a relic of the past but a firmly established part of the future. Beautifully printed images now adorn the walls of the the department and the newly established Stairwell gallery. They present a bold statement about the creativity and confidence of some 70+ students that occupy the space during the course of the week; a work that confidently explores a new age challenging how we perceive our world and all it represents. And the clock? It now sits proudly on the wall announcing a confident and optimistic future.
Mindspace/Mindscape by Paul Hodges
S
ome of us doubted they would be ready, and even then were sceptical that the art and design studios would be transformed over the summer break as promised. However, a few weeks in to the new term and I for one am amazed at our ‘new’ space and its impact on the way we all function and think about this working environment. The department has metamorphosed and relatively painlessly. As artists we have been presented with a challenging and enabling creative topography. The addition of dividing walls, discrete lighting, flooring and extra facilities; a rearrangement of furniture, equipment and materials; a fresh coat of paint and most significantly the removal of accumulated clutter, detritus and grime, enables us to interact differently and regenerate the creative spirit upon the same old palimpsest that is the unique RCAT learning experience. Each abandoned file, discarded sketch, unfinished sample, forgotten print; each faded name tag, insignificant doodle or trace of blu tack; each represents a different layer of student to make their mark whilst studying here. But we were sinking under the sediment that each year deposited. It was time for a clearing, a clean slate and a relatively new beginning on which to make our mark. More importantly it has allowed us to clear space in our heads and focus upon our time. I believe this will facilitate an opportunity for what Gaston Bachelard calls the Poetics of Space. Personal Space is often architecture of the imagination. It can be different for every one of us, a reflective framework in which to identify, generate and realise creativity. This welcome renovation has provided the structure for a calm, safe, workable space in which to take risks, explore, build upon and achieve our potential whilst passing through our college. As for the new life room I wish it were my Studio and mine alone in which to paint, and I would barricade the door and let no one else share it, except a model or two, and the occasional visit from my London dealer, or eager client….. See the reverie the new space has induced? But hey, I’ll settle for Contextual Studies getting the same treatment during half-term.
9B
15.09 open event
8B
08.11 art centre, open art show
7B
10.11 open event
6B
14.12 pop concert
5B
11.01 Sheffield, bank street arts, going nowhere
4B
11.01 Sheffield, site gallery, things to come
3B
14.01 get real show
2B
19.01 open event
B
26.01 cinema night
HB
07.02 civic theatre, the circus of horrors
HB
08.02 Sheffield, bank street arts, spontaneous cities
HB
14.02 berlin residential
HB
16.02 clifton park, discover archaeology
F
23.02 cinema night
H
30.03 cinema night
2H
30.04 magma, yorkshire blues festival
3H
01.05 sheffield institue of art, creative spark
4H
16.05 pop concert
5H
26.05 electric works, rcat photography exhibition
6H
17.06 Diploma Show
7H
20.06 fashion show
8H
29.06 millennium gallery, graphic nature
9H
22.07 sheffield institute of art, wood land portfolio
A long time ago in a bleak but beautiful lake district the morning after harsh storm, a couple of shepherds stumbled across a seam of pure graphite. It didn’t taste good, it didn’t burn well but they discovered by chance it was the perfect mark making media to identify their sheep with. Shortly after this find a local entrepreneur had the idea to shape and wrap this special substance in sheepskin and sell it as a primitive form of pencil at their local craft market - it was very popular! In fact, it didn’t take long before orders came in from as far afield as France. But the French were concerned about the reliability of this source, orders didn’t always turn up, so the government requested the services of Nicolas-Jacques Conté to find a solution. He quickly realised mixing powdered graphite with clay and baking it not only used far less graphite, but produced an ergonomic drawing tool of varying hardness, and sandwiched between two pieces of wood it gradually evolved in to the drawing implement with the grade system we use today.