Chapter 2. f. Introduction to an Arts Strategy for Aden g. A Review of Existing Materials h. Definition of Art in Public Space i. Policy and Context

Transcription

1 Chapter 2. f. Introduction to an Arts Strategy for Aden g. A Review of Existing Materials h. Definition of Art in Public Space i. Policy and Context

2 f. Introduction to an Art Strategy for Aden

3 An introduction of the natural environment and art The natural environment with its flora and fauna, landscapes and scenes of rural life, has had a long and historical relationship with the arts. In Fine Arts it features as subjects and backgrounds from the earliest paintings to public sculptures. In design, architecture and craft, nature has been continually used to generate motives, patterns, shapes and compositions. This document discusses this relationship between the natural environment and art, in terms of thinking for the future. It specifically focuses on the context of Aden Country Park, in rural Aberdeenshire, Scotland and from the perspective of art making today, in a 21st Century contemporary climate. This plan will present an approach to the commissioning of art and creative projects in Aden that goes beyond just using the contents and landscape of the park as source material. It will consider how the park itself is the backdrop, the material, the foundations of Art in Aden. An introduction to an Art Strategy for Aden Country Park Scenes and details of Aden Country Park have and are still today, regularly drawn, photographed, interpreted for school art projects and used as inspiration for locally produced crafts, some of which are also sold in the park. This document will mark the departure to a strategic approach to arts development for Aden. It is driven by a longer term and co-ordinated commitment to considering Aden as a creative place. This Strategy will be owned and directed by the Friends of Aden Country Park, with the support of its partners (Aberdeenshire Council and Buchan Development Trust). All of the work undertaken as a result of this strategy will also seek to engage the local community and the Parks Stakeholders in the process and delivery. f.3

4 The Friends of Aden Country Park The Friends of Aden Country Park are an active group who work as a catalyst for bringing the local community together. They work in a range of ways to move forward the aims, ambitions and opinions of local residents and park users. The Friends of Aden Country Park, was established as a group in response to an informative and detailed survey that was undertaken with the local community in 2011, by Buchan Development Partnership. A questionnaire titled Making the Most of Aden Country Park, resulted in the Aden Country Park Community Action Plan (2011.) This survey both directly and indirectly identified interest among the visitors to the park, in the development of artwork in Aden Country Park the Friends of Aden have committed to further exploring this matter. They appointed a group of socially engaged artists and designers, icecream architecture to undertake a short programme of community and stakeholder engagement and creative research to work with them to write this strategy.

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6 What on earth is Art in Aden? Art in Aden is the chosen title for this Arts Strategywhich derives from a research and engagement project. icecream architecture approached this project with the ambition to take people on a journey. This was about learning, discussing and examining the potential for Art in Aden Country Park; exploring what would be exciting, innovative and important. Undertaking a process to co-create a vision and an action plan, through imaginative thinking about themes, locations, materials and forms appropriate for Aden. This took the form of the following programme and tools; Scoping : Background research into the area and wider strategic framework for the future of the park. Stakeholder meetings : working closely with lead contacts from The Friends of Aden Country Park throughout the project. Group and individual meetings with people involved in the day to day management of aspects or services with in the park. Walking : the park was physically surveyed utilising photography, notation of places of interest and historic merit individually and through walks with different people.

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8 Public film screening and discussion : an evening event was hosted, where ideas and approaches to public art in different places in Scotland were presented to attendees through short film extracts. A facilitated discussion followed, where the approach and vision for art in Aden was collectively debated and drafted. Followed by summarising discussions with representatives from the Friends to further edit this. Interactive display : a creative display was produced and set up in the park and moved around it by wheelbarrow, that invited people to vote with seeds on the characteristic, themes and examples of art works elsewhere that they felt were the most relevant to Aden. It was used to engage the passing public. Stall at Aden s Christmas event : A stall was set up at the Christmas Fayre where further discussions were had with the public about the locations and themes for artworks. School workshops : Members of the Friends of Aden, visited local schools in the surrounding villages, to gather the ideas of local children. Online : a survey monkey questionnaire and a facebook page were regularly updated generating online discussion and sharing ideas.

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10 Aden Country Park Aberdeenshire Aberdeen

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12 A historical context to Aden Country Park For more information about the following extracts, visit; The name Aden (pronounced Aa-den), meaning bonnie burn or brae, is first recorded in a New Testament manuscript written by the Celtic monks of Deer Monastery, known as the Book of Deer. King Robert the Bruce gave the Barony of Aden in 1324 to Robert Keith, the Earl Marischal, as a reward for loyal service during the War of Independence and these lands remained in the hands of the Keith s for almost 400 years. But Aden s present appearance dates from the ownership of the Russell family ( ). Alexander Russell, purchased the estate in 1758, along with the village of old Deer. Filled with current ideas of farming Improvement he re-organised his tenant farms, planted woods for shelter and built a modest house overlooking the South Ugie River. Succeeding generations of Russells completed the transformation by building the unique steading in 1800, enlarging the mansion and adding a coach-house and gate lodges in After the First World War, in 1937 the last resident laird, Sidney Russell, reluctantly sold Aden, much of Old Deer and the estate s remaining 52 farms. New owners used the estate mainly for shooting and the home farm and policies were let to local farmers, the grounds were neglected and the buildings became derelict. In 1974 Banff and Buchan District Council purchased the Aden site and in 1975 Aden was designated a Country Park. With considerable support from the Countryside Commission for Scotland the mansion house was consolidated and in 1983 the renovation of the steading as a Farming Museum was completed.

13 The offer of the Park today The public facilities, properties and businesses that the park hosts are extensive, these include; The Plant Nursery, Sawmill, Children s Play Equipment & Outdoor Gym, Caravan Park, Uniform Group Campsite, Aberdeenshire Farming Museum, Hareshowe Working Farm, and ARC Recording Studio, an Interpretative Centre (the Natural History Cabin), Café, Ice Cream Kiosk, Craft Shop and Agricultural Land. The park also has a number of significant natural and man made, habitat and environmental assets which form part of the visitors exploration of the park, including; a New and a Victorian Arboretum, the Ugie Water (River) & Tributaries, The Lake, The Allotments, Dog & Horse Agility Areas, Picnic Areas, Carers, Sensory & Sands Gardens and 5 Trails. There are various points of historical interest, such as remains or sites of former industry and infrastructure include ; The Mansion House, A Mineral Well, Ice House, Twin and Goldie Lodges, Foresters Cottage, Gasworks, Hut Circle bases & evidence of an Episcopal Meeting Place. Many of these assets hold the potential to host interesting and interpretive creative projects. g.5

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16 The Park and its Stakeholders Aden Country Park is now owned and managed by various Aberdeenshire Councils. These Services include: Landscape services Arts and Heritage (Education and Childrens Services) Countryside Ranger Service, Property Service In addition to those services mentioned above, representatives from the following key stakeholder groups have been engaged in the development of this strategy; Owners of the Cafe and Ice Cream kiosk business Manager / groundskeeper of the Caravan Park Allotment holders Aden Development Group Aden Working Group Director of the Book of Deer Project

17 Corporate Policy / Local Reports Aden Country Park plays an important role in Aberdeenshire s open space strategy and enhances the quality of life of those people, who live, work and visit Aberdeenshire. This is reflected in the number and the diverse documents it is incorporated into. A number of these local policy documents relating to the park have been reviewed in order to inform the strategy. These include; Aden Country Park Management Plan Buchan Community Plan ( ) Parks and Public Open Spaces Strategy 2006 (revised 2010) Strategic Priorities document ( ) Aberdeenshire s Service Plans ( ) Aberdeenshire Local Plan (adopted 2006) & draft 2011 Plan Aberdeenshire Cultural Strategy Aberdeenshire Pitch strategy Aberdeenshire Sustainability plan Aberdeenshire Community Plan Transport plan Aberdeenshire Core Paths Network g.9

18 Making the Most of Aden Country Park Specific evidence of the public s interest in Art for Aden, is presented in the following documents, which have been key in directing this research from onset; Aden Country Park Community Action Plan Buchan Development Partnership, 2011 You Said, We Did Aden Country Park Making the Most of Aden Country Park, Park Questionnaire Buchan Development Partnership, 2011 Selected extracts, quotes, references from these documents were drawn from these documents and used as a springboard for framing some of the questions and issues that the Stakeholder and Public engagement program considered. This was interpreted in the following conclusions and questions; There is strong reference to which areas of the park are very popular or less popular. The most popular being Wooded areas, Open Areas and Restaurant. In considering the location of future Art works is it important that artworks are located in the popular areas as these have higher footfall and are perhaps enjoyed and experienced more frequently? Or is it important that artworks draw new footfall to the quieter places? There is a reference recurring to an interest in seeing the park host a Sculpture Trail. What might this consist of and what kind of Trail would this be? Where would the Trail go? How would the Trail be navigated and experienced? Who would be the main audience of a Trail? With in both the discussion of facilities and of events, an interest in the production and selling of Local Crafts is prevalent. Should local crafting techniques be also reflected in artworks made for the park, or use the techniques and skills of local craftsmen and women?

19 Aden Park is frequented by the majority of visitors on a monthly or yearly basis. How might artworks reflect this, changing, evolving, moving monthly or annually? How might an artwork encourage people to come and visit it more regularly? Evidence of the additional facilities that people wish to see developed, include; Paths and signage Activity park, more for children Covered areas for picnics/concerts Dedicated BBQ areas Outdoor Seating Boating pond Maze Pitch n put Interpretation of local estates Could artwork be integrated into the delivery or design of these facilities? There is a lot of talk about promotion and spreading the word about the Park. Could the locations and the form of artworks contribute directly to increasing the profile of the park and communicating it? There is a strong call for more events and signal that people would attend these. What kind of art events could be hosted at Aden? g.11

20 The Park offers a broad range of facilities, things to do and points of interest. Should public artworks be developed in order to enhance, interpret, add value to some or any of these features specifically? Should the development of artworks in Aden be about creating a new feature to come and visit? Should Artworks look at the connections between the existing features, history and environment of the park? Is there anything within the park that feels significantly unrepresented or explored as a feature that could be the focus for artistic projects? ADEN COUNTRY PARK 1 CENTRAL AREA LEGEND A MAIN ENTRANCE COACH HOUSE LANDSCAPE SERVICES RANGER OFFICE & INFORMATION ADEN CRAFT & GIFT SHOP BOOK OF DEER NEFA ARC RECORDING STUDIO GAS WORKS ABERDEENSHIRE FARMING MUSEUM CAFÉ GRIEVE S COTTAGE THEATRE PARKING TOILET FACILITIES DISABLED FACILITIES CARAVAN AREA RECYCLING FACILITIES B P 9 Y MANSION HOUSE HARESHOWE FARM CARAVAN AND CAMPING SITE SAWMILL, NURSERY & GARDENER S COTTAGE NOT OPEN TO THE PUBLIC NATURAL HISTORY CABIN 17 LAKE 18 UNIFORM GROUP CAMPSITE 19 VICTORIAN ARBORETUM 20 NEW ARBORETUM CARER S, SENSORY & 21 SANDS GARDENS PLAY / OUTDOOR EXERCISE BRIDLE PATH CAMPING FOOTPATH PICNIC AREA MUSEUM INFORMATION FLORA & GARDEN AREA EATING OLD DEER MINERAL WELL 22 CHILDREN S ADVENTURE PLAY AREA SHOPPING 19 8 ICE HOUSE 23 MAIN ARENA WALKS & TRAILS ICE CREAM KIOSK FORESTER S COTTAGE GOLDIE S LODGE (NORTH) 24 BARBECUE & PICNIC AREA 25 OUTDOOR GYM FORMARTINE & BUCHAN WAY INTERSECTION THROUGH PARK WOODLAND WALK TRAIL DISTANCE 4.17 km TYPICAL DURATION 2hrs 20min HARESHOWE TRAIL DISTANCE 1.78 km TYPICAL DURATION 1hr 12 O MILES O KILOMETERS 1/4 KILOMETERS N 1/4 MILES 12 TWIN LODGES (SOUTH) PARKING 16 IS EXCLUSIVELY DISABLED PARKING ONLY TOILETS AVAILABLE AT 13 AND 14 ONLY 26 DOG EXERCISE AREA 27 DOG AGILITY AREA 28 HORSE ARENA CHILDREN S TRAIL DISTANCE 1.30 km TYPICAL DURATION 45mins TREE TRAIL DISTANCE 1.64 km TYPICAL DURATION 1hr country park Public map of Aden Country Park

21 h. Definition of Art in Public Space h.1

22 Overview definition of Art in Public Space There is no single definition of Public Art. It is generally accepted that the term refers to work produced by artists or makers that is integrated within the built or natural environment in both urban and rural locations. Traditionally Public Art was considered to be a statue, sculpture or monument. Whilst contemporary Public Art may still take this form, the definition now covers a much broader range of creative projects; It can include work which is made from any material - marble to bubble wrap. It may be temporary or permanent, from an engraved stone bridge to a series of images appearing for one day on a public screen. It can be a stand alone piece that exists as a form within its own right. It may be incorporated into or be an integral part of other non-art structures, spaces or objects. Art in the Public Space is commissioned on the basis that it has the potential to impact positively on or add intrinsic value to a particular space or place. It may also be considered that the process of development of the public art commission and/or the installation of the work can support the wider social, economic, environmental, educational and health/well-being agendas.

23 The Value of Art in Public Space The following examples offer an insight into different kinds of art projects, executed in public spaces and parks, demonstrating the broad range of approaches in relation to value. They are chosen from recent projects completed since 2000 in Scotland or UK. Social value = entertainment/recreational opportunities, improved integration, conflict resolution, isolation reduction, intergenerational exchange... Example 1: The Enchanted Forest, Pitlochry, Perthshire (since 2011) A large scale light and music performance taking place annually. Dazzling visuals and innovative design was set against an original music score, visitors are invited to explore the stunning autumn woodland setting of Faskally Wood near Pitlochry, using the forest as a natural backdrop. Creating a light show experience that is, quite simply, out of this world. This art event attracted 62,000 visitors to the Highland Perthshire area over a 32 night run. Further info: Photo credit: h.3

24 Economic value = attracting investment, enterprising opportunities, empowerment and sustainability for local retail and industries, promoting tourism Example 2: Couch, Alice Frances, As part of Spring Fling in Dumfries and Galloway (2011) Alice approached Spring Fling in 2011 with the idea of covering a traditional Galloway cottage in floral fabric. Playing with preconceived ideas of domesticity and normality I ve long been thinking of buildings as an extension of self-expression. It s a cottage, a rural idyll, and the chocolate box idea of the countryside. But it s also the symbolism of domesticity and the aspiration lifestyle, overblown. Spring Fling is a vibrant visual art and craft open studios event covering the length and breadth of Dumfries and Galloway in South West Scotland. In Autumn 2015 Spring Fling CIC evolved to become Upland CIC a bold, ambitious, world-class rural based visual art and craft development organisation. Spring Fling is Upland s Flagship Event. Between 2003 and 2015 Spring Fling has attracted over 100,000 visitors who have made almost 300,000 studio visits. Over 13 years 1.9 million of art and craft have been bought in studios and the event has brought over 8.5 million to the local economy. Further info: Photo credit:

25 Environmental value = increased environmental awareness, enhancing the public environment aesthetically/functionally Example 3: Cinema Sark, John Wallace and Prof. Pete Smith, River Sark Bridge, (2013.) As part of the Environmental Arts Festival Scotland, Dumfries and Galloway, biannual event since saw the first ever Environmental Art Festival to take place in Scotland, set to be a biannual event featuring a wide spectrum of public artworks. One of the highlights from 2013 was a three screen video installation made by John Wallace and Prof. Pete Smith. The video dealt with issues of place, ecosystems and the meaning of the border, through interviews with a range of people living and working along the River Sark s banks. It was presented at the English-Scottish frontier on a giant projection canvas beneath the nine-lane M74/M6 River Sark Bridge. Both festival visitors and the passing public were powerfully engaged in the environmental complexities that both the footage and the locality brought cleverly to attention. More info: Photo Credit : h.5

26 Place identity value = Branding of a place, marking heritage, connecting past with future, putting a place on the map, reinforcing a sense of pride Example 4: Blue Whale, Monstrum, Gothenburg. Monstrum playground objects are created in a way to stimulate children s imagination while they learn and play in the same time. Göteborg municipality invited MONSTRUM to participate in developing an area of the new playground in the Plikta park, Göteborg. MONSTRUM designed in collaboration with the municipality and Tyréns, a blue whale and 6 sharks. The theme was inspired by the History Museum in Gothenburg, which has a popular collection of blue whales.

27 Educational value = Sharing new knowledge, promoting exchange of skills, increasing awareness, building connections between different fields of knowledge, making learning accessible, promoting creative thinking and broadening the understanding of art, empowerment Example 5: Michael Goodger and Emma Wylie, Britain from Above, Campfield Marsh RSPB Site, Bowness-on-Solway, Cumbria (2014.) Work created with The Solway Nature Explorers, Age 9-14 yrs, Solway Wetlands Landscape Partnership Scheme This wall was part of the Britain from Above Borders Project in Cumbria, one of a series of projects across the UK whose aim was to launch the free, Britain from Above online archive of aerial photographs taken between 1919 and As artists they worked with different groups within the community to create wall art, photographic and print work based on aerial photographs of Cumbria included in the archive. Using clay and natural pigments the Solway Nature Explorers created a collective piece of wall art on the external wall of a barn at Campfield Marsh. The focus of this piece was to use local earth in order to create marks and patterns inspired by marks on the landscape that can be seen in the aerial archive. More info: Photo Credit: h.7

28 Health + wellbeing value = Mental health benefits, healthy living promotion, engaging people in exercise and healthy eating, promoting awareness, improving the feel/ atmosphere of medical spaces Example 6: Huntly slow down, Jacquie Donachie, Huntly (2009) An exploration of what a car-free town would look like through a festival of all things slow. Working with the theme of transport in a small-town, Jacqueline started this project by studying twentieth century planning strategies, such as the suggestion of a car-free city. She contrasted that with the planning reality that turned many town squares into car parks. It is now acknowledged that many of these places, formerly used for gathering, are now unsightly, antisocial, and unsafe places for both visitors and locals alike. How would life change in our market towns if car access was limited and central areas given over to bicycle lanes, parks and other social spaces? What would our towns look like without cars and what effect would cycling and walking have on our daily lives? During the residency, Jacqueline encouraged as many people as possible to get on their bikes and cycle around their town, culminating in a giant cycle parade where over two hundred townsfolk set off with a colourful chalk-dispensing device attached to their bikes. The project became a six-kilometre drawing that used the town as the canvas, leaving a temporary cycle path marked out by a ribbon of colour on the roads. All was washed away by the rain the next day! More info : Photo Credit: jpeg

29 i. Policy and Context i.1

30 National context for the Arts, Creative Scotland Creative Scotland is the public body that supports the arts and creative industries across Scotland. Their 10 year plan for the arts ( ) sets out a clear national vision for arts development in Scotland; We want a Scotland where everyone actively values and celebrates arts and creativity as the heartbeat for our lives and the world in which we live; which continually extends its imagination and ways of doing things; and where the arts, screen and creative industries are confident, connected and thriving. Turra Coo, Turiff. David Blyth, Ginny Hutchison, Charles Engebretsen 2010

31 Creative Scotland outline their key collective aims for Scotland to be a place in which; Excellence and experimentation across the arts, screen and creative industries is recognised and valued. Everyone can access and enjoy artistic and creative experiences. Places and quality of life are transformed through imagination, ambition and an understanding of the potential of creativity. Ideas are brought to life by a diverse, skilled and connected leadership and workforce. Scotland is a distinctive creative nation connected to the world. All of the work undertaken with the support of Creative Scotland over the next 10 years will connect the following 4 themes; Creative learning Increasing the quantity and quality of opportunity for people of all ages to learn through engagement with the arts, screen and creative industries. Encouraging organisations to be responsive, adaptive and continually learn. Equalities and diversity Equalities and diversity at the heart of all creative activity enabling people from different backgrounds, from diverse communities and of all ages to access increased opportunity through access to arts and culture. Digital As new digital channels continue to emerge, the arts and creative sectors will be supported to fully utilise all the benefits that new digital tools can bring. Environment The creative industries will operate in an environmentally sustainable manner It is important that Art for Aden should be considered to address its own vision through meeting these wider ambitions. For futher information; i.3

32 Local policy context - Aberdeenshire s Public Art Plan Public Art offers Aberdeenshire, its people and partners, the opportunity to express what is special and unique about our environment. Public Art can make a significant contribution to the quality of life within communities from the physical enhancements of streetscapes, architecture, lighting schemes and our public spaces, to the fostering of community pride and ownership of towns and villages, involving communities in the rediscovery of their local cultural heritage, and the creation of new public spaces. The provision of high quality design in the built environment is a key factor that influences local perceptions of an improved quality of life, as well as providing an attraction to economic investors. Aberdeenshire Council believes that through encouraging the integration of quality artworks into the built environment and adopting the highest standards in the design of new development and infrastructure, attractive and integrated communities can be sustained across our part of Scotland.