Bristol City Council's Public Art Strategy - Public Art Online

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Tree surround by Marion Brandis for Linden Homes Cleo Broda has researched and documented the area and consulted with local residents. Her research will culminate in a postcard booklet which represents some of the unseen aspects of Hartcliffe. Kathrin Boehm has worked closely with the Spacemakers group in order to deliver an active learning programme and on-site experience with regard the perception and design of public space. Spacemakers is managed locally by a dedicated project officer employed by the Architecture Centre in Bristol and based at Hartcliffe Community Campus. The project is supported by Bristol City Council, the Calouste Gulbenkian Foundation, Urban 2 and The Glass- House, a new national design advisory service aimed at empowering tenants and residents of low income neighbourhoods to creatively participate in decisions affecting the renovation and rebuilding of their local environment. Bristol City Council received a full planning application from Linden Homes for residential and commercial development on the former British Telecom site in Horfield. The application was agreed by the Planning Committee in February 2003. As part of the planning and development process, Linden Homes recognised the importance of art within the development and agreed to invest in a public art scheme, confirmed within the Section 106 Planning Agreement. A lead artist, Marion Brandis was appointed to devise a series of sitespecific durable works, integral to the scheme. Walter Jack Studio and Reckless Orchard were commissioned in February 2003 to develop an Art Programme for The Dings, a small and tight-knit community close to the centre of Bristol. The artworks were designed in conjunction with the Home Zone proposals designed by Sustrans and with a group of residents with an interest in and enthusiasm for art and its potential application into their streets and spaces. Major capital development of the Colston Hall will offer opportunity for artists to become part of the design process identified via a lead artist as an appointed member of the Colston Hall Design Team. The Design Team will identify opportunities for prospective art commissions for each development phase. Design criteria used to advise the appointment of the lead artist and inform first stage and detailed design stages of the art commissions programme profile: - a distinctive, high profile, public space and meeting point in Bristol’s cultural quarter, for day and night time use; - site specific links with visual, historical and architectural elements of the site; - coherent integration of art, design with architecture and interior design; - interior and exterior lighting, colour, furniture, visual features; - a grade 11 listed façade with sculptural reliefs depicting wrestlers, music and ballet; - a respect for the past but an innovative approach towards future refurbishment; - good contemporary design, modern - of the present; - renewal of design quality over an extended period of time; Michael Brennand-Wood bar area for Ocean, London city centreouter neighbourhoods page 34
Ballroom dancing for the cleaners. Richard Layzell, Mead Gallery. Warwick Arts Centre - new technologies, new materials and new formats for public art; for example digital and projected works, temporary installations, combined and cross artform; - the potential for inter-active, community and education projects; - buildability, architectural constraints, scale, materials, durability and long-term care. Bristol City Council is committed to the practical involvement of artists in all aspects of the project and anticipates a programme of commissions of at least £200,000 as an integrated part of the design of the building. Michael Brennand-Wood has been appointed lead artist to work with architects Levitt Bernstein Associates, the Project Design Team and artist Richard Layzell on the redevelopment of the Colston Hall. page 35 SECTION 7 Public Art Strategy > Bristol
Page 1 and 2: PUBLIC ART STRATEGY > city centreou
Page 3 and 4: Pero’s bridge Eillis O’Connell
Page 5 and 6: SECTION 1 EXECUTIVE SUMMARY The Pub
Page 7 and 8: SECTION 2 PUBLIC ART POLICY www.bri
Page 9 and 10: Levitt Bernstein Associates, feasib
Page 11 and 12: SECTION 3 BRISTOL LOCAL PLAN www.br
Page 13 and 14: policy if this is very clearly outd
Page 15 and 16: SECTION 4 CONTEXT AND CONNECTION Th
Page 17 and 18: Design statements will set out desi
Page 19 and 20: 4:3.3 Cultural Strategy www.bristol
Page 21 and 22: This is the context for arts develo
Page 23 and 24: SECTION 5 IMPLEMENTATION PUBLIC ART
Page 25 and 26: 5:4 Good practice Commissioning for
Page 27 and 28: SECTION 6 ACTION PLAN Application a
Page 29 and 30: SECTION 7 DEMONSTRATION THE DELIVER
Page 31 and 32: FAT was commissioned to propose enh
Page 33 and 34: Marion Bock, ‘A Masterpiece’, d
Page 35: Barbara Disney, proposed floor work
Page 40: For further information, contact: S

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