The Clay Town Proposal Is Led by the St Austell Bay Economic Forum and Prepared by the Clay Town Project Group in Association with Partners in Stoke

The Clay Town proposal is led by the St Austell Bay Economic Forum and prepared by the Clay Town Project group in association with partners in Stoke. Partners include

St Austell Market House St Austell Chamber of Commerce

Wheal Martyn IMERYS

St Austell Brewery Emma Bridgewater

St Austell College Clay Foundation - Stoke

St Austell Business Improvement Local Artists: Paul Jackson and District Jenny Bevan

Eden Project Heligan Gardens

British Ceremics Biennial Professor James Hitchmough, Dept. of Landscape, University of Cornwall Ceramics & Glass Group Sheffield FOREWARD from James Staughton Chair of St Austell Bay Economic Forum

It is with immense pride that I introduce this cultural prospectus which outlines the exciting and diverse opportunities presented by the regeneration of St Austell.

Over two years ago the St Austell Bay Economic Forum, made up from business leaders, community groups and local politicians, came together with a joint ambition to help regenerate the St Austell area. We are hugely supportive of the vision outlined for Clay Town and I am delighted that this sense of partnership, involvement and opportunity remains so strong today. The purposed activities if realised would transform our fortunes and give us a confidence that has been in too shorter supply to date. We are well known for our clay and we deserve to be nationally, if not internationally, renowned for it to.

I urge you to join me and the Partners in helping to make it happen and to celebrate our rich heritage in clay. Clay Town

THE PAST Famous for having its own strong identity, and many communities with a low economic base and St Austell is celebrated as the home of china clay. declining prospects. Pottery hero Josiah Wedgwood went to St Austell around 1760 on the trail of a rumour about white The first attempt at the regeneration of St Austell was kaolin that was suitable for making porcelain. made using retail in the early 1980s. By the year 2000 What he found was china clay: this was to be the local stakeholders, the Council and developers had principle ingredient in his pioneering ceramics tried again, but missed another opportunity to capture work known as creamware. the soul of what made St Austell special.

This new product, fine and light and perfect for the application of detailed, printed colour designs, was so successful that it soon challenged even China’s market-dominating porcelain.

In St Austell Wedgwood had found the precious mineral, which he proceeded to order in increasing volumes, and his competitors soon followed suit- thus the china clay industry got under way. By the early 19th century the clay industry was big business. The St Austell deposits had emerged as the largest in the world, and many other uses had been found for the clay, such as in paper, paint and rubber goods.

By the mid-19th century 65,000 tonnes of china clay were being mined in the St Austell area every year by seven thousand workers. By 1910, Cornwall was producing 50% cent of the world’s china clay, something in the region of a million tonnes every year, 75% percent of which was exported.

St Austell was the world center of china clay extraction. The legacy of China Clay still defines the area to this day.

By the 1980s, the clay mining industry had a huge legacy of post-industrial land to address and the industry itself was facing major challenges of global competition, ageing infrastructure and rising costs that was bound to lead to decline.

St Austell was a prime example of what development economists call ‘the resource curse’ - a town that had seen vast amounts of wealth pass through and had almost nothing left to show for it except the shells of once grand buildings

4 THE PRESENT St Austell, the largest town in Cornwall and its hinterland, including what are now called the clay villages, are to this day the headquarters of the clay industry.

The area has three secondary schools with over 1,000 pupils. The local Primary Schools teach more than 1,500 children and thousands of students study with St Austell College. We have talked to teachers and parents who think that good fortune happens to others and aspiration is low in the area. Furthermore, the area experiences significant deprivation problems - poor quality housing and limited access to affordable housing, poor access to community infrastructure and services, low income levels, low education, skills and training attainment levels, poor health and general well-being issues.

Yet to stand outside the beautiful Grade 1 listed Holy Trinity Church you will see the most unusual flowering trees (Eucryphia cordifolia). There is the magnificent Market House in which Churchill made his famous speech championing Free Trade and the shops fronts that with love and attention would compare with any high quality market town.

Most places seeking to regenerate don’t have a story that can claim to be world class but St Austell does.

We believe we need to create a distinctive image that will bring success to this cultural environment; hope and aspiration to the social environment and footfall for the commercial economy. We need to ambitiously develop a cultural vision built on the foundation of St Austell – clay.

5 THE FUTURE In 2014 a group got together and agreed to have one last try to wake this sleeping giant and create a vision for the town that builds on its heritage and looks to its future as a Clay Town. If using our best efforts we were met with apathy and negativity we would walk away. If we were welcomed, like a snowball we would make the team bigger and bigger welcoming anybody who wanted to join us. In short the document that follows is a call to arms. It is a moment at which every adult who feels anything for St Austell says, ‘If it’s not us, who? If not now, when?’ This famous phrase was not coined for St Austell, but in a town that notably has not for many years had love poured into it, it is for the current generation to respond to these questions and create a new legacy. The first logical step was to bring together all of those who had both an interest in St Austell and a passion to do something to improve the area, along with the arts community which works both in clay and ceramics, giving them ability to use both the material and the place. So we began with St Austell Brewery the oldest business in St Austell and the most successful. Their CEO James Staughton is passionate about the town that gave the brewery its name. Then John Kneller who, along with his fellow Market House CIC Directors, imagined the possibility that regenerating the most important building in St Austell would shape the confidence of the whole town. We talked to the educational sector to explore how the Clay Town vision could be woven into the road map of their future. We have talked to councillors and representative of the Economic Forum. Then we spoke to the most important people of all: the artists who would inform, inspire and lead the cultural and educational aspiration to use St Austell as their stage.

Paul Jackson Jenny Bevan

6 Their task is to create a cultural argument for visiting and using St Austell, not just based on retail shops. Our ambition is to see if we can turn the centre of St Austell into a giant ceramics and cultural exhibition site where whole streets are festooned with tiles, the Market House would house artisan studios, Wheal Martyn will become an education hub where people can learn ceramic art skills. We are also aware that between Wheal Martyn and the Market House lies an outdoor facility that, had one tried to build it from scratch, would have costs hundreds of millions of pounds. The Clay Trails and the woodlands, reservoirs and lakes potentially could provide the links from St Austell to its clay villages and communities. We believe that some further investment in where there are known gaps in the trails and the creation of better leisure facilities around the trails is a necessary part of the reimagining of St Austell. We have a vision for the animation of the streets in St Austell. We have a vision from Wheal Martyn to the Market House as the ultimate Clay Trail. We have a vision to draw together the great gardens (Pine Lodge, Caerheys, Heligan and of course…the Eden Project) to create an urban parkscape that offers in its own right a conversational piece. The reason we want to do this is to create a place so magical, so transformed that everybody will want to come and see what has been done. Its beauty, its warmth, humour, playfulness and belief in the power of storytelling to transform lives we believe could make St Austell more popular than the Eden Project.

WHAT HAVE WE DONE SO FAR Knowing that the great china clay industry had powered the ceramic industry in the Potteries we went north to introduce ourselves to our distant cousins. In Stoke, we found, a community struggling with almost identical issues to our own. A friendship was struck and the CEO, Head of Education, Head of Tourism of Stoke City Council paid a return visit for two days accompanied by a great friend, Emma Bridgewater owner and inspiration behind Emma Bridgewater Pottery, one of the most popular ceramicists and creative entrepreneurs in the country. After several visits we have agreed to share a biennial festival show-casing the best ceramicists. We are also looking, with Emma Bridgewater, at locations for a small facility to produce a new ceramic Cornish ware (what is currently referred to as “Cornish Ware” is produced overseas). The ambition now is to obtain support to build the physical capacity and invite some of the greatest international ceramicists to St Austell, pair them with apprentices and help to create a new ceramics movement in Cornwall. The upgrading of the clay trails, the upgrading of Wheal Martyn and St Austell will cost a significant amount of money. We know that the upgrading of the clay trails, the Market House and St Austell will cost a significant amount of money, but as the Eden Project has proved, a unique and outstanding vision will draw visitors from across the country. We believe that Clay Town will generate tens of millions of pounds of new economic activity and underpin the cultural social and economic rebirth of a town that deserves to be world-famous.

7 PROJECT AIM We are proposing a major restructuring programme for St Austell. It will build capacity within the community, create new livelihoods and build on strengths of the town’s industrial past.

The vision, endorsed by all key stakeholders puts china clay and ceramics at the heart of its regeneration plan in celebration of the past, present and future of clay art and craft.

In doing so we have the opportunity to change the way in which St Austell is perceived locally, nationally and internationally.

Within 10 years we want St Austell to be world-renowned for its ceramic arts where almost every new tile you see in the town centre - its shops, hotels, bars, private houses, and public spaces - will have been made here in St Austell.

Using ceramics to create public art installations will provide an opportunity to raise the quality of the built environment and public spaces within St Austell. The clay material will be used to create statues, carvings, engravings, paving designs, water features, mosaics, murals, flags, street furniture, fencing, lighting and planting schemes.

The process will involve acclaimed local and international artists and crafts people in the design and production of the public art. This will provide an important element in delivering an improved sense of place, delivering high quality environments and creating a sense of community pride. Proposed activities To bring this vision to life the project team has created three separate projects

1. A CEREMIC ARTS PROGRAMME – CLAY EXCHANGE We will aim to make the town a more attractive centre by introducing large-scale ceramic art to areas, create permanent tiling/sculptures, and temporary exhibitions across the town centre.

2. SKILLS AND EMPLOYMENT PROGRAMME To produce training and skills programmes for 14-25 year olds that help ensure a sustainable, qualified workforce that meets present and future needs.

3. INTERNATIONAL CERAMIC’S FESTIVAL – WHITE GOLD The development of an international Ceramics Festival in St Austell that will be seen as an expansion of St Austell’s rich industrial and cultural heritage. The festival will become a highlight of an annual events programme and offer hobbyists, leading potters and ceramicists the chance to meet distinguished international practitioners.

4. EVENTS PROGRAMME To deliver an annual events programme in and around St Austell to celebrate clay and ceramics.

5. A GREENING PLAN FOR ST AUSTELL – GREENING AND BEYOND To supplement the ceramic arts programme is a proposed planting strategy for the Town to help create additional drama and enhance the visitor experience.

8 The project areas

PROJECT ONE: CERAMIC ART PROGRAMME - CLAY EXCHANGE The Clay Town partnership recognise that properly implemented public art can play a vital role in helping generate pride in the area, increase a sense of ownership, develop cultural identity, create distinction, character and identity and contribute to the quality of life.

The Clay Town strategy seeks to deliver a public art programme that will set a standard in St Austell that has the potential to be a benchmark locally, nationally and internationally.

A Ceramic Art plan for the Town Centre will be generated primarily through a partnership clay exchange between the two Clay Towns of Stoke and St Austell. Developed over three years, 2017-2020, with a programme led by commissioned artists and concluding with a single or series of event/ exhibition/installations. The programme will also be part of the British Ceramics Biennial (BCB) and White Gold festivals in autumn 2017 and 2019.

ARTISTS AND MATERIALS High profile, international artists will be invited to work with clay as a raw material and subject matter. We anticipate the artists will be fine artists, land artists, process based and performative artists, along with local artists, clay makers and ceramicists who have an interest in collaborative Martin Taylor production and participatory practice.

As a minimum two international and national artists representing the two centres could be commissioned. The partnership has the potential to draw in a third, a Chinese artist making the connection with the porcelain centre of Jingdzenhen. Each artist could bring “their” clay to St. Austell and Stoke. Drawing a story line – from local extraction through national production to global trade.

The programme, phased over three years, could include commissioning international/national artists working with local teams to:

• Work with iconic clay from the sources, to mark the landscape, transform places and intervene in spaces, infiltrate and grow into the fabric of the built environment

• Create artifacts from red and white earthenware, bone china and porcelain interpreting the ebb and flow of exchange, trade, competition;

• Work with local artists, schools, communities and volunteers to realise, big ambitious ideas, participatory artworks and celebratory events.

9 PLACE Drawing on heritage – the project will inject energy into regeneration initiatives across the two project sites Stoke and St. Austell. Using clay to change the landscape and inspiring public understanding and enjoyment of contemporary artists practice.

Sites for research, activity and public presentation of outputs as part of the BCB and White Gold (see Project Three) festivals could include:

• Spode Works site and China Hall – Stoke Town • Market House and townscape, buildings, monuments, streets – St Austell • Eden Project – Cornwall • Clay pits, Marl Holes and spoil heaps – Stoke and Cornwall • Etruria Industrial Museum and canals - Stoke • Wheal Martyn Industrial Museum – St Austell • Emma Bridgewater factory site- Stoke • Others unknown but pertinent to the artists’ research and practice

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How much a programme might cost would depend on the scale and ambition of the projects, and the nature of the commissioned artists practice.

At a minimum the project could be built around two residency periods: • 2017 – with two lead artists spending up to ten days split between Stoke and St. Austell • 2019 – three lead artists spending up to twenty days between Stoke and St. Austell

10 PROJECT TWO - SKILLS AND EMPLOYMENT PROGRAMME A Ceremic Art Education Strategy will be developed alongside the public art programme to raise awareness and contribute to creative learning, particularly for schools, colleges, universities and community groups.

The strategy aims to establish a programme of creative workshops for young people based on the public art programme in the St Austell Town Centre.

The education programme will be supported by dedicated art practitioners with a background in the delivery of creative education programmes, and the strategy developed in consultation with the local authority culture department and St Austell College.

The Plan will also include a formal FE/HE component aimed to grow vocational learning programmes from level 1 to degree level including the expansion of apprenticeship schemes.

The partnership also recognises the need to develop information, advice and guidance for young people and adults to recruit and maintain a sustainable workforce within the ceramics industry.

11 PROJECT THREE – WHITE GOLD FESTIVAL The partnership will develop a major international ceremics event lasting at least 7 days, every other year. This will be the centre-piece of an annual events programme - the Cornwall Ceramic Biennial - delivered in Partnership with Clayworks, organisers of the British Ceramic Biennial in Stoke.

Its aim is to encourage international artists to showcase their work in St Austell town centre and thereby attract new audiences and visitors to the area. Using Town Centre venues, the festival will combine fixed exhibitions, workshops, lectures and symposia.

The importance of hosting international events to an area’s economy cannot be underestimated.

A successful event that is supported and enjoyed by both residents and visitors from outside of the area will drive spend, create jobs and positively improve the overall image of the town.

Our ambition of the White Gold Festival will be to: • Attract approximately 30-50,000 visitors in total over the seven days of the event. • Generate in excess of £1million event expenditure to the local and wider economy of Cornwall. • Create a total of 66 (one job created for every 30k of economic impact) Full Time Equivalent jobs (FTE’s) over the event period.

The International event will highlight St Austell as one of the centres of the UK ceramics industry. We have used the experience of the British Ceramic Biennial to help us understand the economic impact an international festival could have in the area.

The economic impact of the British Ceramic Biennial 2011 on Stoke-on- Trent was estimated as £554,000 and the economic activity was £2,081,000.

(Source: http://www.eitoolkit.org.uk/Page.aspx?pID=46)

12 PROJECT FOUR - EVENTS PROGRAMME The partnership aims to bring life to the Clay Town proposal with the creation of an annual events programme to engage diverse audiences across a wide range of art forms. The events will range from participation events to outdoor screenings, temporary light and sculpture, guerrilla gardening events and artist-led walks.

The events will celebrate the uniqueness of the area by experiencing a taste of the china clay industry and the surrounding landscape.

Key locations within the town centre will be used to showcase the best in art and culture.

The events programme will expose and educate artists, students and the public about ceramics as an art form. The main centre for the events programme will be the Market House in the centre of St Austell.

Market House Trustees have a redevelopment plan in place for this historically important building. The renovated space could become a studio building containing classrooms, artists’ studios, glazing areas, gas and electric kilns. Space for exhibition galleries, retail space, administrative offices, and meeting space. The new facilities will offer greater financial stability for the Market House with income generated through classes, contracts, workshops events, gallery sales; studio rentals and kiln firings; and catering.

The increased space within the Market House will offer greater capacity for exhibitions and provide better facilities for more and varied artwork to be shown in the Town Centre.

13 PROJECT FIVE – GREENING AND BEYOND The Partnership is working with Professor James Hitchmough, from the Department of Landscape at the University of Sheffield, one of the leading Landscape Architecture Departments in the world.

James’s best-known project in the UK is the over 10 hectares of planting design at the London Olympic Park. Outside the UK he is currently involved in planting design projects in the USA, Spain, Italy, Germany, China and Australia.

James and the partnership believe there are opportunities, large and small, to creatively upgrade and ‘green’ St Austell. There are a number of potential reasons for doing this:

• Cornwall’s tradition of “paradise” gardens, often involving visually dramatic trees and shrubs, mostly from the mountains of temperate Asia, integrated into Atlantic oak woodland.

• A warming climate. Cornwall already experiences very mild winters, and wet mild-warm summers may allow for many additional “new” species to be used, for example many succulents and palms that are currently marginal because of the St Austell climate could become an option.

• The proximity of a range of garden attractions - Eden Project, The Lost Gardens Heligan Garden, Trewithen Pine Lodge, Caerhays Castle plus many other National Trust and private sites. There is a ready-made audience to attract and develop.

• St Austell’s current lack of identity (at least to the visitor); the town is essentially a blank sheet in terms of its character, although this changes dramatically to the north in the china clay ‘alps’.

14 The planting strategy will be themed around a number of key areas

• The tree canopy

“St Austell as Magnolia and Eucryphia festival town”. Spring flowering tree magnolia species such as M. campbellii, M. sargentiana var. robusta, M. sprengeri, and M. dawsoniana, are some of the most dramatic plants in the world when in flower, and are extremely well suited to the climate of the region. Spring frosts, the main threat to their drama, are likely to become increasingly rare in the future. Many Japanese cities use cherry blossom festivals as a means of providing a sense of identity, and the same process could be used in St Austell. In addition to these large species (up to 25m tall) there are a range of smaller but still tree like magnolia that could be used to achieve flowering into the summer, for example M. doltsopa, M. kobus, M. x loebneri, M. hypoleuca, M.grandiflora, M. virginiana, plus many hybrids (particularly those of NZ origin, such as ‘Mark Jury’). There are also foliage species such as M. macrophylla, which are dramatic conversation pieces in sheltered urban environments. This strategy will only be legible and exceed the sensory thresholds for people to really buy into this, if Magnolia are used on a really ambitious scale.

This would require collaboration between the Town, local magnolia specialists such as Burncoose Nurseries, Caerhays Castle, and others, and specialist “air pot” growers of advanced trees such as Hillier nursery. This collaboration would allow the production of high quality flowering or near flowering sized trees specifically grown to contract, that can be successfully transplanted at size. The entire project would be an opportunity to promote and develop the Cornish nursery and horticultural industries.

In addition to Magnolia, a secondary tree theme would be the planting of autumn colouring trees to create drama later in the year. Species such as Cercidiphyllum japonicum which has both excellent autumn colour and extraordinary toffee-scented leaf fall would be an excellent candidate. Nyssa sylvatica is another species that might be well suited to this role.

In areas of parkland, planting of native oak would be undertaken to reinforce the contextural character of the Atlantic oak wood.

15 Human-scale planting: highly built locations provide flowers from February to May, followed by summer tidiness. Many of these spaces are relatively small but tend to reoccur throughout the central area of the town. Whilst seasonal change is always important, in Routes to and gateways into the town these situations looking good across the year is particularly important. Some of these locations Planting needs to be used along the entry routes may be newly-designed green walls and roofs. into the town, however the plant palette would vary considerably depending on local landscape The plant palette would be drawn from the Tresco character. On the northern periphery the type experience, cold adapted bromeliads tolerant vegetation might relate to semi-natural character of wet summers such as Fasicularia, plus succulents of the claylands, utilizing the most dramatic native such as Aeonium, Echeveria, Aloe such as species to create perennial wildflower meadows. In A. polyphylla, Beschorneria species, Agave such more cultural locations there could be greater use as A. ovatifolia, and A. monticola. of non-native wildflower meadows, for example the Other elements might include Chasmophytic use of Himalayan Primula (a component of many gladiolus (on green walls) such as the scarlet Cornish Paradise Gardens) in drainage swales for G. cardinalis, plus large leaved species such as urban water management. The critical requirement Myosotidium hortense, cold tolerant Begonia and for all of these vegetation types is for a long season Hedychium, plus graminoids such as Aristea, and of interest that can be managed at acceptably low Xeronema callistemoides. Ferns and tree ferns levels of resource. would have a significant role to play. There is a very distinctive palette that can be developed, that is quite different to what people are used to seeing, that could be genuinely exciting for visitors and the local public alike. This planting would draw on a Roberto Burle Marx/Raymond Jungles aesthetic. (http://www.raymondjungles.com) aesthetic

Where space is available, the use of giant leaved rhododendron such as R. macabeanum would work very well with the “jungle” vegetation.

Human-scale planting: more relaxed suburban locations

The tree canopy layer of magnolia/autumn colouring trees can also be extended through suburban locations by looking for new planting spaces that are currently under-utilized.

At ground level much of the plantable space will currently be mown grass. One of the characteristics of the Cornish paradise gardens is that the informal ground layer is often dominated by native primroses and bluebells, and combined with other native and non-native species. These could be used to form a spring meadow (cut in June, and returned to lawn) in areas that are not regularly walked on. This would require an access audit of all of these spaces to be undertaken. This strategy would

16 Budget

Expenditure Unit Costs Quanity Total Year 1 Total Year 2 Total Year 3 Programme Total

Project Manager £30,000 1 £30,000 £30,000 £30,000 Travel and Subsistance £10,000 1 £10,000 £10,000 £10,000 Marketing £30,000 1 £30,000 £30,000 £30,000 Overheads £4,500 1 £4,500 £4,500 £4,500 Total £74,500 £74,500 £74,500 £223,500

Project 1 - Ceramic Art Programme Artists’ fees £20,000 artist 2 £40,000 £40,000 £40,000 Artists’ costs and Expenses £10,000 artist 2 £20,000 £20,000 £20,000 Project Infrastructure £100,000 commission 3 £300,000 £300,000 £300,000 Curatorial support £25,000 artist 1 £25,000 £25,000 £25,000 Total £385,000 £385,000 £385,000 £1,155,000

Project 2 - Skills and Education Educational Manager £20,000 manager 1 £20,000 £20,000 £20,000 Workshop Implementation £10,000 materials 10 £100,000 £100,000 £100,000 £50,000 teaching FE/HE Programme resource 1 £50,000 £50,000 £50,000 Total £170,000 £170,000 £170,000 £510,000

Project 3 - International Ceramic Festival - White Gold Curator/Project Manager £35,000 manager 1 £35,000 £35,000 £35,000 Festival event £100,000 programme £100,000 Total £135,000 £35,000 £35,000 £205,000

Project 4 - Events Programme Regional events £10,000 programme 5 £50,000 £50,000 £50,000 Total £50,000 £50,000 £50,000 £150,000

Project 5 - Greening and Beyond Curator £60,000 1 £60,000 £60,000 £60,000 Greening programme £500,000 1 £500,000 £500,000 £500,000 £560,000 £560,000 £560,000

£1,239,500 £1,239,500 £1,239,500 £3,718,500

17 Clay Town Management Structure

DELIVERY STRUCTURE The project plan will be delivered in the following way:

The St Austell Bay Community Interest Company (the CIC behind SABEF) will be the project applicant and legally accountable body.

The Clay Town steering group made up of various partners from across the St Austell community will provide high-level guidance and reporting.

A Project Manager will be appointed to deliver all elements of the strategy.

Roles and responsibilities for each include:

St Austell Bay CIC Will have the responsibility for holding the budget and approving expenditure. The CIC will be the employer of those involved in the programme and will execute appointments/contracts with artists and project partners.

Clay Town steering group will support and guide the programme across the life of the development, ensuring the strategy aims and principles are delivered. Participation will be on a voluntary basis and clear terms of reference for the Panel will be set out at the first stage.

Panel members will have broad experience across relevant areas of the development, including local private, public and voluntary sector organisations. A Chair will be appointed who will report to the St Austell Bay Economic Forum and funders.

The role of the steering group is to support and advise on the implementation of the programme strategy and delivery plans, provide continuity over the life of the project and make formal recommendations to the CIC. It will advise on curatorial and selection processes and participate in the selection of artists. It will also provide advocacy for the programme. Public art proposals made by external artist will be reviewed by the

18 PROJECT MANAGER An experienced and reputed public art advisor will be employed throughout the project period to guide curatorial decisions and ensure the aims and principles of the Programme are met. The Project Manager will report to the steering group.

The role includes:

Development of the Programme

Acting as the main liaison between artists and the Project Manager/Masterplanning team

Curatorial advice and facilitating the selection and appointment of artists

Management of artist residency programme and support for the development of artist proposals

Project management and delivery of public art commissions

Monitoring and reporting on commission budgets

Developing partnership relationships to support delivery

Monitoring project milestones, progress reporting and identification of issues

Supporting project evaluation and documentation

Contributing to PR and marketing strategy

Preparation of planning and support documentation

Preparation of documentation on behalf of the steering group.