31st April 2018
Robert Powell (former Beam Director and RIBA Honorary Fellow 2018) and Hazel Colquhoun (York Curiouser and independent consultant) introduce the real possibilities for arts, culture and making a brilliant place in York Central.
Robert introduce the cultural wellbeing policy with the local plan.
Hazel gave a series of inspiring and thought-provoking examples of how arts can be used in developments and make new places.
We then opened up for discussion, the aim of the quotes below are to give a real favour of the discuss they’ve been roughly grouped to identify key themes:
York, Heritage, Tourism and Contemporary Culture
‘What kind of culture are we talking about, heritage or contemporary? I am from York and I left. York is dead and that’s why I left. Heritage has it place. But we’ve been kicked over the head by it. The heritage offering is for visitors has been done to death and that is the monolithic overarching problem. There is nothing for me’.
‘Here we house 850 years of the archives of the city and this holds the stories of people of York. The people make the story and make our heritage real. It’s not just about monuments and buildings, we have the stories of the people of York. We have invited artists and creatives to research the rich stories in the archives and to re-tell the story in different and exciting ways. Bringing artists, creatives, digital makers and heritage together to create something new. For example, through our Explore Labs we have worked with young people, hacking stories and creating something else. Both inspirational and aspirational – who knows where it will lead. Explore Labs challenges the imagination – it’s where, artists, tech, heritage and stories collide’.
(Barbara Swinn, from York Explore)
‘We were recently voted in the Sunday Times, the best place to live in England. As far as I am concerned noblesse oblige. If you are given a title, that we have something special, fantastic and wonderful, we need to be optimistic, forward looking and positive. York Central and Castle Gateway and other developments are a fantastic opportunity. This is fantastic future’.
‘This site should be a canvass. Sometimes York is still historic and stodgy’.
‘York that is the sell, the hard tourist sell. I am sick to death of that kind of shtik. You feel like there isn’t anything for you’.
‘There is a lot going on and a lot of independent people getting up and doing things’.
‘I’ve come to York and I can’t quite get in there. York is shared space but where is my bit? I want to do various class and I want to enjoy things but there is such little space for residents. But we don’t make enough money as tax payers to take up that space’.
York Central and Railways
‘The unique thing about York Central is railways. So much of York is about looking backwards, you can combine, shame not to focus in on railways because that is unique. You can combine that heritage with something very modern and incorporating art into it. You can use rail as a motif to direct people through the site. We are looking at many people stories. Phoenix Boulevard, where I live, used to be a foundry but apart from name of the street there is to other reference to it. Before they dismantle the site, can we retain some of those icons. Railways are about travel and movement and you can look forward to what movement might be in the future’.
‘The most exciting thing in the plans is the stream train going backwards and forward’.
‘How do people feel about the railway heritage? We already have a cultural institution on it and playing a role? How do people feel about the railway heritage and can you meld this with the future looking?’
‘Challenges in York Central is to persuade people to come to York Central. Everyone goes to York. Difficulties will be making it less of a island, as there are only limited ways to get into it. One of the things that NRM could thinking about is ‘breaking out of its space’, they should they be thinking of spreading through the space in ways that that would take people further into the space. There could so some quite creative things in other parts of the site’.
‘In terms of the railway theme, there is the Highline in New York. They used a disused rail track, which is elevated. Now become a hugely important outdoors space, hosts music events, arts events, planting. Green space, involved with volunteers, friends of the highline. This would be one way of attracting people to that site. I know its talked about as Great Park but if it’s purely static I don’t think it will survive’.
‘Railway Institute gymnasium. If you go in the is a wonderful magnificent building and that is a building that needs to be retained. It is popular and much loved’.
‘One thing that’s strikes me the culture of the city was not planned and here you’re trying to plan it. I also feel calling is York Central is a misnomer because it is the connection between the city and whole has to be thought of seriously. The culture of the city which grew organically, the concern of the railway, the railway is part of the culture of the site. NRM will expand, absolutely vital but it has to be done in an imaginative way’.
How can culture be democratic?
‘These artists intervention have been about making sense of a space, in this city’s ancient monuments. One thing add, how is that going to affect our children now? With a monument, there is a danger that it is grown over. Or is it going to be something that a community can relate to?’
Hazel: ‘In Cambridge, the Art project included lots education projects. As well as making art that is about the new development, they worked as part of a new school building to link to what the children talked about. There is lots of scope for people of all age as involved. Making a place that can change and making place and spaces that can be used for something’.
‘We make buildings and then the buildings make us. Then it changes us and changes the people that come after that. It’s about having values in minds when they set out. In post-war towns, the approach was ‘build an art gallery’ and ‘build a theatre’ and we’re done. Instead think about embedding capacity for change in the longer term. It is good to have artists in resident but maybe instead of having an art gallery we need an art school!’
‘There has been some talk about digital facilities. Don’t let’s separate artists from the community. We need to encourage them to come from the community, for everyone to be able to explore their talent. If you see that happen then you are getting somewhere close to the ideas for cultural wellbeing’.
‘Picking up on the future and arts of the future, one of the ideas for York Central is the Great Park. I was struck with the Cambridge ideas and trees, the development is growing and evolving as the trees grow. So could we use this Great Park to animate the story, something that is growing and everyone could be involved in it. Because people how move there, future residents and children will grow up with the trees. I like the idea of growth and it being literal’.
‘Language is exclusionary. Particular vocabulary and discourse and if you do not have the way to understand that framework – and therefore it’s not accessible to a lot of people. Topics, complicated not quite able to understand them on an immediate level of what will affect me. We often forget the immediate – the cup of tea – the immediate point of entry, plain English directly, this is how it will hit you. Then I’d be very concerned about the cultural wellbeing plan for York central. I’d worry that you are disenfranchising people right away’.
‘Planning system you do not understand without specialist knowledge but this is how we are going to hit home for you’.
A cultural hub/lab?
‘What if we had an Explore Lab on York Central that could enable artists, creatives, digital/tech and our heritage to collide – re-imagining the stories our history.
An example from our Explore Labs – an 11 year old boy, developed a holder on a 3D printer that could be attached to the base of a takeaway coffee cup – this would be made of biodegradable material and filled with wild flower seeds that would grow and attract pollinators. Who knows where this will lead? We could connect with those young people using the digital labs and ask them what they would like to see and re-visit 20 years later – they could be the very ones using the space in York central – It could be a dynamic and living space. As they grow it grows’.
(Barbara Swinn, York Explore)
How to start to build culture on York Central now?
‘Something mobile or pop up maybe? Could one of the buildings can be used ‘meantime’ to explore making and digital making?’
‘It would be easy to do something tame and has been done before. We are allowed to be risky even if we are York. We’re allowed to think about the future even if we are historic. We have strong roots and therefore we can grow’.
‘But It will be water down if we don’t pull our fingers out’.
‘There are somethings (in Hazel’s presentation) about process and becoming. There were also some things that were something physical in the space. Some of those interventions were about ownership, my brick, my windmill, that’s for them. But there needs to be a longer-term plan too. The cultural plan can have a process, what do we do while it is become, what do we want to become’.
‘We need the process of becoming. But as a community we need that feeling it is ongoing. We also need buildings that can stand the test of time. Good opportunity to have all of them – but we might just get a Windmill!’
‘It is about retaining people and bringing people back. It is about providing space for artists. In Bristol, they have turned themselves around and provide space for artists as a permeant feature. E.g Watershed. We need a place for start ups. If that was in conjunction with the regeneration and the museum itself so much the better. It could be a way of melding old and new, earning a living and stay. That will do well for our native population as well as retain graduates’.
‘Often there is a sense that it’s Leeds you go to for an exiting place to see art. But what about forward thinking art that involves the community. Including communities that are not always wanting to get involved in art’.
‘Retain the element of what it was and what was there and forward looking, NRM is trying to do’.
‘You are talking about people taking ownership over a part of that site, time to box clever to get ongoing funding, that helps to pay for that activity on to the future’.
‘In the Highline in New York, they have kept the essence of what it was I the past, It has sculptural pieces and some of old buildings have been retained and the city has taken ownership over it definitely’.
‘In Birmingham Wharf people can make things. Entrepreneurs can try things out, there are great big tunnels thinking about transport in things at high speed, a place where people can understand things not like a museum, some kind of makers environment where you are doing things because without artists being about to prototype something and try something out. There is a space to prototype then that’s very difficult’.
‘I keep reading your cultural wellbeing plan. You should have a cultural infrastructure plan wellbeing in the result, cultural infrastructure is what underpins it. Physical as well as social. Infrastructure is not just bricks and mortar it’s social. Whatever that infrastructure is it will set the foundation for what follows on. Whatever form it takes it will influences what happens next. Principle area part of an infrastructure and can change – but can give you an infrastructure’.
‘Lots of old building, factories, on the site, I hope there is no suggestions that they should be cleared away as they could be excellent for start of space for artists. Convert them in workshop spaces’.
‘I complete understand its lovely when an arty people get together. But what do you need on a day to day basis is to eat and be outside. I liked the fruit trees idea from Cambridge. As people use the path, they might think about Newton. Railways signify innovation but not everyone will be a maker. They might just wat an apple to immediately take away’.
‘Looking at other tools to describe the space, it uses one kind of language, architectures to tell stories, how people describe, storytelling other way of giving people a chance of places for them’.
‘We can be active with the cultural plan, we want that building for arts and we want to take that. We should be pushing now, to start to use somewhere like the Bullnose Building’.
• Keep in touch: sign up for further discussions about culture and York Central – within the view of starting to make some of these ideas happen?
• Develop ideas about a hub?
• Meantime use of buildings on York Central?
• Arts Council bid to being arts to York Central placemaking?