PUBLIC ART STRATEGY ART ON THE TIDEWAY: TURNING TO FACE THE RIVER
Contemporary Culture Liquid History
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Foreword In the mid-nineteenth century my great great grandfather, Joseph Bazalgette, devised London’s sewage and waste water system to tackle the cholera that was carried by a grossly polluted Thames. We affectionately call him ‘The Drain Brain’. His system’s success means it only now needs updating, 150 years on, when the city is four times the size. The need today may seem less obvious but without it our metropolis can’t continue to function as a safe, growing place to live and work.
The Thames Tideway Tunnel is a grand, ambitious project. It will create new public amenities along the river. Challenging artists to bring all this to life celebrates the project while sharpening our sense of place. Just as the art, architecture and design of the Victorian Embankments and pumping stations expressed the spirit of that age.
I am delighted that Tideway has launched a Public Art Strategy and Art Programme. The strong link between the Public Art and the Heritage Interpretation Strategies fuses the power of heritage and contemporary art. The artists will have rich themes to build on: the River Thames’s ecology, shared public space, our personal and community identities as well as a nod to the city’s changing fabric. Even during construction, hoardings created by artists and school children will challenge and delight.
I’m a fervent believer in the power of arts and culture to improve our quality of life. This is what will happen here, both above and below ground. Bring on the ideas!
Sir Peter Bazalgette (Chair, Arts Council England 2013-2017) 2 | | 3
Contents
Foreword ...... 1 Objectives of the Public Art Strategy 31
Executive summary 5 Programme Approach and Ambition 35 The Thames Tideway Tunnel ...... 7 Timescale...... 37 Art on the Tideway: turning to face the river. . . . 9 Audiences...... 37 Artistic Practice ...... 38 Introduction 11 Partnerships...... 39 Art on the Tideway...... 13 Programme Strands...... 39 Thames Tideway Tunnel’s Heritage Interpretation Strategy: River of Liberty...... 14 Delivery Programme 41 Core Programme...... 42 Vision and Aims 17 Vision: Governance and Management 47 Reconnecting London with the Thames. . . . . 19 Management ...... 48 Roots: Delivery Structure and Roles...... 48 Engineering and Imagineering...... 20 Information and Publicity ...... 49 Passion: Funding...... 49 Empathy and Authenticity...... 20 Public Art: APPENDIX: Commissioning artists 51 Site-specificity ...... 21 Commissioning policy...... 52 Artists commissioning process...... 53 Requirements and Value of Public Art 23 The Development Consent Order and Public Art. .25 Action Plan 57 Cultural Metropolis 2014...... 26 Benefits of Public Art ...... 28
Abbreviations CoCP Code of Construction Practice
CSO Combined Sewer Overflow
DCO Development Consent Order
HIS Heritage Interpretation Strategy
MWC Main Works Contractor
PAS Public Art Strategy
TWUL Thames Water Utilities Limited 4 | Exutiec ve summary | 5
Executive summary
tunnel/map/draw, Joy Gerrard and students from City of London School, commissioned by Tideway, Blackfriars (2016).
About the commission Working with 24 third form pupils, Joy Gerrard produced a striking and dynamic artwork that responds to the great expanse of water that moves through our city and the extraordinary engineering feat of the Thames Tideway Tunnel that is being created beneath the surface. 6 | Executive summary Executive summary | 7
The Thames Tideway Tunnel London has outgrown its sewerage system. The capacities originally allowed for in the sewer network designed by Sir Joseph Bazalgette in the 1850s have been significantly exceeded. The Thames Tideway Tunnel project (scheduled Art can reference the for completion in 2025) will extend London’s sewerage system to cope with the “ demands of the city well into the 22nd century. accumulation of memory The current network was designed to The sewers were built to last and materials will be conveyed by barge allow discharges into the tidal River are in excellent condition. They have on the river. This will create the need and experience which Thames of untreated sewage in order sufficient capacity for dry weather for a major modernisation of the to prevent it flooding back into streets flow but population growth and the fleet of commercial boats operating and people’s homes. Originally it development of land, which was on the river and the project will be gives a place a sense of discharged rarely. However, London’s previously able to absorb rainwater, a trigger for the training of a new combined sewer overflows (CSO) now mean that many of the main sewers generation of 21st-century river occur more than fifty times a year, operate at close to maximum capacity workers - tug masters, barge hands identity. These elements discharging millions of cubic meters much of the time. A decade of study and deck hands. The Tunnel will both of combined sewage into the Tideway has concluded that the most timely reinvigorate the river as a habitat and with the result that: and cost-effective solution to the CSO as a workplace. discharge problem is a 25 kilometre are not ‘nice to have’ they a. dissolved oxygen levels in the Tideway’s legacy objectives are bold storage and transfer tunnel running river crash or ‘sag’, which reduces but deliverable: up to 65 metres below the river - the biodiversity and sometimes causes Thames Tideway Tunnel. Environment: Protect and enhance are the foundations of any mass fish kills environment b. pathogenic bacteria are discharged Starting in west London, the proposed that pose health risks to river users route for the main tunnel generally Economy: Contribute to the vibrant and successful c. approximately 10,000 tonnes of follows the route of the River Thames rejuvenation of London’s river economy wastewater solids and litter form to Limehouse, where it then continues People: Greater well-being for all, slicks on the river surface or are north-east to Abbey Mills Pumping community. improved health for river users ” deposited on the foreshore. Station near Stratford. There it will be connected to the Lee Tunnel, which Place: Improved public realm, safer will transfer the sewage for treatment communities, less crime and a more Sir Nicholas Serota (Square Pegs in Round Holes – evaluation report on the Olympic Delivery Authority Arts and Culture programme by to Beckton Sewage Treatment Works. cohesive society. Open–City / Art in the Open, 2011) The Thames Tideway Tunnel’s use of river transport for the construction of the tunnel is set to be on a scale unprecedented in modern times. A total of 4.2 million tonnes of project 8 | ExeCUTIve summary Executive summary | 9
Main Works Contractor teams Art on the Tideway: WEST CENTRAL EAST (BMB) (FLO) (CVB) turning to face the river This Public Art Strategy, Art on the Tideway, identifies opportunities for artists to respond to the project. Developing an ambitious commissioning programme and establishing a reputation for world-class artworks and projects are central to the strategy.
While there is no Development The ambition is as follows: This Public Art Strategy complements Consent Order (DCO) requirement to the Heritage Interpretation Strategy Art on the Tideway will reposition produce a specific public art strategy, (HIS), a document that focuses on how the tidal River Thames as a new this was considered necessary to to interpret the history and context of cultural venue. A bold world-class articulate Tideway’s commitment to the Thames Tideway Tunnel and its art programme created with local public art as a means of engaging with sites. communities and stakeholders will the local communities and broader celebrate the achievements of the Tideway will co-ordinate and align the The Tunnel will be built by three Main Works Contractor The MWCs are responsible for liaison and coordination with audience and delivering the site- Thames Tideway Tunnel through HIS and relevant sections of the Public (MWC) teams, each focused on different areas: West Tideway’s artists to develop the artworks and agree the final specific interpretation of the Heritage the presentation of site responsive Art Strategy to achieve important (Acton to Carnwath, BMB joint venture – BAM, Nuttall Ltd, details with the local authority. They will also work with the Interpretation Strategy. artworks and projects. Exploring benefits and synergies: Morgan Sindall Plc & Balfour Beatty); Central (Carnwath to artist to develop maintenance costs and are responsible The ambition was derived from a heritage and looking to the future, Chambers Wharf, FLO joint venture – Ferrovial Agroman and for the fabrication and installation of artworks within the a. The HIS provides a wide-ranging series of conversations with arts artists will animate new public Laing O’Rourke); and East (Chambers to Abbey Mills, CVB permanent works once instructed. narrative framework for the artistic stakeholders (GLA Culture Team, spaces and create neighbourhood joint venture - Costain, Vinci Construction Grands Projects, and design proposals fixed to the Thames Water Utilities Ltd as the future owner and Local Authority Arts and Culture interventions to surprise, delight and Bachy Soletanche). cultural value of the River. maintainer of the permanent above ground works (including Officers, Arts Council England and inspire diverse audiences. b. Integrated landscape design and Tideway is responsible for the commissioning of artists and artworks and landscape) is responsible for the management Olympic Delivery Authority) and with Key objectives of the public art public art offers a medium for management of the design development phase of artworks and maintenance of the permanent integrated artworks. the Project Public Art Strategy Working programme are to: communicating heritage narratives in collaboration with the MWCs and for instructing the Group, now replaced by the Public that rely on a sense of discovery or MWCs incorparating the developed artworks in the public Art Heritage Interpretation Strategies -- Create unique artworks that imaginative engagement. realm works. Working Group. A scoping report express the transformational was produced, including a review importance of the Thames The project-wide HIS is the starting of precedent art programmes for Tideway Tunnel for London and its point for the inclusion of permanent infrastructure projects and detailed site relationship with the river. commissions within the overall analysis. -- Enhance the high quality public project. The HIS provides a thematic The approach to the Public Art spaces and experience of the river framework, which will inform these Strategy is informed by the overarching for Londoners and visitors. integrated commissions and design of project vision to reconnect London, the public realm. The design aspiration for the new and Londoners, back with the River areas of public realm, both hard Thames. In the early 19th century and soft landscaping is to create Londoners turned their backs on the the highest quality spaces, following Thames, as industry grew along with the example of Bazalgette on the associated pollution. Today we are the Embankment which includes turning back to face the river. decorative motifs on the river wall, lion heads and sturgeon lamps. 10 | ExeCUTIve summary Introduction | 11
Figures on the foreshore, Tim Davies, Nine Elms Lane, Battersea, London. (2015) Commissioned by Tideway
About the commission Tim Davies has created a site-responsive artwork exploring and celebrating the proximity of the river, childhood memories, playfulness and a place to dream, a place to relax. Davies’s work comprises a series of performative gestures and actions, conveying a sense of movement. Informed by the work of Eadweard Muybridge, who captured motion in stop-motion photographs, the movement is conveyed across the hoarding panels as a series of images with the Thames as the central visual thread, created with the residents of Nine Elms Pier, Tideway Village and Tideway Staff.
Introduction 12 | Introduction Introduction | 13
Art on the Tideway This document is aimed at an external audience of stakeholders and those interested in the approach being adopted by Tideway to ensure that new areas of public realm have both design quality and a cultural richness resonant with the contexts of each site. This strategy outlines the Tideway project and “ The Thames Tideway its requirements and ambition for public art, the objectives and approach. It Tunnel project is a major, city- introduces the programme and its delivery, governance and management. This will be realised through partnerships working with the soft and hard landscaping, structures and artworks. This wide investment in London’s artists, local communities and the MWCs and their design iterative and collaborative approach with the design teams teams to celebrate the achievements of the tunnel. The will uncover the stories and narratives of the sites, translating strategy sets out why this approach has been taken and them into built fabric. This aims to capture a unique series of wastewater infrastructure for how it will be delivered. responses to context but also to create a collection of subtle interventions and high quality public spaces. The passage of the Thames Tideway Tunnel, below the river, will be marked with a series of interventions in There are project-wide requirements for site hoardings the 21st century. It will build on parks and reclaimed land along the foreshore. The scale outlined in the DCO, through the Code for Construction and engineering of one of the UK’s leading infrastructure Practice (CoCP) that require temparary artwork installations projects, which for the most part will remain unseen, will be on some hoardings. The nature and context on three sites Sir Joseph Bazalgette’s legacy represented and announced through the creation of four (Putney Embankment Foreshore, Chelsea Embankment acres of new and improved public realm. Foreshore and Victoria Embankment Foreshore), requires that their respective artworks have a heritage-based Tideway has through the DCO (Design Principle HRTG.07) and maintain the long-term focus. Other sites will be site-specific responses or themes made a commitment to provide interpretive material (artistic identified in partnership with Community Liaison Working /information-giving installations based on archaeological Groups, local authorities or collaborative partners such as findings, history or specific geography of the site and its sustainability of London as a schools and community groups. relationship to the wider project etc.). This includes public art as a mechanism to deliver heritage references via the Diagram showing complimentary and world-class city and improve the integrated commissions. overlapping scopes of the HIS and PAS This Public Art Strategy, Art on the Tideway, outlines the vision and objectives for this commitment and wider quality of its largest open space, opportunities. Art on the Tideway presents a programme for the tunnel pre-construction, during construction and for HIS PAS a limited time post-construction. It includes a rationale for the River Thames. Heritage Public ” developing commissions within the wider project context. Interpretation Art Interpretive Strategy Strategy These are not always required to address heritage, unless Material part of permanent landscape design, but are always + + (Vision, Design Principles, Tideway) Education and Hoardings envisaged as being site-specific responses. Outreach and Artists in Programme Residence Involving artists and integrating permanent artworks has been embedded in the project from the outset. The creative response to heritage interpretation will inform the design of 14 | Introduction Introduction | 15
The HIS is supported by a wealth allowing free trade and the meanders’, have been analysed and of historical and cultural research. It movement of people and services; characterised as the following: focuses on the ‘River of Liberty’ and Thames Tideway Tunnel’s • The river is a force of nature, which West section – ‘Recreation to the various freedoms and protections 23 NEWHAM is a dynamic metaphor for the 17th industry: Society in transition’ it entails as a unifying theme for the TOWER HAMLETS and 18th century notions of natural project. This emulates the Victorian Central section – ‘Babylon to World Heritage Interpretation 24 Lee Tunnel laws and rights on which modern 22 21 legacy, correlates with Tideway’s City: Civic London’ CITY OF LONDON CITY OF WESTMINSTER classical liberalism is based, i.e. The Limehouse Cut values and is a universal and timeless freedom of the individual; East section – ‘The Shipping Strategy: River of 15 EALING human value that: 14 Parishes: Gateway to the world’ • Has shaped the riparian heritage 1 • Embraces and amplifies the central 17 resources associated with many In addition, the HIS describes each 16 Liberty KENSINGTON purpose of the Metropolitan Board AND CHELSEA works site locations, especially site under the heading ‘Liberty Sites’. HOUNSLOW 10 2 Greenwich 18 of Works and Bazalgette’s vision, The Development Consent Order (DCO) requires a project-wide13 Heritageconnection with reference to society acting Relevant sections of the cultural HAMMERSMITH tunnel which was to free Londoners from RICHMOND AND FULHAM 9 20 UPON in the interests of the greatest meanders and Liberty sites are Interpretation Strategy (HIS) to be THAMESprepared in consultation11 12 with Historic poor health and economic harm; 19 good for the greatest number included as part of the artists’ briefs for 3 England. The HIS outlines how interpretive material7 will be provided at the sites, GREENWICH 8 • Recognises that London’s status (utiliterianism). permanent commissions. has relied on river authorities who, especially those of heritage value, where this would be of widerLAMBETH public benefit. SOUTHWARK 4 The three geographic areas of the 5 Frogmore connection for a millennium, have maintained tunnel LEWISHAM project which the HIS terms ‘cultural WANDSWORTH free navigation of the Thames, The interpretive material, as defined by 6 Design Principle HRTG.07, including 23 artwork, is to be realised within the Map key NEWHAM
landscaping of new areas of public West - Recreation to Industry: Society in Transition 1 Acton Storm Tanks 9 Cremorne Wharf Depot 17 Chambers Wharf TOWER HAMLETS realm. Central - ‘Babylon’ to World City: Civic London 2 Hammersmith Pumping Station 10 Chelsea Embankment Foreshore 18 Earl Pumping Station 23 NEWHAM East - The ‘Shipping Parishes’: Gateway to the World 3 Barn Elms 11 Kirtling Street 19 Deptford Church Street 24 Interpretive material “includes, but is System modifications 4 Putney Embankment Foreshore 12 Heathwall Pumping Station 20 Greenwich Pumping Station TOWER HAMLETS Lee Tunnel Main tunnel reception site West works site 5 Dormay Street 13 Albert Embankment Foreshore 21 King Edward Memorial Park Foreshore 22 24 not limited to, the following: signage: 21 Lee Tunnel 22 Main tunnel Central works sites 6 King George’s Park 14 Victoria Embankment Foreshore 22 CITYBekesbourne OF LONDON Street 21 CITY OF LONDON freestanding or fixed to structures; Long connection tunnel East works site 7 CITYCarnwath OF Road WESTMINSTER Riverside 15 Blackfriars Bridge Foreshore 23 Abbey Mills Pumping Station CITY OF WESTMINSTER The Limehouse Cut The Limehouse Cut artwork and sculpture: freestanding Lee Tunnel (under construction) 8 Falconbrook Pumping Station 16 Shad Thames Pumping Station 24 Beckton Sewage Treatment Works 15 EALING Proposed drive direction 14 or fixed to structures; modifications to 15 EALING the Contractor’s design, for example 14 1 17 16 carved stone walling surfaces; KENSINGTON 1 AND CHELSEA HOUNSLOW 10 lighting and electrical installations. 2 Greenwich 18 17 13 connection This interpretative material, including HAMMERSMITH tunnel RICHMOND AND FULHAM16 9 20 UPON KENSINGTON THAMES 11 12 artworks, will be realised within the AND CHELSEA 19 3 landscape across the project sites, HOUNSLOW 10 7 GREENWICH and submitted to the relevant planning 2 Greenwich8 18 13 connection tunnel LAMBETH SOUTHWARK HAMMERSMITH 4 authorities for approval.” 5 Frogmore RICHMOND AND FULHAM connection 9 tunnel 20 LEWISHAM UPON WANDSWORTH For all the permanent commissions, THAMES 11 12 6 19 the rich historical context and 3 character of each site, as outlined 7 GREENWICH Map key within the HIS are articulated in the 8 artist’s brief and intended as an initial West - Recreation to Industry: Society in Transition 1 Acton Storm Tanks 9 Cremorne Wharf Depot 17 Chambers Wharf Central - ‘Babylon’ to World City: Civic London 2 Hammersmith Pumping Station 10 Chelsea Embankment Foreshore 18 Earl Pumping Station starting point rather than fixed subject LAMBETH SOUTHWARK 4 East - The ‘Shipping Parishes’: Gateway to the World 3 Barn Elms 11 Kirtling Street 19 Deptford Church Street 5 matter. Frogmore System modifications 4 Putney Embankment Foreshore 12 Heathwall Pumping Station 20 Greenwich Pumping Station connection tunnel Main tunnel reception site West works site 5 DormayLEWISHAM Street 13 Albert Embankment Foreshore 21 King Edward Memorial Park Foreshore WANDSWORTH Main tunnel Central works sites 6 King George’s Park 14 Victoria Embankment Foreshore 22 Bekesbourne Street
Long connection tunnel East works site 7 Carnwath Road Riverside 15 Blackfriars Bridge Foreshore 23 Abbey Mills Pumping Station
6 Lee Tunnel (under construction) 8 Falconbrook Pumping Station 16 Shad Thames Pumping Station 24 Beckton Sewage Treatment Works Proposed drive direction
Map key
West - Recreation to Industry: Society in Transition 1 Acton Storm Tanks 9 Cremorne Wharf Depot 17 Chambers Wharf
Central - ‘Babylon’ to World City: Civic London 2 Hammersmith Pumping Station 10 Chelsea Embankment Foreshore 18 Earl Pumping Station
East - The ‘Shipping Parishes’: Gateway to the World 3 Barn Elms 11 Kirtling Street 19 Deptford Church Street
System modifications 4 Putney Embankment Foreshore 12 Heathwall Pumping Station 20 Greenwich Pumping Station
Main tunnel reception site West works site 5 Dormay Street 13 Albert Embankment Foreshore 21 King Edward Memorial Park Foreshore
Main tunnel Central works sites 6 King George’s Park 14 Victoria Embankment Foreshore 22 Bekesbourne Street
Long connection tunnel East works site 7 Carnwath Road Riverside 15 Blackfriars Bridge Foreshore 23 Abbey Mills Pumping Station
Lee Tunnel (under construction) 8 Falconbrook Pumping Station 16 Shad Thames Pumping Station 24 Beckton Sewage Treatment Works Proposed drive direction 16 | Introduction Vision and Aims | 17
Vision and Aims
Stories from the Sewer, John Walter in collaboration with pupils from Riverside Primary School, commissioned by Tideway. Chambers Wharf. (2016)
About the commission Historical research, fantasy, direct observation and mythology all find a place within this epic artwork created by John Walter in collaboration with sixteen pupils from Riverside Primary School. This immense artwork is the result of a series of workshops delivered by the artist in spring 2016, which introduced the pupils to a wide range of drawing techniques and graphic styles alongside research into the history and future of London’s sewers. 18 | Vision and Aims Vision and Aims | 19
Tideway’s overall vision and values for the project comprise the following three combined areas of emphasis: VISION ROOTS PASSION Reconnecting London Engineering and Empathy and “ The poetry of the with the River Thames imagineering authenticity Thames has always emphasised its Vision: affiliations with human Reconnecting London purpose and with with the Thames human realities. Art on the Tideway will reposition the tidal River Thames as a new cultural ” venue. A bold world-class art programme created with local communities and stakeholders will celebrate the achievements of the Thames Tideway Tunnel Thames, The Biography by Peter Ackroyd, Doubleday Press, © 2008 through the presentation of site-responsive artworks and projects. Exploring the site, its heritage and looking to the future, artists will animate new public spaces and create neighbourhood interventions to surprise, delight and inspire diverse audiences.
The intention of the programme is to create an overarching such as water, movement, time and ecology may provide concept and curatorial themes in order to establish a another way of informing artists’ responses. coherent approach to commissioning artists. A programme- Within this vision, Art on the Tideway will commission the wide vision shared with relevant stakeholders will inform highest quality artworks, guided by their connections to the briefs of all the artists working across the programme. each situation and the changing nature of a place. A bold Whilst each commission will be distinct and responsive to programme of commissions of varying scale and profile, each different location and situation, this will provide a way temporary and permanent, responsive to their settings will of challenging the artists and creating a central narrative – help reposition the River Thames as a ‘new cultural venue’. Turning to face the river. Project elements or components 20 | Vision and Aims Vision and Aims | 21
Roots: Artists are “ Well placed to creatively Engineering and engage individuals and communities Imagineering and give voice to their sense of place, “Bazalgette’s sewage system is of at least national significance and has shaped the development of central London from the mid-19th century. Its their concerns and their aspirations for characteristic structures provided a thematic link to the Thames embankments in central London, where none existed previously. The monumental and more the areas they live, work and play in. homogeneous character that it provided to the Thames helped to augment ” the existing grandeur of central London, providing it with a cutting edge sewer system and underground railway and setting the tone of the city as a world Farrell Review of Architecture and the Built Environment (2014). trade hub. The Thames Tideway Tunnel structures are designed to adapt and augment Bazalgette’s system, thus preserving its significance and providing it with a new lease of life.” (Overarching Archaeological Written Scheme of Investigation 11.3.1).
Narrating, interpreting and re-imagining this heritage is a key Art on the Tideway aims to continue this legacy by aim of Art on the Tideway. celebrating 21st-century achievements. By commissioning Public Art: a collection of integrated art works and projects, inspired Bazalgette’s elaborate Italian Gothic-style pumping stations by Bazalgette’s vision, the ambition is to curate a strong with their flamboyant decorative interiors celebrated the Site-specificity contemporary programme. revolutionary hidden engineering of the sewerage system. Contemporary notions of public art have shifted over the last decade with many commissioners realising the limitation of iconic artworks or monuments placed in public spaces often without dialogue between the artists, commissioners and the immediate communities. The intention of Art on the Passion: Tideway is to move beyond these more traditional notions, working where Empathy and possible with local communities to commission artworks, temporary and Authenticity permanent, that respond to site and situation. In this arena, public art embraces a wide range of activities contribute their conceptual and practical skills to the creation The art programme will add new dimensions to the tunnel project by giving it from permanent site-specific works and the shaping of our of landscape, structures and public realm. Their engagement environment, to temporary installations or interventions that can bring an extra dimension of thought, research, sensibility aesthetic, cultural, social and symbolic value. It will help narrate the project’s excite and challenge our perceptions. It can encompass and understanding to the design of public places, and the construction, increasing its visibility, and connect with audiences and sculpture, installation, painting, craft, applied arts, design, way people experience them. film and video, sound art, digital art, new media, socially- communities to capture their imaginations. The programme will bring a human Art on the Tideway has embedded this vision and aims into engaged arts practice, and temporary arts events, including the development of the public art programme and its legacy. scale to the tunnel’s engineering feat, incorporating its development into the festivals. Artists are “well placed to creatively engage individuals and fabric of the communities, their past, present and future. By responding to a situation, art projects can engender communities and give voice to their sense of place, their creative participation in infrastructure projects, encouraging concerns and their aspirations for the areas they live, work engagement with decisions made about a locality. Working and play in”. Farrell Review of Architecture and the Built alongside other professionals and designers, artists can Environment (2014). 22 | Vision and Aims Requirements and Value of Public Art | 23
Sea Strata, John Maine RA, Green Park Station, London. Commissioned by Art on the Underground.
About the commission The concept of John Maine’s work for Green Park station is grounded in the natural world, reflecting the location between the urban character of Piccadilly and the more rural Green Park beyond. The Portland Stone Roach has been used to enhance the south exit façade, with enlarged ‘Portland Screw’ gastropods. Portland stone is a limestone that continues to be used for many of London’s buildings, often as a neutral cladding material.
Requirements and Value of Public Art 24 | Requirements and Value of Public Art Requirements and Value of Public Art | 25
The Development Consent Order and Public Art The Development Consent Order (DCO) is the prime driver of the project’s engineering and design vision. The DCO requirements are delivered by the “ Keep the excellent Design Principles, which together are the mechanism for achieving this vision. There are a number of policy Requirement for Integrated Requirement for Site excellent, but build documents that have informed the Artworks Hoardings development of this public art strategy The DCO requires that the HIS The site security and hoarding and the quality of the commissions. respond to Design Principle HRTG.07. requirements for each site state if on London’s key Tideway and Thames Water are This defines the requirements of artwork should be incorporated on committed to leaving a legacy of interpretative material at all sites and public-facing sections, as defined high-quality open space. These are outlines how interpretive material shall in the DCO Code of Construction strengths of diversity, captured in the project’s Legacy be provided at sites of heritage value Practice (CoCP) Part A: 4.3.4: Commitments (Objective 9: Improved where this would be of wider public “The design of hoardings will be Public Realm). benefit. new spaces, new appropriate to the character of the It is a high-level design objective that “The design of interpretation materials surrounding townscape, where “any new public open spaces shall be shall not lead to unacceptable required, which may incorporate one places, access to designed to enhance the environment visual clutter. Interpretation shall be or more of the following: and provide a lasting legacy. The undertaken in line with a project- a. artwork visualising the proposed project shall respect each site’s wide Interpretation Strategy and shall development or photographic individual location and setting, while take account of any existing local new audiences and views of the local area or artwork recognising the contribution of all sites interpretation strategies.” (HRTG.07) to providing a cleaner, healthier River mounted onto standard, well- Thames”. This interpretative material, including maintained hoardings quality.” artworks, will be realised within the b. viewing windows in standard This will be achieved by, amongst landscape across the project sites well-maintained hoardings to other deliverables, “developing and submitted to the relevant planning preserve important views and Roger Madelin, former CEO, Argent LP a signature across the sites that authorities for approval. provide opportunities to observe (developer, Kings Cross). recognises the collective importance construction activity The DCO, through Design Principle of the project and the sites to the river” c. a full cover of climbing plants on HRTG.07, requires a project-wide and “where opportunities arise, we dark green painted hoardings, with Heritage Interpretation Strategy to shall seek to create new, high quality, the plants trimmed back only to be prepared to mark the significance public spaces and enhance habitats accommodate essential lighting of the original sewerage system and and biodiversity”. (2.1 to 2.1.5 Design and health and safety signage.” Principles. Doc Ref: APP206.01) the engineering achievements of the current project. It is the starting point for the inclusion of integrated art within the overall project. 26 | Requirements and Value of Public Art Reimentsqu re and Value of Public Art | 27
The DCO and related agreements the amount of hoarding, footfall, Acton Storm Tanks, Cremorne Wharf (CoCP Parts A and B) with local heritage value and community benefit. Depot, Kirtling Street, Earl Pumping authorities specifies site hoarding Thirteen were identified as sites where Station, Greenwich Pumping Station requirements. The nature of the ‘commissioned works’ are appropriate. and Abbey Mills Pumping Station). artwork will vary from minimal DCO-FNCC.03 states that “The information - a bespoke pattern Project-Wide Approaches ‘signature’ design shall be used for all based approach - to a site-specific A number of principles relate to ventilation columns serving the shaft, commissioned artwork. For some sites project-wide elements, such as access except where stated otherwise in site- the appearance of the hoarding must covers and ventilation columns, with specific principles”. be approved by the Local Authority, the opportunity for them to become these include Putney Embankment recognisable elements within the This is all opportunity for artistic Foreshore, Carnwath Road Riverside, overall landscaping. DCO - FNCC.08 intervention. (FNCC.03 – excludes: Victoria Embankment Foreshore, considers the manhole covers: ‘In Acton (bespoke), Hammersmith, Barn Blackfriars Bridge Foreshore, publicly accessible areas, small access Elms, Carnwath (bespoke), Dormay, Chambers Wharf and King Edward covers (675mmx675mm or less) Falconbrook, Kirtling Street, Earl, Memorial Park Foreshore. shall be of a bespoke project design Bekesbourne Street, Greenwich and or be recessed covers inset with the Abbey Mills.) The sites have been reviewed across surrounding paving treatment for visual the project against factors such as continuity.’ (FNCC.08 – excludes: Cultural Metropolis 2014 An update to the London Mayor’s 2012 Cultural Strategy was more recently published as Cultural Metropolis 2014 Achievements and next steps, which has informed both this strategy and the Tideway HIS. It highlights cultural projects inspired by the city’s heritage, using its architecture and historic sites as the basis for artistic expression. It also identifies the River Thames as a key focus for future cultural initiatives.
Relevant policies included: Policy 5.1: value of heritage. In addition it states This public art strategy aims to ensure Infrastructure, environment and the the River Thames is the lifeblood of that Tideway can support this ambition public realm, from the Mayor’s London the capital and a critical part of the to widen access to culture and the Detail from ‘The Thames Wunderkammer: Tales from Victoria Embankment Plan is quoted as promoting high Mayor’s River Action Plan (2013), opportunities for cultural enhancement in Two Parts’, Simon Roberts. Victoria Embankment. (2017). quality in each of these areas. Policy outlining measures to boost travel on along the River Thames. About the commission 5.4: Heritage and urban landscape the Thames. Simon Roberts has created a metaphoric ‘cabinet of curiosities’ across is where the Mayor champions the two 25-metre Tideway foreshore hoardings. The work reflects on the significance of the Thames foreshore (the longest archaeological site in the capital), paying particular attention to the area around Victoria Embankment. His artwork prompts a re-evaluation and re-creation of the site’s specific features, whilst adding new layers of cultural and visual meaning to this historic part of London.
Background image Proposed Thames Embankment Map 1862, Museum of London Collection. © Museum of London. Objects (from L-R): The Imperial Camel Corps Memorial, in Victoria Embankment Gardens. Tree beside Bartle Frere Statue, in Whitehall Gardens. Cleopatra’s Needle obelisk. One of two sphinxes at the base of London’s Cleopatra’s Needle. 28 | Requirements and Value of Public Art Requirements and Value of Public Art | 29
Benefits of Public Art There is an increasing body of research that demonstrates the impact and value of commissioning public art in creating a sense of place and contributing to a distinctive identity, engaging communities and supporting way-finding as well as contributing to the wider cultural offer.
The Mayor of London’s World Cities Culture Report (2015) population was born overseas. London’s openness and provides a focus on the role of art and culture in relation to cultural diversity encourages the cross-fertilisation of creative urban economies. “Culture in all its diverse forms is central ideas. to what makes a city (place) appealing to ...people and... There are many precedents where art and culture have hence to the businesses that employ them.” A culturally been part of major infrastructure projects, also transport and vibrant city, town, borough or neighbourhood makes a place regeneration art programmes including the Queen Elizabeth attractive to people living, working, studying or relocating to Olympic Park, London Underground, Crossrail, King’s Cross an area. and Olympicopolis - the emerging cultural and education The report outlines that London, Europe’s largest city and district of the Queen Elizabeth Olympic Park. the sixth richest place on the planet, has been growing As well as supporting the design principles there are rapidly since the 1990s. In 2015, it passed its historic additional ways in which art can create linkages across the population peak of 8.6 million people and another 1 million project in particular by contributing to the Tideway legacy are expected to arrive by 2030. Around a third of its objectives.
Martin Parr, Paul’s Walk. Courtesy of Magnum and City of London Gallery. (2016). On Tideway’s enabling works hoarding.
Martin Parr, Paul’s Walk. Courtesy of Magnum and City of London Gallery. (2016). On Tideway’s enabling works hoarding. 30 | Requirements and Value of Public Art Otibjec ves of the Public Art Strategy | 31
Objectives of the Public Art Strategy
Ian Hamilton Finlay, Serpentine Gallery, London. (1998).
About the commission The slate circle sits just outside the gallery entrance and contains the Latin and English names of trees from Kensington Gardens: oak, lime, elm, copper beech, poplar, alder, ash, yew, hornbeam, chestnut, hawthorn and a quotation by the philosopher Francis Hutcheson, 1725. At the centre is a dedication to Diana, Princess of Wales, who was the Serpentine Gallery’s Patron from 1993 to 1996. 32 | Objectives of the Public Art Strategy Objectives of the Public Art Strategy | 33
1. Create a unique project-wide identity that expresses the transformational importance of the Thames Tideway Tunnel for London and its relationship with the river.
2. Establish a reputation for world-class artworks and projects as part of the DNA of the project, which engage, inspire diverse audiences locally, nationally and internationally.
3. Collaborate with communities from the outset to These objectives create a new sense of place through with active participation at the core where possible.
for the Public Art 4. Enhance the high-quality public spaces and Strategy were experience of the river for Londoners and visitors at all project stages from design and developed from construction to long-term legacy. 5. Place artists at the heart of the programme, extensive internal creating an ambitious commissioning consultation. programme with a range of artists from those of international standing to those at the beginning of their careers.
6. Stimulate a new sense of pride in and new perception of the tidal River Thames and the wealth of opportunities that it provides.
7. Demonstrate and make visible the innovative engineering and environmental achievements of the Thames Tideway Tunnel. 34 | Objectives of the Public Art Strategy Programme Approach and Ambition | 35
tunnel/map/draw, Joy Gerrard, Pauls Walk, City of London. (2016). Commissioned by Tideway.
About the commission tunnel/map/draw is an artwork created by Gerrard in collaboration with students from City of London School. A striking and dynamic artwork that responds to the great expanse of water that moves through our city and the extraordinary engineering feat of the Thames Tideway Tunnel that is being created beneath the surface. Their combined efforts offer a visualisation that reveals the hidden, complex and essential systems of a transformative engineering project in an urban setting.
Programme Approach and Ambition 36 | Programme Approach and Ambition Programme Approach and Ambition | 37
Timescale Audiences The approach considers the different Throughout the construction of the timeframes across the lifespan of the tunnel many communities will be Thames Tideway Tunnel. Enabling affected as the large-scale work works for the construction of the below ground requires construction tunnel commenced across many sites above ground. The approach sites in 2016. It is anticipated that the for the art programme considers tunnelling and creation of new public the needs of local communities as spaces will be completed by 2022. well as a wider London, national and Art on the Tideway international audience. Artists will be invited to consider the timescale of each commission in developing their approach. For example, Each of the project’s contractors has a community will develop insightful hoardings must sustain visual interest for up to two years - engagement programme in place which includes outreach permanent works much longer. projects with local communities, schools and other organisations. Tideway’s commitment also includes skills site-specific artists’ development and specifically STEM (science, technology, engineering and maths) training through work opportunities. projects, relating to the sites and their changing environments.
John Walter and pupils from Riverside Primary School. 38 | Programme Approach and Ambition Programme Approach and Ambition | 39
Artistic Practice Partnerships The breadth of the art programme allows for different artistic approaches For the art programme to have a meaningful impact and change perceptions and practices to be considered appropriate to the unique context of the about the river and its role as a ‘cultural venue’, it needs to be aligned with and Thames Tideway Tunnel. It will encourage working with artists from diverse contribute to city-wide developments and initiatives and where possible partner backgrounds at different stages of their career, from emerging to established with relevant stakeholders. artists. The public art programme is committed to equality (in all forms) in artist commissioning and engagement. The programme includes opportunities for The programme will include participation might comprise smaller aspects Pan-London initiatives such as Totally in festivals and events where Tideway of sponsorship / support for arts Thames, London Festival of Architecture partnerships and collaborations with arts and cultural organisations, with quality can have a presence under the and cultural projects including the and the London Design Festival will as the underlying principle. Competitive selection processes will be undertaken ‘umbrella’ of another organisation performing arts such as music, dance provide a focus for projects and for the commissioning of artists and a commissioning policy and Public Art (as a partner as opposed to primary and theatre. These would be partner-led maximise marketing and audiences for commissioner) and those which or delivered where possible. the art programme and wider project. Procurement Plan have been established to ensure this. (See appendix).
The specific commissioning process Central to the approach are Selection panels will oversee the adopted for each site will be discussed opportunities for key stakeholders, selection of artists for commissions and agreed with each local authority including local authorities, to be and their composition will be Programme Strands in response to their policy documents involved in the commissioning process appropriate to the commission’s and any specific requirements - or potentially co-commissioning. For location. Panels will include The art programme will seek to achieve its vision, aims and objectives for example submissions to public permanent commissions we will liaise representatives from: for public art through the Thames Tideway Tunnel drivers of engineering, art panels, liaison with specialist with the key stakeholders in preparing a. Tideway and its Heritage team advisors and engagement with briefs and commissioning artists. environment, heritage, recreation and education. These drivers will be b. Main Works Contractors and their identified stakeholders. There will be Where possible we will incorporate design teams addressed by the programme in a range of ways including the types of ongoing engagement with the local community engagement activities c. Community Liaison Working authorities at shortlisting and artist around the completed artworks, or art project commissioned, the site and its heritage and the audiences and Groups selection, addressing requirements presentations and dialogue as the d. Local authorities and key communities connected with it. for open calls, targeting local artists, artworks are developed. For temporary stakeholders contributing to artist longlists and commissions this will be through input e. Artists or arts organisations The programme will comprise four overlapping strands: These strands respond to the unique aspects of specific participating in selection panels or into the artist’s brief, membership of f. Partner organisations and external sites as well as creating project-wide opportunities. They where this is not possible through their the artist selection panel, participating a. Signature artworks and project-wide initiatives arts experts. cover temporary interventions during the construction nominated representative. in the creation of artwork, via the b. Integrated site-specific artworks process, as well as creative engagement initiatives. In the statutory planning process and where c. Temporary and event-based work medium-term there will be opportunities to develop projects possible through artist-led community d. Engagement and dissemination working with local communities as their environment engagement activities. undergoes change and disruption. 40 | Programme Approach and Ambition Dli e very Programme | 41
Delivery Programme
An Age, An Instant, Rona Smith, New Burlington Mews, London. Commissioned for The Crown Estate. (2014).
About the commission The artwork is inspired by the heritage of the Regent Street area which was a hub for clock and watch makers in the early 20th century when John Nash’s Regent Street facade was rebuilt. The commission takes inspiration from engravings on turn of the century pocket watches and offers a link to the past through a contemporary expression of mechanical time-keeping.
Architect: AHMM Art consultant: Philomena Davidson Commissioned by The Crown Estate. 42i | Del very Programme Dli e very Programme | 43
Core Programme The commissions focus on the new public spaces, integrated artworks, hoardings (whilst construction is underway) and artist ‘residencies’, many of which will utilise the heritage interpretative research and explore the project through a range of creative approaches.
Art on hoarding There are a significant number of opportunities to develop All the sites have been reviewed for their prominence and visually arresting artworks for the site hoardings. These will footfall, and 13 have been identified as high priority to have provide an opportunity for community engagement, site- bespoke commissioned artwork. The CoCP outlines which specific responses and to view or connect to the river in a sites should incorporate suitable artwork on public facing different way. sections. They are: Putney Embankment Foreshore (heritage Artworks have already been installed at Kirtling Street by focus), King George’s Park, Carnwath Road Riverside, the artist Tim Davies and the local community, at Chambers Falconbrook Pumping Station, Chelsea Embankment Wharf by John Walter with a group of pupils from Riverside Foreshore (heritage focus), Kirtling Street, Victoria Primary School and at Blackfriars Bridge enabling works by Embankment Foreshore (heritage focus), Blackfriars Bridge Joy Gerrard with pupils from City of London School. Further Foreshore, Chambers Wharf, King Edward Memorial Park commissions are in development for a number of other sites. Foreshore and Deptford Church Street.
Lyall Bills & Young Architects, South Pumping Station, Olympic Park, (2012).
About the commission The building is a primary foul pumping station, connecting the new sewer system built for the Olympic Park to the existing Northern Outfall Sewer. The outer wall is clad with pre-cast concrete panels that are pigmented and some cast with a relief pattern, inspired by the Victorian engineering drawings of Sir Joseph Bazalgette supplied by Thames Water.
Lead artist and integrated artworks Strategy, curatorial themes and potentially also to the engineering process and materials, or perhaps making Figures on the foreshore, Tim Davies, Kirtling The role of a lead artist, or artist as member of the design Street commission (2015). team for permanent commissions, can be to incorporate reference to the tunnel itself could be considered. opportunities for genuine innovation, collaboration and About the commission Proposals and designs would be expected to work in Figures on the foreshore is a site-responsive enhancement of the landscape design. Many contemporary different ways: creating pleasure, celebrating people or artwork that has been commissioned by artists are interested in creating work that is site-specific Tideway. places, being provocative and engaging audiences in new and that responds to the physicality of a place as well as ways of experiencing or thinking about a place. Plans to Tim Davies has created an artwork exploring its social and historical contexts. Artists in this role will be include a new memorial to Sir Joseph Bazalgette are also and celebrating the proximity of the river, childhood memories, playfulness and a place appointed to work collaboratively with, and as part of, the being developed. to dream, a place to relax. Davies’s work design teams to develop detailed proposals for the new comprises a series of performative gestures public realm including site-specific integrated artworks. The sites offer opportunities for installing small-scale and actions, conveying a sense of movement. sculptural markers that link the public spaces and across all Informed by the work of Eadweard Muybridge who captured motion in stop-motion The variety of sites from the central foreshore sites with the sites. The placement of the artworks would help to mark photographs, the movement is conveyed the backdrop of the River Thames and the neighbourhood route-ways and emphasise areas such as meeting points, across the hoarding panels as a series of images with the Thames as the central visual interventions - a mixture of green and urban spaces in the public spaces and informal play areas. These markers could thread. Participants included residents of Nine west and east - provide different kinds of situations for artist include access covers. Elms Pier and Tideway staff. commissions. Responding to the Heritage Interpretation 44i | Del very Programme Dli e very Programme | 45
Signature ventilation column Artist-in-Residence The artist-in-residence programme is The project has developed a The notion of an artist in residence an opportunity for artists to navigate, ‘signature’ design to be used for the is now fairly standard practice within explore and investigate London’s ventilation columns serving the shaft many regeneration and infrastructure hidden artery - this is proposed as an on many of the sites. An artist or projects. This can involve artists annual commission building into a final poet could contribute to the design, literally documenting the development publication or exhibition. or site-specific elements could be and construction process, or a more For its first year, marking the start of incorporated into the ventilation creative response to the project. It is this major project, the residency will columns. Some sites will have a way of telling some of the stories focus on ‘mapping’ and the tunnel’s bespoke artist-designed ventilation of the people involved, or exploring relation to the river and London as it columns. the history and culture of a place or plots a new route through the city. The situation. Working with cultural sector The maintenance of artworks inaugural artist is Tania Kovats. partners, including galleries as well will be considered as part of as arts and literature organisations The spirit of the residency is intended the commissioning process. to co-commission artists could bring to be one of experimentation and Responsibilities for maintenance will in additional resources as well as exploration with the artist invited to be outlined and funding determined, provide other platforms to present consider many different approaches in addition to the long-term roles and the work, thus taking the project to including geographical, philosophical, responsibilities. new audiences. This is an opportunity metaphorical or historical. The HIS for artists to creatively consider and and its contextual research of cultural respond to all of the sites across the narratives will provide a starting point project and to the project as a whole. for this exploration. This is not intended as a means For the inaugural residency, there will of creating a documentary record be two stages firstly research and of the project as such - this will be development, followed by production. undertaken separately to the public art For the first six-months artists are programme. invited to gather ideas, visit sites and talk with Tideway staff. This period is intended as an opportunity for developing ideas and imagining proposals for a final artwork. This could include sketching, drawing, recording or writing.
The first residency has no specific site or community attached, and has the opportunity to follow the tunnel’s route through London and across its many sites.
At the end of this period, there will be six-months for the artist to produce a final artwork. This could take various forms including performance, event, soundscape, hoarding artwork, painting, prints or printed matter. It could be a one-off happening, a more durational soundwork, or an artwork with a longer presence. Tania Kovats, All the Sea, 2012-14, seawater, glass, cork, oak (365 bottles), 600 x 278.5 x 40 cm, 236.2 x 109.6 x 15.7 in. Installation view: Land, Sea and Air, group exhibition, The New Art Gallery Walsall, 2016. Courtesy Pippy Houldsworth Gallery, London. Copyright the artist. Photo: Jonathan Shaw. 46i | Del very Programme Governance and Management | 47
Really Good, David Shrigley, Fourth Plinth, Trafalgar Square, London. (2016).
About the commission Really Good is a seven-metre-high hand giving a thumbs up. Cast in bronze, with the same dark patina as the other statues in Trafalgar Square, the thumb is disproportionately long. Shrigley’s ambition is that this simple gesture will become a self-fulfilling prophecy; that things considered ‘bad’ such as the economy, the weather and society, will benefit from a change of consensus towards positivity. Commissioned by the Fourth Plinth, Mayor of London.
Governance and Management 48 | Governance and Management Governance and Management | 49
Management Information and The core art programme will be delivered by Tideway and the MWCs with their design teams. Publicity Information about Art on the Tideway will be available on the Tideway website. The tunnel will be built via three Main Works Contractor Leading the art programme is an internal public art team at This will include press releases on new commissions and open calls for artists, teams, each focused on different areas: West (Acton Tideway comprising producers and curators who, with the to Carnwath, BMB joint venture – BAM, Nuttall Ltd, MWCs and their design teams will be responsible for project information on completed artworks and any public events as part the art Morgan Sindall Plc & Balfour Beatty), Central (Carnwath delivery on the ground. programme. There will be a communications approach developed for each to Blackfriars, FLO joint venture – Ferrovial Agroman and The management structure aims to deliver a coherent commission in partnership with the MWC and stakeholders. Laing O’Rourke) and East (Blackfriars to Abbey Mills, CVB programme in the long-term and establish a structure joint venture - Costain, Vinci Construction Grands Projects, that will create its own momentum, profile, reputation and Bachy Soletanche). Tideway itself oversees the contract All the commissions will be partnerships and ensure a sustainable legacy. delivery across these areas. documented and evaluated. The intention is to create a final publication and resources, such as a public art trail, to facilitate the discovery of these new ‘above ground markers’ in their Delivery Structure landscapes along the route of the and Roles tunnel below. The Tideway public art consultants work from within the Tideway Core Design Authority team to facilitate and manage the programme-wide commissions and Funding projects outlined in this strategy. The core programme will be funded by Tideway. Tideway will appoint
Tideway is responsible for the commissioning of artists, their The MWCs are responsible for liaison and coordination with the artists and the MWCs will be responsible for the capital costs and fees and the management of the design development phase Tideway’s artist to develop the artwork and agree, where implementation of the artwork. of permanent artwork (in collaboration with the MWCs where required, the final details with the local authority. They will appropriate) and the instruction to the MWCs to also include also work with the artist to develop final layouts and are The core programme can be scaled The timescale of the construction Working in partnership with others temporary artwork on hoarding. responsible for fabrication and installation of artworks once both up and down depending on the programme allows for a range of could provide opportunities for instructed. Each of the three appointed MWCs and their design teams fundraising and budget available and funding approaches to be adopted co-commissioning where joint are responsible for managing the fabrication and installation Thames Water Utilities Ltd as the future owner and scale of aspiration proposed. Value for depending on the nature and location projects with shared fundraising are of the site-specific integrated commissions of the core maintainer of the permanent above ground works (including money will be central to the approach. of the commission. For those foreshore undertaken, potentially events as part programme as part of the main works contracts. artworks and landscape) is responsible for the management sites, which will be new areas of public of wider festivals or city-wide activities. The range of scale and profile of and maintenance of permanent integrated artworks. realm, their ongoing maintenance and There might also be opportunities for To deliver integrated commissions requires the MWC’s commissions means that certain animation also needs to be considered collaboration with galleries, artist and design team to work closely together, ideally from the outset The Design Life of the artworks will be determined by the commissions might be eligible for along with the long-term ownership of sculpture parks. of the Gate 3: Developed Design stage, through to the element being designed by the artist in collaboration with external funding. Funding sources are each site. These significant new areas end of Gate 4: Detailed Design Stage, by which time the the design team. Where possible a 60 year design life will likely to be types of public funding, of public realm also bring with them artworks will be embedded into the design. be aimed for, but examples of variation might be landscape cultural foundations and private / opportunities which could be explored lighting - (15 years), natural stone paving - (80 years), corporate sponsorship. There will be an opportunity to review the design proposals in terms of corporate sponsorship and ventilation column - (120 years). between Gate 4: Detailed Design stage and Gate 5: For commercial uses. Construction and Manufacture to ensure the artwork’s quality and integrity is maintained after any value engineering processes. 50 | Governance and Management APPENDIX A: Commissioning artists | 51
Poured Lines, Ian Davenport, Southwark Street. (2006).
About the commission Southwark Council and property developers Land Securities commissioned Davenport’s ‘Poured Lines’ – a 50m long, 2.9m high painting made with fluid enamel on metal panels – the centrepiece of the Southwark Street bridge regeneration project (near Borough Market and Tate Modern).
APPENDIX: Commissioning artists 52 | APPENDIX A: Commissioning artists APPENDIX A: Commissioning artists | 53
Commissioning policy Artists commissioning A Public Art Procurement Plan has been prepared to ensure that all commissioning and procurement activities for the Public Art Strategy and process public art programme are carried out by or on behalf of Tideway Bazalgette The artists selected for the programme will be professionally qualified artists Tunnel Limited (BTL) so that they: whose practice can be referenced against the canon of art. Where appropriate the commissioning process will include local (London-based) artists and arts • provide best affordable value in The overarching objectives are to: • Apply standardised approaches organisations. delivering the Tideway project provide and use effective, efficient • Deliver best quality objectives and consistent processes for achieve the highest quality of art commissioning artists and services The public art programme will include a Direct invitation Longlist • are conducted in a fair, transparent commissions by working with variety of selection processes to support This process is more suitable for For the invited competition and and objective manner appropriately experienced and • Build and maintain effective this approach for delivering high quality established artists for larger commissions competitive interview process, Tideway’s qualified artists working relationships • are compliant with Tideway site-specific art: or where timescales preclude other Public Art Consultants will prepare a recognise that in order to achieve governance • Deliver best value routes. It can grow out of an initial long-list of artists identified due to their best value appropriate relationships Invited competition ensure that artists’ fees and conversation between an artist and the experience, practice and suitability for • use best practice must be developed and maintained budgets are clearly established This provides a degree of competition public art consultant. An initial invitation the specific commission and against the with artists, suppliers and their • are aligned to Tideway’s vision and at the outset and diligently but is not an ‘open’ process where any could be site specific or more generally criteria outlined in the brief. The local specialist supply chains. values, and those of the Public Art monitored as projects are artist is able to submit. This is primarily about being involved in the programme. authority and MWC could also nominate Strategy developed and delivered. Where to ensure a manageable process in time A proposal may then be developed if appropriate artists for the long-list. The appropriate, secure opportunities and cost terms and to aim for highest appropriate. This approach would only be long-list is presented to the Client from • adhere to Tideway and statutory for efficiencies and economies quality and minimise risk. This is the adopted in exceptional circumstances. which the short-list of three or more artists procurement policies. of scale across the public art most useful process for permanent will be decided against clear, agreed programme and hoarding commissions as it allows Open competition criteria as set out in the Procurement different proposals to be developed for Commissions / opportunities can Plan. • Establish effective a site. A shortlist of 3 artists is appointed be advertised locally, nationally and management Indicative criteria: to develop site-specific proposals. Via internationally as and where relevant. conduct commissioning activities a Tideway led selection panel interview This process can be useful where -- A track record of delivering visually in a manner that satisfies the the preferred artist is identified and commissions are not particularly time strong high-quality work requirements of accountability commissioned. dependent and can encourage young and internal control, fulfils BTL’s -- Previous work relating the curatorial and emerging artists, supporting access legal obligations, complies with Competitive interview themes and concept of water and/or to opportunity. It can allow for a wide financial constraints, and effectively the River Thames In this process a number of artists are range of ideas and designs. The process manages commercial risks shortlisted to attend a site visit, attend a can generate press and publicity. This -- Capacity to deliver a project of this briefing session with the MWC’s design process could be considered for hoarding scale within the timescales and team if relevant, and are then invited to an commissions and the access covers budget interview by the selection panel. They may competition. come to the interview with initial ideas -- Open to collaboration and innovation or responses to the brief but no actual within practice design. This process can suit appointing -- Experience and or interest in realising the role of Lead Artist. It is a quicker and artworks in the public realm. more streamlined process than invited competition and can help build more collaborative partnerships between the artist and other design team members. 54 | APPENDIX A: Commissioning artists APPENDIX A: Commissioning artists | 55
Shortlisting drawings and other design material for this the panel chair will conduct a Tideway’s Public Art Consultants the Project will be made available to moderation session in which the panel will prepare a short illustrated report the artists. member’s scores and rationales will be discussed and a consensus score will describing the work of each longlisted This will be followed by a be agreed against each of the criteria. artist and a brief description of their Commissioned Design phase of This moderated score will form the rationale for their artist selection. They approximately 4 weeks (depending on basis for the selection of the preferred will also produce a scoring matrix the nature of the art work). During the artist. (based on the brief) against which to proposal design phase of four weeks, score each longlisted artist. the artists may be invited by Tideway Contracts to: • Typically this scoring will be The selected artist will be conducted by at least two Public a. Attend an organised site visit. commissioned to carry out the agreed Art Consultants, a Tideway b. Participate in a collaborative proposal. This is the Commissioned representative and at least one workshop with the Tideway Design Design stage which includes the other stakeholder (to be agreed at and MWCs Design Team Detailed Design Development, both to brief stage). be carried out in close collaboration The above stages plus any • Alternatively, where the with the Main Works Contractor communication with the individual commission is substantial or high- and their architects/design team as artists during the RFP stage will be profile a bespoke Selection Panel relevant. conducted in such a manner as to will be established. The public arts ensure fair and equal treatment of all The selected artist will then be consultants will present the work of artists on a transparent basis in full commissioned to carry out the the artists to the panel. The panel compliance with Tideway Procurement overseeing of the fabrication and members will then agree a score Policy. installation of the agreed proposal against each criteria in the scoring and a Commission Contract will matrix. Evaluation be drawn up to outlinine the exact The reviewer’s scores will be combined This will be typically undertaken by nature, materials, costs, etc. of the and the artists ranked from high to a Tideway-led selection panel. The commission. low. Each will then be contacted in the composition of the panel may vary Unsolicited Proposals order of their ranking to check their but will include representatives from availability and interest in participation, Tideway, MWCs, Local Authorities, Given the highly challenging context until a shortlist of three has been Community Liaison Working Groups, of the Thames Tideway Tunnel project established. local arts organisations and/or artists. and programme and the framework The evaluation criteria will be as set out of the Art Programme, and the Request for Proposal (RFP) in the specific brief. Upon receipt of procurement policy, it is highly unlikely A formal RFP (agreed at brief writing the artists proposals, this information that unsolicited proposals would be stage) will be issued to the shortlisted shall be issued to the selection panel taken forward. artists, this will include the terms members along with the scoring Approach to Delivering Best and conditions of the Commission criteria and guidance. The panel Proposal Agreement. By submitting members will be asked to conduct and Quality To ensure best quality, selection their proposal and participating in initial scoring of the proposals prior to Detail from ‘The Thames Wunderkammer: Tales from Victoria Embankment the selection panel and returning the selection panel and bring these to processes will be tailored to the in Two Parts’, Simon Roberts. Victoria Embankment. (2017). their details they will be deemed to the panel meeting. nature and scale of the commission About the commission have accepted these conditions and and together support Tideway’s Simon Roberts has created a metaphoric ‘cabinet of curiosities’ across Shortlisted artists invited to interview become eligible for the proposal commitment to equality, including two 25-metre Tideway foreshore hoardings. The work reflects on the will be expected to bring all key team significance of the Thames foreshore (the longest archaeological site in the fee payment. A briefing, site visit equality of access. members to the interview panel and capital), paying particular attention to the area around Victoria Embankment. (where possible) and question-and- His artwork prompts a re-evaluation and re-creation of the site’s specific to carry out a presentation. Once features, whilst adding new layers of cultural and visual meaning to this answer session will be held for the the presentation and interviews are historic part of London. shortlisted artists, led by the Public Art compete the panel members will be Consultants. Copies of architectural Background image invited to adjust their scores. Following Proposed Thames Embankment Map 1862, Museum of London Collection. © Museum of London. Objects (from L-R): Wreath & Sir Bazalgette Memorial, on Victoria Embankment Contemporary water samples from the Thames taken by Thames21/ Thames River Watch ‘Monster Soup’, by William Heath, 1828. Wellcome Library, London. 56 | APPENDIX A: Commissioning artists ACTION PLAN | 57
Open Folds, DJ Simpson, Olympic Park, London. A Contemporary Art Society Consultancy commission. (2012).
About the commission Perforated anodized aluminium surface cladding for a utility building in London’s Olympic Park.
Action Plan 58 | ACTION PLAN ACTION PLAN | 59
G axuhall Partners / Partners / V Stakeholders Stakeholders Ealing LB H&F / CLW BMB / LB Wandsworth BMB / LB Wandsworth BMB / LB Wandsworth BMB / LB Wandsworth FLO / LB Wandsworth / Nine Elms Partnership FLO / TWUL / LB Wandsworth Artist Artist selection selection procedure procedure Open Call BMB / LB Open Call BMB / TWUL Open Call BMB / LB H&F Invited competition Invited competition Invited competition Invited competition Invited competition Invited competition
iver R ardens. It ardens. G oung memorial Y oad and the R ork Y ohn iverside site is J ork R oad and the junction iver Thames. The Y R R rade II* St Mary’s Church, Church, rade II* St Mary’s oad G R auxhall/Nine Elms/Battersea V Site Site concrete batching station and the concrete oad Industrial Estate and an area of oad Industrial Estate and an area X R ueen Elizabeth Walk, and an adjacent ueen Elizabeth Walk, ohn Piper on the side of building. It is Q J iver Wandle, approximately 350m from its 350m from approximately iver Wandle, R iver Thames. The site comprises land within R ace when large numbers of spectators gather. numbers of spectators gather. ace when large iverside: The Carnwath R R each (formerly known as Hammersmith Embankment) R reen and restaurants with a residential area to the rear to the rear area with a residential and restaurants reen ill Close. The site is overlooked by several large ill Close. The site is overlooked by several large G G oad R eorge's Park: the site a small part of northern end of the eorge's LA designation. The site is located between the Cringle Dock iver Thames foreshore) and a small highways works site. This iver Thames foreshore) G R G eorge) and minor highway works. The pumping station is located eorge) iverlight development site, within the Acton Storm Tanks: an existing Thames Water pumping station an existing Thames Water Acton Storm Tanks: modern uncovered storm water tanks and and comprises six large is area site. The surrounding associated buildings on the 5.5 acre light industrial and mixed-use, including a residential, predominantly industries. While most of the operational number of craft and creative a ventilation column and other smaller will be underground, structures features. will be permanent above ground structures pumping Hammersmith Pumping Station: an existing Thames Water site covers the pumping station and part station site. The proposed of the Fulham phases, by St. under construction, in three development (currently G adjacent to a development site for housing and within an established with adjacent public park (Frank Banfield Park). The area residential but not with a river frontage. site is near to the river, is a main drive site. The site adjacent to small-scale housing development, the riverside walk and on opposite side of the Piper Building a mixed-use development of commercial road the locally This features facilities and residential. workspace, leisure listed modernist murals by is on the southern bank of the Putney Embankment Foreshore: Waterman’s Carnwath Wharf, composed of two parts: a main site (which includes Whiffin Hurlingham Wharf, Carnwath the a main drive site. Barn Elms: the site is in south eastern corner of the Barn Elms site, which does not have public access. Schools Sports Centre is a combination of mainly playing fields, but area The surrounding and community facilities. The site is overlooked by a also residential public footpath, part of the block, Lancaster House residential Thames. It comprises two sites: a main construction site, with the second used as a temporary slipway to maintain public access the especially during Thames. This is a major public site of high profile the annual Boat adjacent boathouses, pubs, the are There of the site. of The site is located within the London Borough Dormay Street: along the Wandsworth confluence with the Buckhold park adjacent to the entrance from with Neville the ornamental lake and sports the south are and bench. To oak tree facilities. Thames Water’s ownership, part of the Frogmore Industrial Complex ownership, part of the Frogmore Thames Water’s Depot) as and Causeway Island (including part of the Wandsworth well as the use of a section The Causeway running down to The site is currently and Armoury Way. junction with Dormay Street used for storage of motor vehicles and associated materials. The site is a well-used public footpath the railway line. There can be seen from near to the site. and an adjacent multi story blocks, the Penfold Day Centre residential in addition to the externalcar park for the Southside shopping centre the park itself. The site comprises through pavements and routes (London Plan and Black Poplars) trees open grassland, mature including an avenue of flowering cherry and the King Falconbrook Pumping Station: is largely an existing Thames Water an existing Thames Water Pumping Station: is largely Falconbrook pumping station site. This site encompasses the station, of a disused public convenience and small area for area is at the heart of a major regeneration Station, CEME Transfer Waste R It is a main drive site. in Wandsworth. Opportunity Area Winstanley Estate. extending into of land as well an area site comprises four areas with wharf in accordance the Thames. The site is a safeguarded the Kirtling Street: is on the southern Kirtling Street: bank of the iverside ventilation R oad ge) in collaboration R Action Action iverside. R oad Integrated commission (large) in collaboration with Integrated commission (large) BMB design team for 15 ventilation column. The design of the ventilation column shall be bespoke and help to mark it as a local landmark, enhance The the local townscape and celebrate project. to form of the column shall make visual reference to achieve consistency design in order the signature with other sites and it shall be clad in a high quality, The same artist will also material. (ACTST.04). robust collaborate on Carnwath column and Hammersmith Pumping Station. Integrated commission (small) in collaboration with response to HIS and BMB design team .Site specific site context. While most of the operational structures ventilation columns and will be underground, features, will be permanent above ground structures but located within the existing pumping station compound or building. The same artist will also and Carnwath collaborate on Action Storm Tanks R with BMB design team to respond to the HIS and with BMB design team to respond is a There structure. site context. New foreshore the new boat race marker as to provide requirement an artwork: - Artwork could Boat race marker - as per PUTEF.17 incorporate lighting, embellished floor finishes, sculptural or functional element. “Integrated commission (large) in collaboration with “Integrated commission (large) BMB design team for 15m ventilation column. Site response to HIS and context. Creation specific of a new local landmark. The same artist will also ventilation collaborate on Action Storm Tanks column and Hammersmith Pumping Station. Integrated commission (medium) in collaboration response to HIS with BMB design team. Site specific and site context. The opportunities for integrated limited, but could be incorporated into artwork are nesting areas the kiosk cladding, and will provide and habitats for a variety of insects. While most a will be underground, the operational structures and kiosk within a combined ventilation structure will be a permanent above ground single structure feature. Integrated commission (lar Integrated (small) commission in collaboration to the HIS and with BMB design team to respond site context. This is a complex with limited visibility and no public access. The opportunities for limited. integrated artwork are Integrated commission (medium) in collaboration to the HIS and with BMB design team to respond site context. This is a popular park, and one of to the sites not on riverside, so reconnecting The commissioned artist might the river is harder. identify an alternative compelling opportunity identified in discussion with design team Integrated commission (medium) in collaboration to the HIS and with FLO design team to respond site context. The same artist will be commissioned and Heathwall Pumping to work on Kirtling Street Station. Integrated commission (small) in collaboration to the HIS and with FLO design team to respond site context. The will be fully allocated for alternative uses post construction and is unlikely to have any public access. The only visible above works will be the kiosk. The same artist ground will be commissioned to work on Heathwall and Pumping Stations. Falconbrook
ds Programme Strand Programme Strand Programme ds the riverside parapet wall bollar control kiosk façade and boundary control wall finishes sculptural ecology influenced work identified by the artist the glass balustrade on east side structure of the new foreshore the new bollar the facade of kiosk a text based or sculptural element to be located on the river wall – or open brief for an artist’s a more to the site. response
Designed elements and integrated commissions WEST Acton Storm Tanks Column Ventilation Carnwath Road Riverside Ventilation Column Other identified opportunities are: • • Hammersmith Pumping Station Intervention Boundary Wall Initial discussions with the design team also suggested • Putney Embankment Foreshore Boat Race Marker Initial discussion with the design team has identified additional opportunities that the artist might want to also consider or inform any of the following: • top of river wall Dormay Street Initial discussion with the design team has identified opportunity that the artist might want to consider for integrated commissions as: • Pumping Station Falconbrook • Barn Elms Kiosk Façade • • CENTRAL King George's Park Sculptural bench Kirtling Street TBC 1 No No 1.1 1.2 1.4 1.3 1.6 1.8 1.7 1.9 1.5 60 | ACTION PLAN ACTION PLAN | 61
BKC BKC / R R G reenwich reenwich G G G B / LB B / LB B / TWUL B / TWUL B / LB auxhall auxhall Partners / Partners / V V V V V HC / V V Stakeholders Stakeholders R Public Art Panel FLO / LB Lambeth / Nine Elms Partnership FLO / WCC FLO / CoL C Southwark / CLW Hamlets Tower / CLW C LB Southwark LB Lewisham / CLW FLO / C Nine Elms Partnership FLO / TWUL FLO / TWUL / LB Wandsworth / Artist Artist selection selection procedure procedure Open Call C Invited competition Invited competition Invited competition Invited Competition Open Call C Invited Competition Invited competition Invited Competition Invited competition Invited competition
rade ont of G oad. ail and the R R auxhall/Nine V rade II. The G overnment) and mixed- oyal Hospital Chelsea Bull G R auxhall Bridge and in fr V ictoria Embankment (A3211). V oximately 250 metres north. oximately 250 metres oad Pumping Station and an area oad Pumping Station and an area R Site Site ). The former is listed reenwich Pumping Station site and reenwich rade II listed iver Thames to the south of Hungerford iver Thames to the south of Hungerford ardens. The Chelsea Embankment river ardens. R G G R G rade II* listed ail lifting bridge from Creekside, enters the Creekside, ail lifting bridge from G R viaduct and connects to Norman rade II listed), offices ( rade II listed), offices R G anelagh ailway (DL R R oss (MI6/SIS) building. ardens development site. ardens oad Power Station development site, the older residential oad Power Station development site, the older residential G R iver Thames. It comprises a section of the foreshore and a iver Thames. It comprises a section of the foreshore land, It comprises brownfield iver Thames in Bermondsey. ate. It comprises an area of the foreshore, a section of footway of the foreshore, ate. It comprises an area R R G auxhall Cr rade II listed auxhall Bridge, and extends appr V G V ardens, which are which are ardens, site consists of Thames Pumping Station: The proposed reenwich beneath, a rade II listed railway viaduct with actively used arches rade II listed Thames Water Lots rade II listed Thames Water iver Thames opposite the ing under and on both sides iver Thames. It comprises the foreshore of the Thames adjacent iver Thames and comprises the foreshore ictoria Embankment Foreshore: The site is on the western bank ictoria Embankment Foreshore: the The site is designated as part of a Site churchyard. I listed St Paul’s Conservation Importance. Nature Docklands Light pedestrian and cycle path, which runs site also includes a shared alongside the National Chelsea Embankment Foreshore: site is on the northern bank of the Chelsea Embankment Foreshore: R R and carriageway of Chelsea Embankment (A3212) a small part of site is on the eastern bank of the Albert Embankment Foreshore: R of of an area Dock access and slipway, The site also includes Lack’s and the and Tintagel House’s associated with Camelford property of will comprise construction of a new area Thames Path. Work of the existing river wall in in front land in the foreshore, reclaimed land is of reclaimed House. A second new area of Camelford front underneath the created V of the on section of pavement and roadway open space (Whitehall is predominantly area The surrounding G of reclaimed use. The work will comprise construction of a new area of the land in the foreshore the Palace of Westminster views towards Bridge, this will provide Heritage Site. The kiosks will be clad in natural stone and World a planted roof. feature The work will comprise construction Blackfriars Bridge Foreshore: of the in front land in the foreshore, of reclaimed of a new area existing river wall and opposite Sion College. While most structures land in the foreshore, of reclaimed will be within the new areas design, several ventilation columns (5 no. type C using the signature these would be between 4m and 8m high), a kiosk public realm The mechanical features. furniture will be permanent above ground the equipment is located in the undercroft, and electrical control use. kiosk to the west of site is for amenity / commercial Chambers Wharf: The Wharf site is on the southern bank of the the site has been of highway, and areas of the foreshore an area and planning permission obtained for a 587 unit residential cleared spaces. The site is adjacent to a new development with commercial / some commercial areas, housing development and older residential / use. office Memorial Park: The site is on the northern King Edward bank of the R in the south of park, Memorial Park and an area to King Edward of sections of the Thames Path, an area including hard-surfaced space and part of the multipurpose sports pitches to west. green Earl Pumping Station: is an existing operational Thames Water pumping station site. The site includes adjacent plots of industrial land south of the pumping station. the will be below ground, While most of the operational structures level above ground metres three shaft will be finished approximately incorporated into the building above with ventilation structures Street. on Croft will be created of public realm shaft. A new area G associated buildings, two railway viaducts that bisect the site and Phoenix Wharf. The two railway viaducts serve Network The site lies within the southern Street: part of St Church Deptford site comprises Street Church The Deptford Conservation Area. Paul’s Open Street of public open space known as the Crossfield an area The site is bounded by the within the highway. Space and an area G Water’s existing operational Water’s site over the Ha’penny pedestrian bridge, continues diagonally across the site under DL the separating the site from and a road partial pedestrian route wall is also listed. The surrounding area is predominately open space is predominately area wall is also listed. The surrounding properties. and residential of the river Thames foreshore. The site restoration will provide a 4m will provide The site restoration of the river Thames foreshore. of a Thames provision for the future clear strip along the river frontage Path by others. The site is bounded the mixed use Chelsea Wharf and Lots Heathwall Pumping Station: is an existing 1960’s Thames Water Thames Water Heathwall Pumping Station: is an existing 1960’s pumping station site. The site includes the existing within the and Middle Wharf, owned by Thames Water Opposite is the in Wandsworth. Elms/Battersea Opportunity Area Embassy Wharf Depot: site comprises the existing council depot, Cremorne G End World’s housing and the 1970’s comprises Edwardian areas Estate to the north.
ictoria V Action Action ailings between the pumping iver Effra and to be attractive iver Effra R R reenwich Pumping Station. reenwich G B design team to respond to the HIS and B design team to respond to the HIS and B design team to respond to the HIS and B design team to respond V V V B design team to respond to the HIS and site B design team to respond to the HIS and site B design team to respond V V Embankment Foreshore. with C Integrated commission (large) in collaboration with Integrated commission (large) to the HIS and site FLO design team to respond context. The artist will in dialogue with the design team identify suitable commission opportunities. historical material and information Interpretive shall be the lost river (Westbourne) that references designed and integrated into the site, carefully (CHEEF.12) with the local authority. agreed in collaboration Integrated commission (large) to the HIS and with FLO design team to respond site context. Paving to the top of interception shall be imaginatively designed to structure the lost reference The the bridge above. (ALBEF.20). when viewed from same artist will undertake a commission for Integrated commission (medium) in collaboration to the HIS and with FLO design team to respond site context. The commissioned artist will identify landscaping specific opportunities within the hard and seating, possibly the kiosk / canopy with the design team. The same artist will structure undertake a commission for Albert Embankment Foreshore. in collaboration Integrated commission (extra large) to the HIS and with FLO design team to respond site context. The commissioned artist will identify landscaping specific opportunities within the hard with the design team. Integrated commission(small) in collaboration with C context. in collaboration Integrated commission (large) with C of the commission site context. The exact nature with LB Tower has yet to be agreed and process Hamlets. Integrated commission (medium) in collaboration site context. The same artist will undertake a commission for Integrated commission (medium) in collaboration with C site context. The same artist will undertake a commission for Earl Pumping Station. of the commission has yet context. The exact nature with LB Lewisham. to be agreed Integrated commission (large) in collaboration with Integrated commission (large) C station and the riverside walk have been identified for this commission, in addition to the gates required to close the path for maintenance. The same artist and will be commissioned to work on Kirtling Street Pumping Station. Falconbrook be confirmed, pending coordination To with the Counter's Creek Project. Integrated commission (small) in collaboration to the HIS and with FLO design team to respond of the commission site context. The exact nature opportunity has yet to confirmed with the design team and TWUL. Integrated commission (medium) in collaboration to the HIS and with FLO design team to respond of site context. The Thames Path and new areas the path is currently will be created, public realm the river but will be reinstated diverted away from post construction. d Memorial Park Programme Strand Programme Strand Programme iver wall ailings and gates Albert Embankment Foreshore Pumping Station Greenwich Chelsea Embankment Foreshore Commission or series of commissions to be identified in collaboration with design team Commission or series of commissions to be identified in collaboration with design team Victoria Embankment Foreshore Commission or series of commissions to be identified in collaboration with design team Commission or series of commissions to be identified in collaboration with design team R King Edwar interventions surface Public realm finishes / totems Earl Pumping Station Shaft façade with potential boundary Shaft structure fence intervention Deptford Church Street Church Deptford TBC EAST Chambers Wharf Heathwall Pumping Station Wharf Depot Cremorne TBC Blackfriars Bridge Foreshore R No No 1.2 1.13 1.14 1.19 1.17 1.18 1.16 1.10 1.11 1.12 1.15 62 | ACTION PLAN ACTION PLAN | 63 / G B B B G V V V BKC / LB / C / TWUL / TWUL / C / C NUM / R G G G G G G G olkerStevin Partners / Partners / iverside V olkerStevin Stakeholders Stakeholders / FLO LB / Wandsworth Thames Totally / Thames / Nine Water Elms Pier Sulivan Primary School / CLW / Wandsworth BMB Wandsworth / FLO TWUL / Winstanley Estate Developer TBC / / Wandsworth FLO / CLW WCC / FLO / Museum of London / Parliamentary Archives / British Museum WCC / FLO CoL / FLO Hamlets / CLW H&F / BMB / Wandsworth BMB / HE All MWCs / / All boroughs CLW / HE All MWCs / / All boroughs CLW City of London School / CoLs / City of London / MA Martin Parr / V LB H&F / BMB Southwark / CLW tbc / CoL FLO R Primary School / LB Southwark / CLW Artist Artist selection selection procedure procedure Invited Competition Open Call Open Call tbc / LB Open Call tbc / LB Invited competition Open Call Cultivate / LB Invited selection Invited Competition Direct invitation Open Call tbc / LB Tower Open Call tbc / LB Open competition Invited competition Invited competition Partnership Open Call TBCl / CLW Open Call tbc/ LB Invited Competition Open Call Site Site iverside iverside R R oad oad R R eorge's Park eorge's G ictoria Embankment Foreshore ictoria Embankment Foreshore Kirtling Street Carnwath Putney Embankment Foreshore King Pumping Station Falconbrook Chelsea Embankment Foreshore Kirtling Street V V Blackfriars Bridge Foreshore Memorial Park King Edward Site wide Blackfriars Bridge - Pauls Walk Site wide Blackfriars Bridge - Pauls Walk Carnwath Chambers Wharf Blackfriars Bridge Foreshore Chambers Wharf allery to G esidence. R iverside Primary School. Action Action R ding partnership with City of London esponse to the horizontal flow and movement Community engagement project with local boat Community engagement project and other local residents community residents of the traffic and vertical nature of the cityscape and vertical nature of the traffic backdrop Hoarding collaborative project with Sulivan Primary collaborative project Hoarding School Heritage focus hoarding commission to be developed Community Hoarding with local community organisations Community engagement Heritage focus hoarding Community engagement Heritage focus hoarding Heritage focus hoarding R commission to be developed Community Hoarding with local community Proposal for a national design competition. Proposal Hoar Commission a writer / poet to create site specific Commission a writer / poet to create text for incorporation on the ventilation columns. with City of London collaborative project Hoarding School. show a selection of Martin Parr's photographs from his time as City of London Artist in Community engagement Community engagement To respond to the site context and relationship with to the site context and relationship respond To the river over 4 workshops, several school Delivered assemblies and community launch event. Education project with Education project
Programme Strand Programme Strand Programme nwath Road Riverside Kirtling Street Artwork commission 1 Blackfriars Bridge Foreshore Artwork commission 1 (3 no. Signature ventilation column text Signature commissions in total over duration of the construction period with different partner organisations) Artwork commission 2 & 3 (3no. commissions in total over duration of the construction period partner organisations) with different Putney Embankment Foreshore Artwork commission 1&2 (2no. commissions in total over duration of the construction period with different partner organisations) commissions in total over duration of the construction period with different partner organisations) Artwork commission 1&2 (2no. commissions in total over duration of the construction period with different partner organisations) Chelsea Embankment Foreshore Artwork commission 1&2 (2no. commissions in total over duration of the construction period with different partner organisations) commissions in total over duration of the construction period with different partner organisations) Victoria Embankment Foreshore Artwork commission 1 (2no. commissions in total over duration of the construction period with different partner organisations) Victoria Embankment Foreshore Artwork commission 2 commissions in total over duration of the construction period with different partner organisations) Artwork commission 2 & 3 (3no. commissions in total over duration of the construction period partner organisations) with different commissions in total over duration of the construction period with different partner organisations) CENTRAL Signature access cover Signature Blackfriars Bridge Enabling works commission HOARDING COMMISSIONS Blackfriars Bridge Enabling works commission WEST Car Artwork commission 1 (3no. SITE WIDE Kirtling Street Artwork commission 2&3 (3no. Blackfriars Bridge Foreshore Artwork commission 2&3 King George's Park Artwork commission 1&2 (2no. EAST Chambers Wharf Artwork commission 1 Carnwath Road Riverside Falconbrook Pumping Station Falconbrook King Edward Memorial Park King Edward Artwork commission 1 & 2 (2no. Chambers Wharf 2 No No 2.8 2.4 2.2 2.1 2.3 2.6 2.14 2.15 2.18 2.19 2.20 2.17 2.10 1.22 2.25 1.21 2.12 2.23 2.22 - 2.9 - 2.5 - 2.7 - 2.16 - 2.21 - 2.11 - 2.26 - 2.13 - 2.24 64 | ACTION PLAN G G B / LB V G B / CLW osephs B / CLW B V J Partners / V V Stakeholders Lewisham / C Primary School / LB Lewisham / C / LB groups Lewisham / C Lewisham / CLW Artist selection procedure n/a Open Call tbc/ LB n/a n/a Open Call St Open Call 4 community From comissioned artist Open Call tbc / C Invited competition Site reenwich Pumping Station reenwich reenwich Pumping Station reenwich Project wide Project Deptford Church Street Church Deptford G wide Project wide Project Deptford Church Street Church Deptford relevant Sites where G All sites C Primary R oseph's J Action commission with a focus on mapping R &D element of the residency has been &D element of the residency R A strategy for securing additional funding to enhanceto funding additional securing for strategy A the commissions, both those in development and additional commissions, temporary and permanent. Community engagement Education project with St Education project commission to be developed Community Hoarding - bringing with 4 local community organisations to a common place groups different Art on the Tideway, This Public Art Strategy, respond to the identifies opportunities for artists to Developing an ambitious commissioning project. for world- and establishing a reputation programme central to the are class artworks and projects This is aimed at an external audience of strategy. in art partners, stakeholders and those interested the public realm. This version of the public art strategy Art on technical version of the externalTideway is a more version and which contains a less detailed overview This version provides of the public art programme. delivery team with a strategy for the project selecting, commissioning and funding artists which pre- will encompass the life span of project, construction, during construction and for a limited handed the sites are time post-construction, before over. School. Annual events as part of the Festival Community engagement Inaugural Ai The Strategy. and the Heritage Interpretation outcome of the commission will not be known until the completed after 6 months. uidance G
esidence 2016/17 Programme Strand Programme d Church Street d Church eenwich Pumping Station Preparation and production and production Preparation Fundraising Strategy STRATEGIES Artwork commission 2 commissions in total over duration of the construction period with different partner organisations) Artwork commission 1 (3no. commissions in total over duration of the construction period with different partner organisations) of External and production Preparation Public Art Strategy on Public Art to Delivery Teams Strategy Deptfor Gr Totally Thames Totally Deptford Church Street Church Deptford Artwork commission 1 (2no. Greenwich Pumping Station Greenwich Artwork commission 2 & 3 PROJECTS & EVENTS Artist in r 4 3 No 4.2 4.3 4.1 3.2 3.1 2.30 2.28 2.29 2.27 - 2.31
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