Square pegs and round holes: a report on the ODA Arts and Culture programme

81 Pages·2011·10.84 MB·English

Square pegs and round holes:
a report on the ODA Arts and Culture programme

Square pegs and round holes:
a report on the ODA Arts and Culture programme
Open
— City
Opening eyes,
minds and doors
Art in the
Open
Page 1 © Open–City / Art in the Open
Square pegs and round holes:
a report on the ODA Arts and Culture programme

Contents
01 Preface
02 Executive summary
03 Recommendations
— for regeneration programmes
— for Olympic Park Legacy Company
04 Timeline
05 The story
06 Lessons learned
07 National and international case studies
— Beyond, the Netherlands
— Folkestone Triennial, UK
— Art on the Underground, UK
— Sculpture Projects Munster, Germany
08 Appendices
i. ODA projects, reports and strategies
ii. ODA panels and groups
iii. Context
iv. Glossary
v. Interviewees and consultees
vi. Bibliography
vii. Colophon
Page 1 © Open–City / Art in the Open
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aa rreeppoorrtt oonn tthhee OODDAA AArrttss aanndd CCuullttuurree pprrooggrraammmmee

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Preface a
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As a member of the ODA Board and Chairman of the In my many years’ experience of property development ry
Planning Committee I saw at first hand the process that and regeneration, I have seen that for places to really | 0
Sarah Weir and her team went through to get the Arts be successful in the long term people must want to live 3
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and Culture programme off the ground. It was a real in, work in and visit them. Both the look and the feel are c
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challenge, but we can now claim that London’s Olympic vital to this success and arts and culture has a clear role m
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Park is the first to see such commitment to art as part of to play. I believe that this report and the success of the n
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its infrastructure. Park will encourage more programmes like ours, and I t
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look forward to that eventuality. s
Wtheitrhe oisv gerre tahtir vtayr piertoyje acntds, sfoumndeetdh ibnyg a f orar negveer oyfo pnaer. tners, | 0
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For example, major commissions include the Orbit, Lorraine Baldry Tim
created by Anish Kapoor and Cecil Balmond, RUN, by elin
Mbyo lenaicdain Bgo pnoviectins.i ,T ahnedre t hhea vWe ianlnsoin bge Weno rsdms aclol-mscmalies,s ions OChlyamirmpica Dn eolfi vOeDryA A Pulathnonriintgy (COoDmAm) Bitotaeerd; C Mheamirmbearn a, nd e | 0
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community-led events that have taken place within the London & Continental Railways and Inventa Partners Ltd; T
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Olympic Host Boroughs. The programme as a whole was Non-Executive Director of DTZ Holdings plc and Circle s
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part of a much bigger commitment to quality in relation Holdings plc; Governor of the University of the ry
to architecture, design, construction and engineering in Arts London. | 0
the Park. 6
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And this is just the beginning. The Olympic Park so
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Legacy Company, which is taking over the Park after s le
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the Games, has already shown a commitment to a rn
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loofn Lgoenrd-toenrm th prorouggrha tmhme aep opfo ainrtt manedn ctu olft uarne A fortrs t hanisd p art d | 0
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Culture team. In addition, an independent Park charity, C
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The Legacy List, has been set up to support long-term e
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cultural regeneration, making creative connections u
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between people and the Park through a range of places, ies
programmes and partnerships focusing on arts and | 0
culture, education and skills. The extraordinary number 8
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of commissions, projects, events and activities that are p
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taking place in east London over the next year has been d
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captured in this report, providing a valuable overview es
of a unique moment in London’s cultural landscape.
The Recommendations and Lessons Learned will be
extremely useful for those embarking on large-scale
regeneration schemes in the future. While we accept
that there is no blueprint for such projects, there are
many ideas within the report that will help lay the
foundations for the success of similar programmes.
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Executive summary ac
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When a line from Alfred Tennyson’s poem Ulysses – ‘To programme of permanent commissions, residencies y
strive, to seek, to find, and not to yield’ – was selected and participatory events by international and emerging | 0
by an international panel to be etched onto a wall in artists, as well as an extremely successful visitor centre, 3 R
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London’s Olympic Park, Sarah Weir, then Head of Arts is designed to give the Park and its future inhabitants a co
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and Cultural Strategy at the Olympic Delivery Authority sense of the rich history and future possibilities of this m
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(ODA) and now Arts and Culture Director at the Olympic newly imagined part of east London. n
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Park Legacy Company (OPLC), made a direct parallel tio
The value of integrating art into large-scale regeneration n
between these words and her experience of running an s
embedded arts programme for the Park. It was a rough danevde fluorptmheern atfsi eisld e,v aid seenletc itnio mna onf yw shchicehm arees daicsrcoussss Eeudr ope | 0
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ride, but like a lot of rough rides it was exhilarating and T
in the international case studies section of this report, im
ultimately hugely significant. e
including Beyond in Utrecht and Folkestone Triennial lin
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Tohuits c rreitpicoarlt iassttueems tphtas tt oar eonscea opvseurl aittse s tehvaetn r-iydeea, rd lriafewsipnagn . imn athney UotKh.e Arr dt icsacinp glinivees a s ptrautgingale a tnod d ae hlivuemr. aAns sScira Nlei cthhaotla s | 0
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The aim is not to navel gaze, but to offer an honest Serota, Director of Tate, ODA board member and chair of Th
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and rigorous account of the process, the outcome of the art commissioning panel, said in an interview for this s
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which is a set of recommendations that can be used by report: ‘Art can reference the accumulation of memory ry
policy makers, developers and Olympic host cities when and experience which gives a place a sense of identity.’ | 0
embarking on culturally led regeneration programmes These elements are not ‘nice to have’ – they are the 6 L
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in the future. foundation of any vibrant and successful community. ss
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In effect, the eighteen thousand or so words that make What is most striking about the Arts and Culture le
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up the main part of this report can be reduced to six, programme is that its reach has gone beyond specific n
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opre noipnlee iafn wde a a bdudd tgheet b –i tit a’sb soou sti msimplpel.’i cTihtyis: ‘wThaes Sriagrhath vbiosuaradl amrte cmobmemrsi,s msiaosntienrgp tlaon snueprpso arntd th dee asimgnbeitriso fnosr ohfi gthhe- | 0
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Weir’s response when asked to outline the recipe for quality architecture and design, to impact on the overall C
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a successful programme. It alludes to the two most aesthetic of the Park. This report aims to emphasise the e s
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significant challenges she met with on her journey. role that Sarah Weir and Sir Nicholas Serota played in d
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Oofn teh,e t hPaatr ka ratn wd athsne’rte ifnocrleu hdaedd nino t ahlelo ocraigteinda bl umdagsette,r apnladn hareclhpiintegc ttou rcere aantde daens aigtmn wosapsh ceornes iind ewrhedic hof q puaarlaitmy oofu anrtt , s | 0
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two, that in 2007 the recession hit, impacting on all importance even when pressures on time and money A
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‘non- crucial’ elements of the project. were all-pervasive. As Alison Nimmo, then Director p
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of Design and Regeneration at ODA, says in the story d
Gloomy departure points notwithstanding, Sarah Weir ice
element of this report: ‘In the end, everybody forgets s
and her team of three have managed to create the most
about time and money, and quality is what remains.’
ambitious and embedded Olympic cultural programme
to date. Not to be confused with the Cultural Olympiad Like other Olympic cities, London has sought to
(a four-year celebration across the UK leading up to the regenerate a hitherto neglected part of the city by
Games), the focus of the Arts and Culture programme commissioning world-class architects. What makes
run by Sarah at the ODA and now at the OPLC is London’s Olympic Park stand out is the focus on the
primarily on the legacy of the Games. The wide-ranging public realm and the ambition to create a sustainable
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community for future residents and visitors. This focus c
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was embedded by the masterplanners EDAW (now 0 |
AECOM), but the Arts and Culture programme has 2
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played no small part in delivering this ambition. xe
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What emerges in these pages is the importance of iv
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winning people over if anything of significance is to u
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be achieved. Sarah Weir’s ability to shore up internal m
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support from ODA colleagues and external support y
from strategic agencies such as the Greater London | 0
Authority, Arts Council England and London Thames 3 R
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Gateway Development Corporation has been critical in co
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the development of the programme. In many ways, this m
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is a tale of two cultures – hence the title of this report n
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– with the world of developers, planners and policy tio
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makers in one camp and arts representatives in another. s
It is notoriously difficult to span these two worlds, but | 0
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Sarah and her team have managed it. As one member T
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of ODA staff said, ‘The arts and culture team is the one e
creative voice that exists within a value-engineered line
delivery mechanism. Their work has given us a stage that | 0
has a resonance beyond a global corporate event.’ 5
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The extraordinarily rich context in which the Arts and s
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Culture programme now sits includes internationally ry
renowned art commissioning schemes such as | 0
Transport for London’s Art on the Underground 6 L
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programme and the GLA’s Fourth Plinth programme ss
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for Trafalgar Square. With the exponential growth in s
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visitor figures to contemporary art galleries and visual a
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art festivals in London and across the UK, along with ed
the expansion of many gallery programmes into the | 0
public realm, the level and sophistication of demand 7
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for publicly sited art projects are considerable. It is s
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important to build on this interest and strive to maintain t
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the quality of these programmes, particularly in the ie
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csquurreeenzte fdin. ancial climate when budgets are being | 08
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It has recently been announced that the area around the p
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Athletes’ Village where Tennyson’s line will be inscribed d
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as part of the Arts and Culture programme is to be s
renamed Ulysses Place, after the poem’s title. A fitting
example of the way art can become embedded into the
fabric of a community, its past, its present and its future.
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Recommendations ac
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The recommendations to follow build on the — Implement an arts strategy which allows space for ry
extensive research and analyses undertaken for this future development. Successful art commissioning 0 |
report, including interviews with over forty ODA schemes generally evolve over time. 3 R
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staff members, artists, commissioners, contractors, co
— Where appropriate, agree the art commissioning m
fabricators and external stakeholders, ranging from the m
strategy with the statutory planning authority in e
Greater London Authority to London Thames Gateway n
order to leverage support and funding. da
Development Corporation (see appendix v for details). t
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— Devise a management structure that enables the s
architecture and design teams to work alongside | 0
Recommendations for the arts and culture team in order to facilitate close 4
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collaboration at key design stages. im
future regeneration e
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programmes — cRoemcrupilte am teenatmar oyf s ekmillsp alosy weeesll wash loe ahdaevres hip qualities, e | 0
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and who are able to bridge the gap between the two T
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worlds of construction and contemporary art. s
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— Consider arts and culture in its broader sense, to ry
encompass creativity and design excellence across — aUss pe eeexrt aenrnda al dcuvoractaocrys sfuorp cproitritc.a Sle fleeecdtiboanc kp aans ewlse,l l | 0
all elements of a regeneration scheme. 6
advisory groups and ‘critical friends’ can be L
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— Always strive for excellence. It is better to do fewer extremely useful, to draw on past experience and so
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things well. lessons already learned. le
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— Embed arts and culture programmes into a scheme — Engender a sense of ownership of the commissions e
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from the masterplanning and design stages of a amongst staff (and later on, residents and | 0
development by devising a programme and funding visitors) by involving them at crucial points in the 7
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strategy which is agreed at board level. commissioning process. as
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— Appoint a cultural champion onto board level. — Provide opportunities for members of selection ud
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Champions are often the deciding factor in panels (made up of internal staff and external s
the success (or otherwise) of large-scale art people with commissioning expertise) to discuss | 0
commissioning schemes. the parameters of the site and agree the aims 8 A
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of a commission, as well as the role of public art, p
— Increase probability of success by drawing up en
before the selection process begins. This will d
realistic budgets and management structures, ic
establish a rapport, sense of mutual respect and an es
and addressing restraints such as procurement
understanding of pertinent issues.
processes at the start of the programme. The
disproportionate amount of time spent developing — Devise robust, imaginative and realistic evaluation,
and managing many art commissions contributes maintenance and decommissioning programmes
to clients’ unwillingness to take risks and encourage from the initial stages of a programme.
excellence.
— Be realistic about what can be achieved. Making
over-blown and wrongly timed claims for an art and
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culture programme damages that programme and Recommendations for the fa
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the viability of future programmes. OPLC Arts and Culture team | 0
— Consider the communities (including artists) 2
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beyond your borders and how to engage with e
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them throughout building and construction t
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work. Investment in people through artist-led — Create a vehicle that brings the art commissioning e s
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programmes, alongside public commissions, programme together. This will enable members m
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makes a big difference to buy-in, credibility and of the public and press to engage fully with the ar
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programme reach. pwreobgsriatme omr peu abnldic caotiuolnd. be realised in the form of a 0 |
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— Position the arts and culture programme within c
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Recommendations for m
a wider critical framework by organising a m
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OPLC programme of discursive events and talks on current n
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commissioning models and the role of culturally led t
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programming for the Olympic Park and its legacy. ns
— Appoint an independent cultural representative — Consider ongoing evaluation for all current and | 0
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onto the OPLC Board to champion the arts. The future programming, to facilitate a process of Tim
success of any future arts and culture programme in learning and reflection, working towards a report in elin
the Park depends on representation at this level. 2015 by an external evaluator. e | 0
— Publish an arts strategy which is ratified at board 5
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level, with a budget, staff and clearly defined goals. e
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— Appoint a Principal Arts Advisor, on a permanent ry
basis, to ensure that imaginative selection of artists | 0
is considered across a wide range of commissions. 6
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This will put in place a system that is properly ss
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resourced from the beginning. ns
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— Devise a system that requires key OPLC staff rn
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aanndd ocuthlteurr set parkoeghroalmdemrse t ob ye natgtaegned winigth la tuhnec ahretss | 0
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and seeing the work in situ. This will create an C
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understanding of the relevance of the programme e s
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to both the Olympic Park and its environs, and ud
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lead to long-term buy-in of the art and culture s
programme. | 0
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— Ensure maintenance requirements are fully p
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documented in relevant manuals and built into n
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longer-term financial planning by OPLC. ice
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— Take a long-term view, with arts and culture
embedded across, and connected to, all major OPLC
strategies and programmes.
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ODA Arts & Culture timeline ac
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Nicola Thorold and Rose Fenton T
commissioned to write a strategy im
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Jude Kelly is appointed chair, Art, st
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London submits bid Culture and Education Committee London wins the bid ry
fGoarm thees 2012 Olympic for London 2012 Olympic Games Bid Alison Nimmo appointed | 0
Sarah Weir, Chief Executive of ACE as Director of Design and 6
London, works behind the scenes Regeneration at ODA Le
to lobby Bid team to consider role of ss
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Hilary Carty and Amy Bater are ar
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ofofrf itcweso t yoe tahres London 2012 Bid team | 0
2003 2004 Sarah Weir leverages £100k from 2005 7 C
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help develop the cultural offer for st
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London’s bid to host the Olympic d
and Paralympic Games. This includes ies
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Kelly/Hilary Carty with Act IV. This 8
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London is shortlisted for the ice
Games – detailed bid submitted s
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Sarah Weir moves from ACE London m
to ODA and LOCOG m
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work at ODA 3
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of the ODA Sparoraghra Wmemire d oefv risoellsin fogu arr-tyiesta-rle d ation
CofR aTr gt rionu tph ere Pcaormkmends the inclusion Opulybmlisphiec dPark Design Strategy cr£eo5s0mid0mekn ifsutssni oidnni tnsh gteo i s He wnogsittah Bgdoer rawowuitngh ha st ;t he 0s |
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SDier sNigicnh Cohlaasm Seprioonta o ins aOpDpAo iBnotaerdd CMuordateornrs t’ om deisectuinsgs tahte T vaitseu al | 0
arts component of the 5 T
Olympic Games h
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Construction of the Olympic or
2006 2007 2008 PBaerijkin bge Ogilnysmpic Games take y | 06
place; countdown to London L
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Public Realm Commissioning Simon Pope launches his film ut
advisory panel convened, Memory Marathon, the first Inside ive
chaired by Sir Nicholas Serota Out commission with external su
funding from the LDA and ACE m
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Adriana Marques is appointed ry
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Carsten Nicolai’s lfo Spectrum is so
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public, funded by ODA and LTGDC 7
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