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Cultural Strategy November 2014

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Cultural Strategy November 2014 Westmoreland House & Carriageworks | Bristol Cultural Strategy November 2014 Prepared by Futurecity On behalf of Fifth Capital 1 Westmoreland House & Carriageworks | Bristol Cultural Strategy November 2014 Contents 1.0 Executive Summary 2.0 Aims and Objectives 2.1. Aims 2.2. Objectives 3.0 Context 3.1. The site - short history 3.2. Stokes Croft - a cultural ecology 3.3. Bristol - place & policy 3.4. Scheme design 3.5. Consultation 4.0 Principles 4.1. Activate the public realm 4.2. Activate the ground floor 4.3. Engage a green agenda 4.4. Local delivery partnership 5.0 Process 5.1. Strategy development 5.2. Implementation 5.3. Timetable Appendices i. Stokes Croft – quotations ii. Cultural project case studies iii. Governance & commissioning process iv. Access & disability v. About Futurecity 2 1.0 Executive Summary The Grade II* Listed Carriageworks; Grade II Listed no.4 Ashley Road; and Westmoreland House sites are proposed to be redeveloped as a residential-led mixed use development, including the provision of 7,093 sq ft ground floor non-residential accommodation in the Carriageworks and along Ashley Road; provision of 118 residential units on the upper floors and across the remainder of the site; the reinstatement of the historic Carriageworks roof; a new public realm; and new communal landscape garden area. The scheme provides an opportunity for a cultural placemaking programme to provide an inspiring, high quality contribution to the character and life of the site at the heart of Stokes Croft. This strategy defines cultural placemaking projects as a broad range of creative activities that encompass public art and design, socially engaged art, of all artforms (visual, performance, media, etc.) and cultural production including craft, food, sport, literature, music, etc. and creative business and community initiatives. This strategy outlines a set of principles and a process for integrating and delivering a cultural placemaking programme into the fabric and future life of the scheme. The principles draw on previous work in this area, notably the 2011 Community Vision. They focus a programme on examining the main areas of opportunity presented by the scheme: the public realm and the ground floor non-residential accommodation in a context of supporting a sustainable permeability to the scheme. They also seek to direct the programme to work closely with the surrounding community and in the context of Bristol’s Green Capital agenda. A Westmoreland House & Carriageworks cultural placemaking programme has the opportunity to be woven into the scheme by being embedded within its physical design and/or within its on- going management and operation. The rich diversity of existing projects and initiatives at a local and citywide level provides the backdrop and opportunity for truly bespoke programme to be delivered through partnership. This strategy will be developed into a Cultural Programme Delivery Plan to create a deliverable project(s) against an agreed timetable and budget that would be protected by an s106 agreement. The applicant will develop this Plan through immediate work with the surrounding community and Bristol’s cultural sector to explore project ideas and proposals, aligned to this strategy. Implementation of the Delivery Plan will be structured through convening a Cultural Programme Steering Group, coordinated on behalf of the applicant by an appointed programme manager. 3 2.0 Aim and Objectives 2.1. Aim 2.1.1. To ensure that cultural placemaking projects are fully integrated into the fabric and life of the applicant’s scheme. 2.2. Objectives 2.2.1. Site specific. This strategy has been written with all previous visioning work in mind, particularly the 2011 Community Vision. It seeks to continue their areas of consultation and resulting principles. As such, this strategy’s objective is to build on all that is valuable and unique about the site and the local area, and develop a set of clear principles for cultural projects to be delivered against, and a process for developing these projects. 2.2.2. Viable long-term impact. Cultural projects must be manifest as realisable activities and outcomes based on research, consultation and a commitment to quality control and integration within the wider construction project, its programme and the future life of the scheme. An objective for this strategy is therefore to take an holistic approach to the value of cultural activity within the development; from the instant and immediate to the incremental and long term, as appropriate to the scheme’s long term success in, and contribution to, Stokes Croft and its surrounding communities. 4 3.0 Context 3.1. The site – a short history 1804 T. & J. PERRY & CO. FOUNDED THE CARRIAGEWORKS MANAUFACTORY Factory and showroom for carriages established at No. 104 Stokes Croft (originally No. 61) covering an area of one and half acres. Original building damaged by fire in the 1950’s. 1860 CONSTRUCTION OF THE CARRIAGEWORKS PREMISES Bristol-born architect Edward William Goodwin commissioned to design the Carriageworks building that still occupies the site today. The building displays key features of the ‘Bristol Byzantine’ style of architecture; three stories of independent continuous arcading; window arches of interchanging purple and brown pennant stones. The ground floor arcades were open to display carriages at street-level with further showrooms existed on the upper floors. Beyond the ground floor showroom, there were offices and a large square yard. Factory facilities included a body-making shop, fitting shops, a forge with 8 furnaces, a wood-drying loft and a wheelwrights’ shop, varnishing-shop and trimming shop, workshop space for leather and upholstery work, a shed for timber and sundry stores for items such as lamps, cushion straps, oil and turpentine. 1912 THE CARRIAGEWORKS PREMISES SOLD TO ANDERSON'S RUBBER COMPANY 1960 THE CARRIAGEWORKS PREMISES TAKEN OVER BY THE REGIONAL POOLS COMPANY 1966 CONSTRUCTION OF WESTMORELAND HOUSE – AN EXPANSION OF THE REGIONAL POOLS COMPANY 1966 THE CARRIAGEWORKS IS LISTED AS GRADE II* 1979 THE CARRIAGEWORKS AND WESTMORELAND HOUSE VACATED 2011 CARRIAGEWORKS COMMUNITY VISION The local community and Bristol City Council developed a Community Vision and planning strategies for the future of the Carriageworks and Westmoreland House site. The key features of the Community Vision are outlined in 2.5 Consultation. 2011 FORMATION OF CARRIAGEWORKS ACTION GROUP (CAG) The Carriageworks Action Group is a broad alliance of local residents from St Pauls, Montpelier, Kingsdown and Cotham, business owners and people from local organisations working with Bristol City Council to address the dereliction of the Carriageworks and Westmoreland House site. It led the creation of the Community Vision for the Carriageworks was written in 2011, which was launched in March 2012. Sources: http://maps.bristol.gov.uk/knowyourplace/ http://www.bristol.gov.uk/sites/default/files/assets/documents/stokes-croft-character-appraisal.pdf http://bristolopeningdoors.org/old-carriage-works/ http://carriageworks.org.uk/ 5 3.2. Stokes Croft – A cultural ecology In the face of dilapidation and neglect to the area over the second half the 20th century, today Stokes Croft is undoubtedly one of the most creative and empowered urban communities in the city and represents a role model for collaborative, neighborhood living nationwide.1 Animated twenty-four hours a day, Stokes Croft is defined by a distinct freedom of spirit and a home-brand of social activism. Graffiti covers the frontage and alleyways from ‘The Bearpit’ (St. James Barton roundabout) and Ashley Road Junction. Commissioned by the community and created by local artists - with an international following - Stokes Croft’s street art chronicles the socioeconomics of the area, voices local projects or protests and celebrates artistic expression. For community organisations, such as the People’s Republic of Stokes Croft (PRSC), committed to preserving the unique cultural identity of the area, Stokes Croft is billed as the ‘Cultural Quarter’ of Bristol and the whole of Stokes Croft is an ‘outdoor gallery’.2 The core Stokes Croft offer is around independent cafés, bars and eateries, creative hubs, music venues and social enterprises, exemplified by The Canteen at Hamilton House. The area is also home to a large artistic community, attracted by the studio facilities at Co-exist and Jamaica Street Studios, and community led co-operatives and artist led projects, such as Café Kino and The Cube Microplex. Many food and bar venues also exhibit artists’ work, collaborate on projects and support new forms of creative enterprise to the area. For example, in 2014 The Crofter’s Rights hosted ‘Skipchen’ the pay-as-you-feel-waste café, a pop-up venture by the Real Junk Food Project; Rice n Things recently contributed to Arnolfini contemporary arts centre’s offsite programme of barbeques on Bristol’s downs; this Autumn the PRSC programmed the Stokes Croft Festival of Art, joining up venues across Stokes Croft. 3 This spirit of collaboration and exchange across organisations and businesses in the local area and wider city is key feature of Stokes Croft’s cultural ecology. Stokes Croft has a thriving green economy. Sustainability and local produce are at the heart of Stokes Croft’s independent food establishments. For example, tapas bar Poco won ‘Best Ethical Restaurant’ at the Observer Food Monthly Awards in 2013.4 Other well-known independent, food establishments founded in Bristol, such as Pie Minster, Boston Tea Party and Thali Café, also have branches in the area. Stokes Croft’s culture of independence is an extremely important draw to the area. Consumers, particularly students and young professionals, come to Stokes Croft as a fashionable ‘destination’ to socialize, as a space to work in and shop.5 Stokes Croft serves as an important gateway to the City Centre (from northern and eastern parts of Bristol) and provides a through-route for commuters and consumers to the area. Stokes Croft cuts directly through several, diverse community areas in Bristol (Kingsdown, Cotham, St Paul’s, Montpellier, Gloucester Road) which all contribute to the diverse, social make-up and vibrancy of Stokes Croft.
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