Public Art Strategy

S t r a t e g i c P l a n n i n g Cardiff Public Art Strategy

PUBLISHED 2005 Contents

1. INTRODUCTION 3 Artist Selection 31 A Public Art Strategy for Cardiff 3 Community Engagement and Public The Aims of the Public Art Strategy 3 Consultation 33 The Benefits of Public Art 5 Management of the Project 33 Strategy Area 7 Recording Project Information 35 Public Consultation 7 7. ARTWORK LIFESPAN 37 2. THE CITY AND COUNTY OF Legal Ownership and Duty of Care 37 CARDIFF 9 Maintenance Schedules 37 Cardiff’s Legacy 9 Financial Implications 39 Public Art in Cardiff Today 9 Re-siting and Decommissioning 39 The Council’s Role 11 8. RECOMMENDATIONS FOR 3. GUIDANCE ON PUBLIC ART 13 IMPLEMENTATION 41 National Planning Policy 13 1. Public Art Officer 41 Council Policy 15 2. Public Art Forum 43 3. Percent for Art 43 4. DEFINITIONS OF PUBLIC ART 17 4. Public Art Fund 45 Definitions of Public Art 17 5. Public Art Sponsorship Scheme 45 The Public Realm 19 6. Information on Public Art 47 Essential Criteria for Defining Public Art 19 7. Website 47 Gifts and Donations 19 8. Information Guides 49 9. Trails 49 5. PUBLIC ART OPPORTUNITIES 21 10. Marketing 49 Gateways 21 Themed Linkages 21 9. ACTION PLAN 51 Landmarks 21 Short Term Priorities 51 Linear Artworks 21 Medium Term Priorities 51 Local Communities 23 Long Term Priorities 51 Locations for Temporary Artworks 23 Locations for Interior Artworks 23 APPENDIX 1: REFERENCES 53 Development Sites and Existing Documents 53 Environments 23 Web Sites 53 Sensory Artworks 23 Acknowledgements 53 Education Programmes 23

6. DEVELOPING AN ARTWORK PROPOSAL 25 Primary Considerations 25 Project Budget 27 Funding Sources 27 Consents and Permissions 29 Arts Agencies 29 Project Brief 31

1 Liability and disclaimer

While reasonable care has been taken in the preparation of this document to ensure that the information contained is accurate, this document, its content, names, text and images included in this document, are provided ‘AS IS’ and without warranties of any kind, either express or implied. To the fullest extent permissible pursuant to UK law, the County Council of the City and County of Cardiff [‘The Council’] disclaims all warranties expressed or implied, including but not limited to implied warranties of reasonable care, satisfactory quality or fitness for a particular purpose and non-infringement of title.

The document contains guidance and notes on certain aspects of law as they might affect the average person. They are intended as general information only and do not constitute legal or other professional advice. It should not be relied on as the basis for any decision or legal action. The Council cannot accept liability for any loss suffered due to reliance on the contents of this document. The law is constantly changing so expert advice should always be sought.

To the extent permitted by applicable laws, no liability is accepted for any direct, indirect, incidental, special or consequential loss or damage to any user (whether arising in contract, tort including negligence or otherwise) arising out of or in connection with the use of this document.

The contents of this document shall not fetter the Council in the exercise of any of its statutory Water Tower functions, including, without limitation to the , generality of the foregoing, its functions as Local Nicholas Hare Architects and Planning Authority or Local Highway authority. William Pye, 2000

2 1. Introduction

A Public Art Strategy for Cardiff organisations, individuals and partners in the public and private sector there is enormous 1.1 Cardiff has a rich heritage of scope to deliver new inspirational and public art that has developed with the city innovative forms of public art and the over the past century and forms part of the Council wishes to spearhead this drive to fabric of its public spaces. From the success. monuments and statues that represent the history of Cardiff and the importance of past The Aims of the Public Art Strategy events and people, through to the more recent sculptures, events and integrated 1.6 The strategy aims to: artworks that provide a sense of identity and make a valuable contribution to the quality • Define, promote and secure the of public spaces, the city contains a wealth of delivery of high quality public high quality public art. art in Cardiff • Outline the policies and 1.2 Located in publicly accessible and philosophies for the provision of visible spaces, public art is open to the public art appreciation of everyone, from the • Clarify the processes involved in residents of the city through to those who the development of public work in and visit Cardiff. These artworks can artworks help aid legibility, act as a valuable • Encourage new initiatives and educational tool and provide an opportunity opportunities for public art, for groups and individuals to develop an both within and outside the interest in and understanding of public art. development process • Encourage partnership working 1.3 There are many significant benefits and community engagement in that public art can bring to Cardiff, most the development of public art importantly well-managed public art can projects enhance the environment, encourage inward • Inspire and give expression to investment and enrich the cultural life of the ideas of individuals and Cardiff by providing opportunities for groups which reflect on life in community expression. Cardiff • Promote the early integration of 1.4 The purpose of this Public Art public art within development Strategy is to build on Cardiff’s success, to proposals extend opportunities for the provision of • Improve the management and public art and to promote and secure the maintenance of Cardiff’s delivery of high quality imaginative public existing and future public art projects that enhance the environment, artworks celebrate the city’s past and present, and • Improve and promote access to contribute to its distinctive character. public art information

1.5 This Strategy clarifies responsibilities, illustrates the processes involved in developing public art and points the way forward to those concerned with the provision of public art. Working together

Introduction with artists, the community, businesses, 1.

3 Heritage

Statue of Archdeacon Buckley Statue of Godfrey, First Viscount of Tredegar The Green, Gorsedd Gardens, Park William Goscombe John, 1926 William Goscombe John, 1909

Local Identity

Wales Millennium Centre, Roald Dahl Plass, Cardiff Bay Text by Gwyneth Lewis, 2005

4 The Benefits of Public Art 1.10 The development of public art projects in which local people work with 1.7 Public art can enhance the artists to improve their own environment environment, contributing to all aspects of can: urban design, from street furniture and paving to building design and landscaping. • Promote social inclusion With community involvement, it can be • Develop people’s sense of effectively employed to: ownership for their environment • Create a sense of local identity • Enhance the environment, and community pride making a real difference to the • Strengthen a sense of quality of life of its inhabitants community and enhance social • Aid regeneration by developing cohesion a positive identity for an area and • Develop people’s interest in, and improving its image understanding of, public art • Encourage people to value their • Develop people’s creativity, surroundings, contributing to a extend their social skills and self reduction in vandalism and confidence. fear of crime and creating a healthier, safer and sustainable 1.11 Cardiff’s collection of public art is environment. already a significant addition to the city’s cultural provision, which can: 1.8 Public art can contribute to the character and identity of an area and aid • Enrich the cultural life of the city legibility by: • Develop the city’s cultural profile nationally and internationally • Creating landmarks that provide • Develop civic pride and help reference points and enable create a distinctive ‘image’ for people to orientate themselves Cardiff • Defining routes and pathways • Help record the history of Cardiff • Making connections between and . places and spaces • Emphasising entrances, gateways and key junctions • Creating local distinctiveness and a sense of place.

1.9 Public art can encourage inward investment by:

• Demonstrating social, cultural and economic confidence, thereby stimulating investment and economic growth • Providing a focus and stimulus for tourism • Contributing to the local economy by creating employment opportunities for local artists, craftspeople and associated businesses. Introduction 1. 5 Emphasising Entrances

Canal Park Entrance James Street, Martin Williams, 1994

Community Projects

Black Bridge Fitzhamon Embankment Railway Footbridge, Andrew Rowe, David Mackie and Heather Parnell Bradley Woods and Andrew Hartford, 2004 2007

6 1. Introduction Public Art Strategy.Public Art consideration oftheCardiff intheproduction consultation process have beentakeninto website. received Responses through the addition to publication ontheCouncil’s stakeholders andinterested in parties was circulated to allrelevant partners, and opinionswere sought. The document number ofspecificissuesuponwhichviews Green Paper ofquestionsona posedaseries consultation document. The Public Art green paperwas produced asapublic 1.16 was reviewed.and monitoring publicart Council in securing, implementing, managing across thecity. The potential role ofthe andtheirdistribution existing publicartworks withinCardiff,current publicart focusing on ofthe initially areview was undertaken intwo phases; Strategy hasbeenundertaken 1.15 Public Consultation Bay. local communities, centre thecity andCardiff the city, down to level thepedestrian within sites andkeynodesinterchanges within Cardiff by road, rail and water, to strategic across thecity, from themajorgateways into andinteractions between areas linkages 1.14 groups andindividuals. contributions from organisations, community to publicandprivate initiatives, and gifts andimprovementprojects schemes, through development proposals, regeneration from opportunities, consider allpublicart 1.13 south. the eastandbarrage at Cardiff Bay inthe Vale in ofGlamorgan inthewest, Newport Cynon withRhondda boundaries Taff andthe to Caerphilly inthenorth Mountain andCountywhole oftheCity Cardiff, from 1.12 Strategy Area

Based ontheresults a ofthiswork, The development ofthePublic Art Within thisboundary, theStrategy will The Strategy Public applies to Art the The Strategy shouldhelpto foster 7 A469 A470

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Lisvane A48(M) A48 St. Mellons Pentwyn Heath Trowbridge Whitchurch M4 Rumney

Penylan

Fairwater Cathays Llandaff Plasnewydd Riverside

City Adamsdown Canton Centre Ely Caerau

Butetown

A48 Grangetown Flat Holm Inset

Cardiff Bay

City and County of Cardiff

Blue Flash, Power Box and Mesh Chips Tyndall Street John Gingell, 1994

8 2. The City and County of Cardiff

Cardiff’s Legacy 2.4 These traditions continued through much of the mid 20th century until, in the 2.1 Cardiff is a rapidly expanding late 1980s and early 1990s Cardiff seized the European Capital with a history initiative to add significantly to its public art stretching back to Roman times. In 1905 portfolio through the rejuvenation of its Cardiff achieved city status and in 1955 waterfront. The Cardiff Bay Development became the Capital City of Wales, both Corporation commissioned a Strategy for landmark anniversaries celebrated in 2005. It Public Art in Cardiff Bay which was was in the latter half of the nineteenth implemented by the Cardiff Bay Arts Trust. century that Cardiff expanded rapidly, with The process of procuring artworks was the mining of coal in the valleys and its export supported by an active ‘Percent for Art’ policy, from . Parallel with the economic applied to public and private sector projects prosperity and population growth was the alike that has resulted in an award-winning physical expansion of Cardiff and the programme of public artworks. provision of artworks in the public realm. 2.5 The commissioning of artworks in 2.2 The incorporation of art on buildings the city has continued, with artists being was particularly popular between the 1870s included in several high profile development and the First World War and the development initiatives. The Magistrates Court, Cardiff of the Civic Centre at the turn of the 20th International Arena, Mill Lane, Callaghan century saw artworks forming an integral part Square, Central Square and the Wales of City Hall, the Law Courts and the former Millennium Centre have all involved artists, County Hall. The Old Library in the providing added value and distinction to and the Pier Head Building at Cardiff developments. Bay are excellent examples of buildings with decorative detailing. 2.6 In addition, many community groups have taken an increased interest in the 2.3 Early freestanding artworks took the provision of more localised artworks, form of monuments, commemorative works reflecting and celebrating aspects of and statues representing major figures and Cardiff’s rich cultural and community events from history that now form part of the diversity. fabric of the City, particularly around the Civic Centre in and in other parklands Public Art in Cardiff Today such as Park and Victoria Park. These works were not only confined to external 2.7 As Cardiff has developed, so too has sites but were also incorporated within public the rich tapestry of public artworks and a buildings, including the Marble Hall at City strong artistic community, from the Hall which contains a series of statues National Museum and Gallery of Wales to unveiled in 1916. Animal Wall at local art galleries, university arts departments, represents an early example of non arts centres, libraries, studios, arts groups, commemorative artworks adding value and workshops and arts agencies. distinction to the quality of public spaces. . The City and County of Cardiff City and County The . 2

9 Art on Buildings

Statue of a Grecian Female, Bust of Pallas Athena Prince of Wales, St. Mary Street The Old Library, The Hayes Circa 1920 William Taylor, 1896

Commemorative Works

Statue of Third Llandaff War Memorial Friary Gardens, Cathays, Cathedral Green, Llandaff James Pittendrigh Macgillivary, 1930 William Goscombe John, 1924 Recent Artworks

Awen From Pit to Port Welsh College of Music and Drama, North Road Quay Charles l’Anson, 1975 John Clinch, 2005 10 2.8 During the 1990’s and early 2000’s Cardiff had two leading arts agencies; CBAT: The Arts and Regeneration Agency and Cywaith Cymru - Artworks Wales who worked closely with local authorities, government agencies, the private sector, environmental and community groups, schools, collages and art organisations and actively encouraged creative collaborations. These agencies merged in 2007 to form Safle which operated until 2010.

The Council’s Role

2.9 The Council is actively involved in the development of most aspects of public art. From the management and maintenance of many of the historic and contemporary artworks across the city, including civic venues which house and display a number of interior public artworks; through to the incorporation of public art in development and regeneration schemes, ranging from local environmental improvements to major projects and the development and implementation of community art projects, events and educational programmes.

2.10 The Public Art Strategy encompasses functions from a number of Council Services including Strategic Planning and Neighbourhood Regeneration, Marketing and Tourism, Highways and Transportation, Leisure, Libraries and Parks, Schools and Lifelong Learning and Regulatory Services. It seeks to deliver a comprehensive and co-ordinated approach to the provision of public art in Cardiff.

2.11 This Strategy sits within an overall framework of policies, plans and other corporate strategies that work collectively to deliver the strategic objectives of the Council.

The City and County of Cardiff City and County The 2.

11 Water Features

Landsea Square Water Feature, Water Feature, , Cardiff Bay Roald Dahl Plass, Cardiff Bay Jo Johnson Landscape Architects 2000 William Pye 2000

Railings

Railings Mill Lane, City Centre Diane Maclean, 1995

Adventurers Quay , Roath Basin, Cardiff Bay David Mackie and Andrew Rowe, 1999 12 3. Guidance on Public Art

3.1 There is strong support for public art “Public art can play an important part in from national bodies across the country, creating or exploiting individuality and including the , raising the profile of our towns, villages and the Design Commission for Wales and the landscape. Focusing public art at key Wales Tourist Board, whose Cultural locations, at important junctions, meeting Tourism Strategy for Wales identifies that: places or entry points can enhance existing townscape features and help to “A high quality built environment make the area more legible. There is cannot only help support tourism considerable scope for integrating public art but also provides a good place to into the townscape, ranging from the live, work and play and makes it an dramatic to the subtle, from traditional attractive place to invest. This free-standing landmark sculpture to the requires…high quality public arts innovative design of functional objects. initiatives such as those pursued in Through careful choice of location and Cardiff Bay” 1 use of tactile materials, public art can and should be made accessible to all. 3.2 The Welsh Assembly Government’s Increasingly, imaginative design of Cultural Strategy for Wales, ‘Creative Future’ floorspace, railings, lighting and signage is states: being used to personalise everyday objects.”3 “There is a need for far wider recognition of the part public art can play not only in 3.4 It is also identified that: creating more beautiful and secure public spaces, but also in contributing to the “Public art should be considered early in the regeneration of communities.” 2 design process and be integral to the overall design of a building, public space or place. The National Planning Policy choice of artwork should be the subject of full collaboration from the outset between the artist, the local community and professionals 3.3 The development and integration of involved in the design process. public art is actively encouraged throughout Engendering a sense of local ownership and the planning policy framework. Planning public responsibility for artwork is critical to Policy Wales (2002) highlights the importance the long-term success of public art projects.”4 of good design in new development and encourages the provision of public art through Technical Advice Note 12: Design, where it is recognised that:

1 Cultural Tourism Strategy for Wales (Wales Tourist Board) 2 A Cultural Strategy for Wales: Creative Future (Welsh Assembly Government) 3 Planning Policy Wales, Technical Advice Note 12: Design (Welsh Assembly Government) Guidance on Public Art on Public Guidance 4 Planning Policy Wales, Technical Advice Note 12: Design (Welsh Assembly Government) 3. 13 Functional Objects

Map of Llandaff High Street, Llandaff Angela Davies, 1981

Street Grilles, Trawler Weathervane,

National Assembly for Wales, Pierhead Street Woods Brasserie, StartStreet Alan Evans, 1993 Alan Evans, 1993

14 Council Policy “Public art will be sought to enhance the character and appearance of 3.5 The Council in its Community development and public spaces.”8 Strategy has set out the long-term vision for Cardiff. It represents a common agenda for 3.9 The Cardiff Public Art Strategy draws the Capital City of Wales and provides an together and builds upon this policy overarching framework that supports other framework. key strategies, plans and initiatives. The Community Strategy (2004 to 2014) states: 3.10 The Cardiff Public Art SPG (Supplementary Planning Guidance) “We aspire to make Cardiff a liveable city provides detailed guidance of the Council’s with clean streets, good parks, easy access requirements for the provision of artworks to the countryside, impressive architecture, arising specifically through the development high quality public art and an outstanding process. waterfront”5

3.6 The Cardiff Public Art Strategy complements the Council’s broader ‘Arts Strategy’, which was produced in 1998. Section 4, Art in Public Places has as its strategic aim:

“To improve the urban environment by commissioning good quality art and craftwork to enrich our environment.”6

3.7 The provision of public art is also identified in the City of Cardiff Local Plan, adopted January 1996. Within section 4.6 ‘ Aesthetic Controls and Standards’ it is stated that:

“Where appropriate, the City Council will also seek to achieve, via the grant of planning permission social or community benefit related to the needs of the locality. Such ‘planning gain’ will vary according to the scale, location and type of planning application, and could include the provision of….. ‘a percentage for art’ …..where appropriate.”7

3.8 The Council’s deposited Unitary Development Plan (to 2016) contains a specific policy relating to the provision of public art. Policy 2.56 of the UDP states that:

Trawler Weathervane Woods Brasserie, Stuart Street Andy Hazell, 1997 5 Cardiff Community Strategy 2004-2014 (Cardiff County Council) 6 Arts Strategy (Cardiff County Council) 7 City of Cardiff Local Plan, January 1996 (Cardiff County Council) Guidance on Public Art on Public Guidance 8 Cardiff Unitary Development Plan (to 2016) Deposited Written Statement, October 2003 (Cardiff County Council) 3.

15 Public Art in Cardiff Bay

Drift of the Curlews St David’s Hotel and Spa, Havannah Street Sally Ann Matthews, 2000

Celtic Ring People like us Roald Dahl Plass, Cardiff Bay Mermaid Quay, Cardiff Bay Harvey Hood, 1993 John Clinch, 1993

16 4.Definitions of Public Art 4. Definitionsof Public Art Text based works. Murals Mosaic/ceramic works Paintings/trompe l’oeil and doorfurniture designed glazing,Artist flooring, cladding works, including: Integrated two and three-dimensional Plaques. Inscriptions Memorials Commemorative works, including: Land art. sculptureMonumental Gateways andlandmarks works Kinetic Water features Site specificsculpture artworks, including: Three-dimensional isconsidered to include: art 4.3 Definitions of Public Art piece orschemeof ‘public art’. as to what may beviewed asconstituting a to arrive at somedefinitions and necessary considered ‘art’, however itisbothpossible between what may ormay notbe brought ofboundaries aboutablurring 4.2 ensures that trends are rapidly changing. practice andcontemporary form andfunction inthepublicrealm are diverseArtworks in forms. art andothertemporary performances permanent works butalsofestivals, embrace notonly sculptures and other 4.1

For ofthisStrategy, thepurpose public The has sheerdiversity ofpractice Today, hasdeveloped to publicart

17 Photography Textiles Architectural glass Sculpture Fine andcraft andappliedart accessible buildings, including: Interior commissions inpublicly boxes.junction seating, lighting, bollards, litter binsand screens, signage, markers, paving, tree grills, designed fencing,Artist railings, security Street furniture, including: groups. architects, engineers, planners orother result and ofcollaborations between artists orasa withthecommunity working anartist ofanindividualartist, product development. may bethe The artwork integratedartworks into thedesign ofa and events, and to standaloneartworks projects temporary permanent artworks, canrange from clear that publicart 4.4 Performance art. Hoardings Text basedworks Audiovisual media Photography Digital art Exhibitions including: Temporary commissions, or time-based furnishings.Bespoke Floor treatments Prints

From the examples provided, itis Three - Dimensional Artworks Integrated Works

Bowline Knot, Door Furniture, St David’s Hotel and Spa, , Andrew Rowe, 2000 Ann Catrin Evans, 2005

Commemorative Works Interior Commissions

Merchant Seafarer’s War Memorial Statue of Gareth Edwards, Opposite , Cardiff Bay St Davids Centre Brian Fell, 1996 Bonar Dunlop, 1982

Street Furniture Temporary Commissions

Tree Grills, Site Hoardings Mill Lane, City Centre, Shopping Centre, 1995 Pippins Designs, 2005

18 Essential Criteria for Defining Public Art The Public Realm 4.8 It is important for those involved in 4.5 Whatever the precise definition of the the development of new initiatives to be artwork it is essential that it be placed in the clear from the outset about the criteria which ‘public realm’ and freely accessible to the should be followed in the public in order to qualify as public art. commissioning and development of public art, these are: 4.6 For the purposes of this Strategy, the public realm should be considered to include: • Original work of a living or acknowledged artist or • Spaces to which the public has free craftsperson, that is physically or access at all times, including: Public visually accessible to the public roads and footways, squares, and which may be created as a footpaths, common land, waterways result of a collaborative process and cycle routes involving other groups, such as architects, engineers, planners or • Spaces which are managed and have members of the local specific access arrangements but community. which are essentially ‘public’ by nature, including: Parks and gardens, • Work that is site specific and not shopping centres, libraries, leisure a mass-produced object or centres, public amenities and privately reproduction of an original owned buildings and spaces which are artwork or a previously physically or visually accessible to the unrealised design. public, including building facades • Work that relates in time and • Information and media place to Cardiff and to the city’s platforms, including: Billboards, unique identity and distinctive buses, bus shelters, print and sense of place. broadcast media and the internet. Gifts and Donations 4.7 It should be noted that public art does not normally include works on display within 4.9 Occasionally, the Council receives dedicated galleries or museums. public artworks in the form of a gift or donation which may not meet the above criteria. In these cases each project will be considered on its merits against the background for the donation and should take into consideration the specific needs, limitations, conditions and long term use of a proposed site and its users. Definitions of Public ArtPublic Definitions of 4. 19 Managed Spaces that are Publicly Accessible

Pigeon Wave Pigeon Wave Main Foyer, Cardiff Central Station Main Foyer, Cardiff Central Station Martin Smith, 2003 Martin Smith, 2003 Free Access at all times

Nereid A Private View The Friary, Kingsway A4232 Butetown Link Road Nathan David, 1996 Kevin Atherton, 1995 Visually Accessible

Union of Shop Distributive and Allied Workers. Red Dragon Cathedral Walk, City Centre. King Edward Vii Avenue Louise Shenstone and Adrian Butler, 1987 David Petersen,1984

20 5. Public Art Opportunities

Gateways 5.1 Public art can enhance and add value to the environment, contributing to 5.5 Sites that emphasise entry points into all aspects of design, from street furniture Cardiff and create a sense of arrival, and paving to building design and landscape. including: Incorporated into any publicly accessible or visible space, public art can contribute • Road - M4 Motorway, A470, A48 towards the quality and design of an area or • Rail Corridors - London to development, creating local distinctiveness and Valley Lines for residents, employees and visitors to the • Water – Cardiff Bay and the Barrage city. 5.6 Entrances into the City Centre and Bay 5.2 Through incorporation into functional Core area, including: items, for example lighting, pedestrian railings and access ramps, public art can form • Public transport interchanges a valuable tool in responding to the • Vehicle, cycle and pedestrian requirements of an area or the surrounding gateways environment and these issues should be • River linkages taken into consideration when assessing opportunities for public art Themed Linkages initiatives. 5.7 To identify and distinguish key land 5.3 The Council encourages the uses and create a sense of place, including: A Private View commissioning of innovative new artworks A4232 Butetown Link Road that respond specifically to the site. Public art • Subways Kevin Atherton, 1995 should form part of an overall design vision, • Railway bridges with concepts being an integral part of a • Street furniture building or area. • Public transport sites

5.4 The sheer scale and diversity of Landmarks public art means that potential locations for future projects and initiatives are as 5.8 To identify and articulate routes, wide-ranging as artists’ and create focal points and aid orientation. commissioners’ imaginations allow. This chapter seeks to stimulate the inspiration of Linear Artworks commissioners, artists and community groups by providing a guide to suitable locations 5.9 To aid orientation and articulate for future artworks and identifying potential routes, including: Primary road, pedestrian themes. and cycle networks, river and rail corridors.

Red Dragon King Edward Vii Avenue

David Petersen,1984 ArtPublic Opportunities 5.

21 Gateways

Gateway Cardiff Cader Idris Railway Embankment, Adamsdown Central Square, Cardiff Central Station Jane Kelly, 1997 William Pye, 1999

Linear Artworks Landmarks

Lamp Standards Secret Station Britannia Quay, Cardiff Bay Rover Way, Tess Jaray and Tom Lomax, 1994 Eilis O’Connell, 1992 Themed Linkages

National Cycle Network Milepost Across Cardiff (Example from ) Jon Mills 22 Local Communities • Regeneration sites • Open spaces 5.10 To create character and provide an opportunity for community expression, Sensory Artworks through the enhancement of existing environments, including: 5.14 Public Artworks by their very nature provide a range of opportunities for • District, Local and Neighbourhood interaction by members of the public and Centres create a valuable opportunity to promote • Parks, public spaces and recreational sensory awareness. An example includes areas the Relief Map located at Roald Dahl Plass in • Neighbourhood and community Cardiff Bay. This illustrates the route of the Taff projects within local wards Trail from Cardiff Bay to Brecon and incorporates Braille interpretation. Locations for Temporary Artworks Education Programmes 5.11 Sites that provide opportunities for festivals, events and siting for temporary 5.15 Public art projects can create a variety artworks include: of educational opportunities; an example includes ‘Breathing in, Time out’ by Dutch • Public and private buildings and artist Jeroen van Westen at the Lamby Way associated spaces landfill site. • Parks and public spaces • Site hoardings 5.16 The Lamby Way project which began in 2001 has created a focus and framework for Locations for Interior Artworks long-term educational and research activities and the physical work on site has provided 5.12 Sites that provide opportunities for a valuable education resource which allows interior commissions and community for the continued involvement of schools in artworks include: exploring issues of waste management, geography and engineering. • Schools • Community facilities 5.17 The educational opportunities • Hospitals, government buildings and generated through public art should take into other institutions consideration the opportunities for groups • Private buildings within the public and individuals to actively participate, realm including: local community groups; special • Public buildings needs groups; local schools; youth organisations and environmental groups. Development Sites and Existing Environments 5.18 At Kitchner School in Riverside, a large scale mosaic mural was developed for the 5.13 Sites that provide opportunities for school building with the theme ‘We all live collaborative public art projects within a together in Riverside’ and was designed and defined site boundary, including: created by the children of the school under the supervision of the Pioneers Arts group. • Landscape areas • Land for waste management • Industrial landuses • Sport, recreation and leisure uses • Health sites • Retail parks / Shopping centres

Public ArtPublic Opportunities • Offices 5.

23 Local Communities Development Sites

Angelina Street The Big Egg Butetown Henke Court, Schooner Way Ray Smith, 2004 Rachel Joynt , 2000

Temporary Artworks Sensory Awareness

The Rampant Dragon Taff Trail Relief Map St John’s Garden, Working Street Opposite Pierhead Building, Cardiff Bay, 2004 Harvey Hood, 1993

Interior Artworks Education Programmes

Stuttgart Stained Glass Kitchener School Mosaic Mural St David’s Hall, The Hayes Kitchener Road Professor Hans Gottfried Von Stockhausen, 1985 Kate Derebyshire, 1998

24 Development Sites 6. Developing an Artwork Proposal

6.1 Public artworks are installed in • What is the purpose of the Cardiff through a variety of means, ranging project? from on-site and off-site artworks Will it define a key site, aid legibility, commissioned by developers, to groups and promote the history of Cardiff, The Big Egg organisations undertaking artwork events engage the local community, and / Henke Court, Schooner Way and projects within the public realm and or have a practical application? Rachel Joynt , 2000 works of public art being gifted to the council by organisations and benefactors. • What type of artwork would be Sensory Awareness suitable? 6.2 The wide diversity of what constitutes A permanent work, a temporary or public art means that any one project can time-based commission, or an involve a variety of groups and individuals, interior commission in a publicly each with differing professional backgrounds, accessible building? levels of experience and methods of working practice. For these reasons the • What is the scale of the project? successful development of any public art A landmark / gateway feature, a project is dependent upon establishing, from community based project or a small the very outset, a clearly defined scale integrated artwork, such as commissioning process. artist designed door furniture?

6.3 This chapter provides a guide to • Where is the proposed siting of Taff Trail Relief Map developers, individuals, groups and the artwork and what consents Opposite Pierhead Building, Cardiff Bay, organisations involved in the development and permissions are required to Harvey Hood, 1993 of public artworks. It is by no means site the proposed artwork? exhaustive, but is intended to highlight the Will it be integrated into a building Education Programmes issues that should be taken into or existing structure, freestanding consideration during the implementation within a development boundary, of a public art project. located on an adopted highway or within a local park? Primary Considerations • What key groups and individuals 6.4 At the outset of the project, the first are likely to be involved? question that should be asked is ‘what do we Project manager, artist, arts agency, want to achieve?’ and time should be taken decision making body, local to consider the rationale of the project and community, land owners? the topics or themes that are to be explored through the development of public art. • What is the project timescale? Will it form a key milestone as 6.5 The initial phase of the part of the development of a commissioning process should involve the larger project, or need to be development of a project brief, which will completed by a specific date or need to answer a number of key questions, anniversary? primarily: Developing an Artwork Proposal Developing 6. 25 Animal Wall

Animal Wall Cardiff Castle, Castle Street Thomas Nicolls and Alexander Carrick, 1888 and 1931

26 6.6 It is necessary for those initiating the development of an artwork project include: project to have broadly defined these boundaries and to have carried out • Management or agency fees and any appropriate risk assessments in order to costs for artist selection demonstrate their intentions. So providing a • Costs of any consultation processes basis from which to enter into discussion with • Artist design and commissioning the local authority, arts agencies and other fees parties that may be involved in the • Workshop and exhibition expenses development of the project. • Artwork costs, including material / fabrication costs and the work of 6.7 From the outset a designated project third parties (e.g. engineers) manager would need to take into • Site preparation and installation consideration how the scheme will costs contribute towards the existing public art • Insurance costs collection in Cardiff and that proposals will • Provision for future maintenance meet the criteria for defining public art, as • Contingency funds outlined in chapter 4.8. Funding Sources 6.8 Whilst the primary considerations relate mainly to the development of new 6.12 There are a significant number of public art schemes, they are also relevant to national and regional agencies through donated artworks and financial contributions. which applications can be made for The project manager should have an idea of funding for public art projects ranging from how they want their donation to contribute small scale grants to large scale funding towards public art in Cardiff. initiatives. An example includes The , whose schemes provide an 6.9 It is recommended that the project opportunity for arts organisations and manager should enter into dialogue with the individuals in Wales to apply for funding Council to set out their proposals and discuss towards clearly defined arts-related projects, the way forward. Topics for discussion may through a competitive application process. include assessing the suitability and feasibility of initial concepts, proposed 6.13 Examples of funding sources locations and advice regarding project include: implementation. • National Arts Funding Bodies Project Budget • Lottery Funding • European Union Funding 6.10 Once the parameters of a project have • Sponsorship Awards been established, consideration should be • Competitive Awards given to the costs involved in developing an • Private Trusts and Foundations artwork and the overall project budget. Determining a project budget will be 6.14 Other wider sources of information necessary when applying for external include, www.publicartonline.org.uk which funding, whilst establishing a breakdown of contains a comprehensive list of funding expenditure needs to be carefully considered bodies operating within the UK. where funding has been secured to ensure that a project can be completed to a high 6.15 Where a public artwork forms part of quality. Not establishing a realistic budget a development proposal the opportunities from the outset can result in the failure to afforded through external funding sources complete a project. should be considered as supplementary to a developer’s contribution and not as a 6.11 Financial implications that may need substitution. to be taken into consideration during the Developing an Artwork Proposal Developing 6.

27 The Millennium Riverwalk

The Millennium Riverwalk City Centre, 1999

28 6.Developing an Artwork Proposal this document. be placed onany ofthesites referred to in cannot give any can guarantees that artworks situated at thelocation selected. The Council required) canbe to ensure that theartwork of legaladvice if (including thetaking should makeallrelevant enquires they alocation forbody selects publicart, commissioner, group community orother 6.21 and obtaininglicenses for performance. theatre may includetheregistration ofevents consent andinthecaseoffestivals andstreet These includematters suchaslandowners toprior theimplementation ofaproject. thatpermissions may needto besecured are anumberofotherconsents and 6.20 website at oftheCouncil’s section Services Regulatory can beviewed anddownloaded from the application forms andassociated guidance of Development Control andrelevant 6.19 toprior aplanningdecision. siting, healthandsafety andmaintenance, policy,this Strategy andotherpublicart regard to issuessuchascompatibility with with ofanartwork determine thesuitability process, to consultations are undertaken 6.18 maypermissions berequired. with theCouncil, to assesswhat consents and for individualsandbodies, inconsultation isamatterapplication intheirown right. It may require thesubmissionofaplanning whilstotherartworks planning permission, development proposal whichrequires 6.17 should begranted planningpermission. whether ornotaproposal for development process, determines thelocalauthority 6.16 Consents andPermissions

It shouldbenoted that beforeIt any Aside from there planningpermission, Further information regarding therole Through thedevelopment control ofa willform part artworks Some Through thedevelopment control www.cardiff.gov.uk

29 • • • • are that theymayagency beableto provide: be encouraged. Advantages ofusinganart islikelytothe involvement agency ofanarts the larger andmore complex commissions, for public realm.mostcases, In particularly withinthe development ofartworks provide considerable experience inthe 6.22 Agencies Arts choosing an arts agency. choosing anarts should betakeninto consideration when dedicated client accounts. These issues have to operate theability andmanage andenvironmentalopportunities policiesand operate healthandsafety, equal andprofessionalliability insurance; indemnity sufficient public demonstrate that theycarry 6.23 • •

Arts agenciesare well-placedArts to Prospective agencieswillneedto and technical management: contractual, financial A track record inproject projects construction mechanisms withinmajor ofprocurementknowledge A goodunderstandingand projects implementing publicart A track record ofinitiating and realm inthepublic practice contemporary and understanding ofpublicart and A substantial knowledge community groups.community the publicandprivate and sector architects, engineers, between artists, partnerships levels, asbroker to acting toThe operate ability onmany investmentraising partnership and funding mechanismsofthearts ofpublic knowledge A practical developers, Landmark

Landmark Windsor Road Roundabout Pierre Vivant, 1992

30 6.Developing an Artwork Proposal artwork. artwork. affect thefuture care andmaintenance of the should alsobegiven to how theseissueswill be contained contract. intheproject Regard of afinalproposalsuitability anddetails to the selection, can bemadeinterms ofartist could thenform abasisfrom whichdecisions 6.26 • • • • • • into considerationtaking issuessuchas: interaction and the surrounding environment, determined withregard to pedestrian imagery, shouldallbe colour andfunction form, scale, massing, useofmaterials, texture, willbeset. its artwork ofartwork, The type andtheenvironmentof quality inwhichthe shouldbethat in commissioning anartwork events.public art considerations The primary and development artworks oftemporary should alsobetakeninto account inthe theseconsiderations permanent artworks, to besite-specific. Whilst relating mainly to 6.25 the procedure for theproject. details for and initialwork to beundertaken investigated; payment timescalefor delivery; to be ofartwork including thetype constraints; theparameters oftheproject, ofthedefinedsite and relevant the boundary include detailsoftheartist’s responsibilities; process. selection the artist The should brief and previous relevant experience during withspecificportfolios help defineartists afforded the opportunities by aschemeand andothersinvolvedprospective artists of 6.24 Project Brief

The consideration ofsuchissues An aim ofthestrategy isfor artworks willbeusedto brief informA project Health andsafety –Creation of repair work. area graffiti emissions /frost - Rain obstructions hazards /Physical orvisual Maintenance costs -Cleansingand Area designations -Conservation Abuse andvandalism -Climbing/ Localised pollutionstaining- Vehicle Exposure to weather conditions 31 • be takeninto consideration: thefollowing ofwork, should quality factors addition to and issuessuchasdesign ability 6.29 across thecountry.artists have access to ofemerging anetwork oftheirwork internationally andby virtue locally, working of artists nationally and 6.28 guidance. information below isprovided for general conditions ofany contract concluded. The process shouldtakeandtheterms and advice onwhat form theprocurement may wishto taketheirown independent legal 6.27 Selection Artist an artist, theseare: an artist, are three mainprocesses forof theselection body concerned. to there thiscriteria Subject regulations that govern procurement by the regard shouldbehadto any rulesor 6.31 their potential to meettheabove criteria. enable any prospective candidates to show processesthe selection identified here should experienced or ‘up andcoming’ and artists, to exclude anyespeciallyless artists, However theStrategy doesnotseek localcreativesupporting economies. andof localdistinctiveness means ofensuring may bebeneficial, bothasa of localartists 6.30 • • • • • • •

When determining a choice of artist, in When determining achoice ofartist, agenciesholdextensive recordsArts Individuals, organisations andbodies In determining the selection process, determining theselection In manyIn circumstances theselection The ability toThe provide ability evidence of engineers witharchitects and working An understanding and knowledge of An understandingandknowledge toAbility deliver ontime theproject toAbility communicate concepts toThe work ability to abudget Evidence ofinsurance details Thorough site analysis, reflected in Evidence ofmanaging ofa aproject Cardiff. and ideas design concepts andmaterials similar size /scaletype Beastie Benches

Beastie Benches Britannia Park and Quay Gwen Heeney, 1994

32 6.Developing an Artwork Proposal making abouttheirenvironment.making involvedactively indiscussion anddecision- enables peopleto become It public artworks. issues inthedevelopment andacceptance of 6.34 of theartwork. are whowould andinturn betherecipients given to whothemainusersoflocation project, consideration should be public art 6.33 Consultation Community Engagement andPublic discussing initialthemesandconcepts. proposals andinvolves stakeholdersin means ofconsidering arange ofinnovative commissioning process isthat itprovides a 6.32 concept. upon anexisting artwork had aprevious collaboration, orto expand withwhomtheyhave anartist artist, known Commissioners may wishto work witha Selection Direct for theproject. choose afinalartist works withthecommissioner toagency isestablishedandthearts suitable artists of orsite.proposed Ashortlist artwork experience inaspecificarea, related to the and involves with thetargeting ofartists agency by anarts This isusually undertaken Invitation Selected responding artists. andthelevelthe project ofexperience of costs inrelationselection to thebudgetfor process and selection are theadvertising commissioner through of thistype The mainissues to be considered by the selection. andfinalartist suitable artists interest listing /design proposals; short involves for expressions advertising of nationally orinternationally. The process Open Invitation canbeorganised locally, Open Invitation

Consultation andengagement are key Once asite hasbeenidentified for a An advantage ofacompetitive 33 6.37 process. making oftheart part inordercommunity that theycanbecome withthelocal consulting orworking consideration needsto begiven to developed insuchalocation, careful environment. is Where anartwork oftheireveryday andformcommunity part ownership by membersofthelocal existing residential areas have asenseof centres, publicparks, playgrounds and 6.36 • • • • • include: thesemayencouraging participation, active of involving and thepublicinnewprojects 6.35 reliance onany such advice given. that may besustainedasaresult ofplacing forliability any loss, damageorexpense application. The Council willnotaccept any toprior thesubmissionofaplanning other work that would needto beundertaken would require andany planningpermission and feasibility oftheproject,whetherit be ableto provide advice onthesuitability site orscheme. At thisstagetheCouncil may number ofdesign concepts for theproposed shouldinvolveproject producing a theartist relevant contracts, theinitialphaseof artist’s appointment of andthedrafting 6.38 Management oftheProject and associated maintenance implications. help to reduce thepotential for vandalism appreciation for anartwork. This caninturn ownership, socialresponsibility and groups andindividualscandevelop asenseof appropriate theimplementation ofascheme, have aninputinto ideas, concepts andwhere fromproject theoutsetandenablingthemto

By engaging ina By thelocalcommunity Locations suchaslocalshopping Commissioners should consider ways Following theconfirmation ofan Student /school involvement. Presentations andtalks Displays andexhibitions Canvassing localopinion workshops Artist-run Bute Street Works

Bute Street Works Bute Street, Butetown Andrew Rowe, David Mackie and Heather Parnell, 2001

34 6.39 Once a decision on a final design has • Description of artwork / notes on been reached by the commissioner of the materials, dimensions, inscriptions, project and any relevant decision-making signatures etc bodies, the following phases would involve a • Commissioning history detailed design being drawn up for the selected artwork, including construction 6.42 In addition to this information, it is drawings and consultation with engineers. imperative that responsibilities for Once all approvals have been obtained, the ownership and duty of care (7.5) are clearly implementation of the project includes the defined and documented, along with a construction of the artwork, the appointment completed maintenance schedule (7.9). of contractors where necessary, on-site installation and finally unveiling.

6.40 For each public artwork project, contracts should be drawn up by a recognised professional body, for example an arts agency. The content will vary according to the circumstances of the project, but are likely to include the following issues:

• Responsibilities and obligations of the contracted parties • Relevant insurances • Fees • Commissioning period (start and completion date) • Provision of services by the contracted parties • Copyright and ownership • Health and safety issues.

Recording Project Information

6.41 Each new project will contribute towards Cardiff’s existing public art collection and a variety of opportunities exist in terms of marketing, publicity, educational material and artwork trails. In order to extract the maximum benefits from each new public artwork, the following information should be recorded with the Council:

• Artwork title • Type / form (Sculpture etc) • Artist • Location / road • Precise location, OS reference and postcode • Date of design • Commissioned by… • Year of unveiling / unveiling details Developing an Artwork Proposal Developing 6. 35 West Close Square

West Close Square West Close, Butetown David Mackie and Nina Edge, 1993

36 7. Artwork Lifespan

7.1 Maintenance is a key factor in the Legal Ownership and Duty of Care long-term care and quality of any public artwork and a successful maintenance regime 7.5 The identification and confirmation of can help to ensure that the benefits and area who has legal ownership of a public artwork enhancements generated by public art are and with whom the duty of care enjoyed by future generations. (responsibility) lies is central to appropriate maintenance arrangements. This may seem 7.2 Poor maintenance of public artworks obvious, however the complexities of funding can create a number of significant impacts, systems and land ownership often obscure ranging from the local level where vandalism ownership issues and circumstances are or graffiti to a piece of public art may subject to change over time. detract from the quality of the public realm (for example in a children’s play area or an 7.6 For example, where a public artwork is area of public open space) to the wider created as part of a development and sited in reputation of public art across the city. The front of the building on the public highway, deterioration of, or damage to a public the responsibility for maintaining it should be artwork can have a number of health and established at the outset as to whether it is safety implications which should also be with the Council, with the original taken into consideration. commissioner or with any successor building owner. 7.3 A proactive approach to maintenance from day one can help ensure that the 7.7 Where a public artwork is integral to original quality of the artwork is fully a building, provided within the curtilage of appreciated and that maintenance costs can a development or on land that is privately be kept to a minimum. If neglected, an owned, the maintenance responsibility and artwork can quickly fall into disrepair. This duty of care would be expected to remain may be caused by general wear and tear, with the site and building owners. damage, dirt or vandalism and may necessitate more extensive restoration, or 7.8 Where a public artwork is to be sited even decommissioning. Whatever the cause, on land within Council ownership, an the artwork thereby becomes devalued and agreement should be made between the the reputations of the artist and others commissioner and the Council to establish involved are unfairly placed at risk. maintenance responsibilities. In cases where duty of care is passed to the Council, a 7.4 The Council’s historic collection of financial contribution would be expected for public artworks demonstrate that well maintenance. maintained public art can form an enduring and highly influential image for the local Maintenance Schedules area, such as in Cathays Park. Recently completed artworks and future projects 7.9 During the development of a public should strive to reach similar levels of art project, consideration should be given to endurance, through well planned long-term the thorough documentation of the groups, care. individuals and processes involved to make the future care and maintenance as clear and as straightforward as possible. It is recommended that the following information be documented in a maintenance schedule and agreed prior to the delivery of Artwork Lifespan the project: 7. 37 Memorials

Welsh National War Memorial Alexandra Gardens,1928

Whitchurch War Memorial Scott Memorial, Whitchurch Library, Park Road Lake Circa 1920 1915 Roath Park Lake, 1915

38 • Contact details for each company deterioration of the artwork that may lead to involved in the project, e.g. more expensive restoration works in the stonemason, electrician long-term. • Materials used during construction and details of supplier, e.g. yorkstone, 7.12 When developing a dynamic artwork granite which may make use of water, electricity or • Treatments, aftercare works and other moving parts, consideration should be processes, e.g. anti graffiti wax given to the need for the cost of replacement coatings components, including short-term items • Design and structural drawings, such as light bulbs. Associated running costs including components and should be clearly identified and apportioned mechanisms in perpetuity. Artworks of this nature are • Predicted lifespan of components; more e.g. light bulbs susceptible to general wear or damage and • Location of power source, power as such should be reviewed on a more regular supply, water supply and where basis. responsibilities lie • British standards institute or Re-siting and Decommissioning equivalent reference numbers for components, e.g. safety glass 7.13 In certain circumstances, for practical • Cleansing schedule, outlining or creative reasons an artwork may need to processes and recommending be relocated or a decommissioning process timescales for work to be conducted, may be required. This may be the case when e.g. during summer months on an the work reaches the end of its determined annual basis etc lifespan, where the work does not occupy the • Clear statement in respect of the site for which it was designed and is work which may be carried out by compromised or if a site is subject to the owner of the artwork and work immediate redevelopment. It may also be which will require the involvement that the structural integrity of the work is of the artist or a specialist conserver. such that it poses a danger to public safety and needs to be removed. 7.10 To ensure that all new artworks are safeguarded for years to come, the 7.14 Where the Council has been submission of a maintenance schedule involved in the development of an artwork, should form part of the artist’s brief and either as the commissioner of a project or commissioning contract. through the granting of planning permission, consultation should be undertaken between Financial Implications the Council, the artist, the original commissioner and owner to assess each 7.11 Commissioners and artists must potential re-siting or decommissioning case understand the maintenance responsibilities on its own merits before a final decision is for a project and should try to design reached. artworks that are as durable and maintenance-free as possible. This should take into consideration climatic effects and how the artwork may be affected by adjoining activities. In order that maintenance responsibilities and associated costs do not become onerous it is recommended that a condition check of the artwork is undertaken on a regular basis. Any remedial works or cleansing should be carried out when necessary to prevent any Artwork Lifespan 7.

39 Integrated Artworks

Cardiff International Arena Mary Ann Street Alan Dawson Associates,1993

Central Market Magistrates Court Territorial Army Centre Trinity Street, City Centre Fitzalan Place, City Centre Adam Street, City Centre 1891 Shenstone and Butler, 1993 Petersen Studios,1998

40 8.Recommendations for Implementation Implementation 8. Recommendations for its application inthe publicrealm. and have athorough ofpublicart knowledge oftheCouncil, practices the working butalso this taskshouldbeexperienced, notonlyin outside agencies. The personchosento fulfil Council officers, membersand elected to work collaborativelythe skills with meansthat anofficeractivities wouldneed across awiderange oftheCouncil’sactivity 8.4 in Cardiff. the continued development ofPublic Art within theCouncil to should bedesignated Officer A Public Art Officer Public Art Recommendation 1. more accessible topublic art thepublic. relationshipsworking andabove allmake andorganisations, forgepartners new system that canenhance linkswithall development ofaclearmanagement progression Strategy ofthisPublic isthe Art to Critical the ofpublicart. aspects individual isresponsible for coordinating all Areas andnoonegroupbetween Service or responsibilities are currently divided 8.3 Management andPublicity.Documentation, Marketing Management, Funding Mechanisms, broadly considered into four mainsections; 8.2 for publicart. opportunities accomplishments andextending building onCardiff’s existing number ofrecommendations aimedat they afford. To thisendthe Strategy setsouta more canbedoneto maximisethebenefits wealth ofhighlysuccessful publicartworks, 8.1

The needto coordinate publicart Within theCouncil, management The recommendations have been Whilst Cardiff already contains a provide afocus for 41 • • • • key responsibilities could beto: clarificationbut towould further besubject 8.5 proposals setout. Areas towith Council achieve Service the ofthestrategy,and delivery incollaboration a coordinated approach to thedevelopment time andresources andprovide to publicart isessentialOfficer to provide defined officer responsibility. The designation ofaPublic Art effective andclearlinesof advocacy out inthisStrategy are dependent upon andthe implementation ofproposals set art 8.7 recruit Officer. afulltimePublic Art established itmay thenbeappropriate to member. As thisrole becomes more could beassigned to anexisting staff instance Officer thepositionofPublic Art 8.6 • • •

The precise definitionof the role The successful progression ofpublic isrecommendedIt that inthefirst community groupscommunity andother collaborations between artists, andencourage ofpublicart delivery Advocate inthe goodpractice public asacampaignerAct for theCouncil’s public art toenquiries theCouncil concerning asthefirstpointAct of contact for all Public Steer theimplementation ofthe agencies Areas andexternal Council Service Provide advice andguidance to with relevant professional partners Develop andmaintain relationships Areas across Council Service public art consensus forEstablish apro-active professionals art policy andstrategy policy art Strategy Art

Civic Centre

Navigation Glamorgan Building, King Edward VII Avenue Albert Hodge, Circa 1912

Commerce and Industry Welsh Dragon Poetry and Music Law Courts, City Hall, City Hall, King Edward VII Avenue King Edward VIIAvenue King Edward VII Avenue Paul Raphael Montford, Henry Fehr, Paul Raphael Montford, Circa 1906 Circa 1906 Circa 1906

42 8.Recommendations for Implementation Public Art SponsorshipScheme.Public Art Percent Fund aPublic for Art Art, anda funding for publicart. These relate to three proposals for thegeneration of projects. To thisend thedocument setsout the development ofcollaborative artwork for and promote the city opportunities across increase ofartworks thedistribution individual proposals there isthedesire to though the development ofpublicartworks 8.12 public realm. play akeyrole ofthe inenhancingthequality oftheirdevelopments which aspart artworks developers ininstallinghighlysuccessful proactive approach ofmany private 8.11 with thepublicandprivate sector. many ofitsown developments inpartnership into andhasincorporated artwork public art 8.10 Funding Mechanisms inthepublicrealm. artworks ofplacing understanding ofthepracticalities of theforum would needto have aclear other relevant professional bodies. Members representatives, architects, engineers and professionals, art community of artists, butcould alsodrawportfolio ontheexpertise members andofficers ofeach Council 8.9 • • • • be to assistinadvisingon: clarification butingeneral its terms role could Forum to would further besubject 8.8 group. advisory asanexpert act ForumA Public Art shouldbeestablished to ForumPublic Art Recommendation 2.

Whilst theStrategy aimsto continue Cardiff hasbenefited from the The Council isastrong advocate of The forum may comprise elected The precise role ofaPublic Art development partnerships. The brokerage andmaintenance of sponsorship art The development ofpotential public The ofpotential merits projects projects in large private andpublicsector The development ofpartnerships 43 £5.5m ofprivate investment sector for public Cardiff Bay.Over a ten moreyear period that oftheredevelopmentimplemented aspart of withinCardiff and was public art highly successful asameansofsecuring 8.14 realm. inthepublic effective meansoffundingart within theUKandisrecognised asan introduced by anumberoflocalauthorities provision ofpublicart. The concept hasbeen isallocatedproject to theintegrated cost ofanewdevelopment orrenovation Europe, whereby ofthecapital aproportion employed throughout Australia America, and 8.13 integrated provision ofpublicart. cost oftheirdevelopment proposal to the encouraged to allocate apercentage ofthe Within Cardiff, developers shouldbe Percent for Art Recommendation 3. proposal. that isintegralart to the development order that provision can bemadefor public ofadevelopment processaside at thestart in Art’ isthat thesumestablishedshouldbeset 8.17 contribution. as aguidewhenassessingscaleof andshouldbeconsideredthe basicprinciple canbenegotiated within financial support The concept isflexible inthat thelevel of ofadevelopment proposal. as part public art of principle ‘Percent for Art’ whenconsidering 8.16 across Cardiff artworks Bay.landmark Quay,within Mermaid to keygateway and realm, from freestanding andlinearartworks physical ofdevelopment fabric andthepublic have beenintegratedpublic artworks into the andaccessible ofhighquality collection beseentodayclearly where anextensive 8.15 implemented by theCardiff Bay Arts Trust. for inCardiff Public Bay’ Art that was laid outinthe1990document Strategy ‘The was secured throughart ‘Percent for Art’ as

Percent hasalready proven for art Percent isaconcept for art The overriding of principle ‘Percent for The Council shouldseekto applythe The benefitsofthisinitiative can Cardiff Central Mosaic

Station Mosaics Cardiff Central Station, Rob Turner,2003

44 8.Recommendations for Implementation • • could target moniestowards suchthings as: 8.23 held. established inwhichsuchmoniescould be suggested Fund that aPublic Art be to andsoitis specificnamedprojects funding obtainedinthisway may notrelate process above. described ofthe Some routes aswell asthrough thedevelopment including grant, sponsorshipanddonation generated from ofsources avariety 8.22 FundA Public Art shouldbeestablished. FundPublic Art Recommendation 4. Planning Guidance. Cardiff’s Supplementary Public Art development proposal canbefound in ofa integration aspart ofpublicart 8.21 project. contribution towards acollective artwork considered appropriate for anindividual project, to gaugethesumthat would be where ofalarger adevelopment forms part or may notwarrant anindividual artwork for smallerdevelopments,opportunity which 8.20 planfor thewholesite.a publicart the developer would to beexpected present a site to isexpected bedelivered inphases, ofabuildingoritssetting.integral part Where overall design vision,withconcepts beingan 8.19 location anduseofthesite. scheme that reasonably relates to thescale, willbeincorporated intopublic art their would to beexpected demonstrate how When assessing acontribution, developers accordingvary to itsrelationship to asite. will expensive andthecost ofeach artwork 8.18

Once Fund establishedthePublic Art Funding canbe projects for publicart Further information regarding the Percent alsoprovides for an art ofan shouldformPublic part art neednotnecessarily be Public art Public art projects withinlocal projects Public art contributions cumulatively fundedby smaller The creation ofcollective schemes, 45 scheme. ofadefined oraspart defined purpose spent eitherwithinadefinedarea, for a towards theFund shouldberegulated to be initiatives. Contributionsof newartwork thisshouldnotbeat theexpensecollection, and enhance Cardiff’s existing publicart FundPublic Art could beusedto maintain 8.25 way inwhichthisprocess would operate. Officerwould Publichave akey Art roleinthe etc. ofdecisionmaking transparency The need careful consideration to ensure managing thismoneywould anddistributing 8.24 • • • Batchelor located in theHayes andartwork monuments, suchasthestatute ofJohn comprise of inthecity sited artworks publicly oftheearliest Some public artworks. of contains andvariedcollection arich stretching backover Cardiff acentury 8.27 Documentation Council’s internet site. other promotional material, includingthe trail leafletsand includingartwork publicity through collection ofthe wider publicart part associated literature rightsoras andpublicity through anonsite plaque, specific artwork, relateddirectly to thedevelopment ofa forpublicity abusinessororganisation, either could SponsorshipScheme providePublic Art inCardiff.public art The implementation ofa to sponsor businesses andotherthird parties for local istheopportunity publicart securing 8.26 established by theCouncil. shouldbe SponsorshipScheme A Public Art Scheme Sponsorship Public Art Recommendation 5.

Whilst monies contained withina The precise mechanismfor securing, With acommissioning history Another resource available in the Council’s responsibility within The maintenance ofartworks trails artwork / The ofpublicart marketing artworks landmark The development ofstrategic communities Wood Carvings

Fox and Owl , Bute Park Nancy Hemmings, 2004

Otter and Red Kite , Bute Park Fox and Owl , Bute Park Dave King, 2004 Nancy Hemmings, 2004

46 incorporated into the facades of historic • Establish the existing public art buildings, for example ‘allegories of a infrastructure within the County, drapery business’ which adorns Howells including the siting, proximity and department store on St Mary Street. clustering of artworks • Establish the themes and linkages 8.28 There is a clear need to document this that exist between artworks wealth of public art, both as an information • Interpret the existing artwork resource for the Council and the general collection to establish gaps in the public, but also to assist in the management current public art provision and to and promotion of public art generally. identify opportunities for the siting of future artworks 8.29 A broad overview of existing • Provide a basis from which to artworks in Cardiff would include: develop artwork trails and educational programmes • Public artworks throughout the • Enable greater access to information County, not just in the city centre • Establish details of ownership and and Cardiff Bay duty of care • Public art incorporated into building • Assess general condition of artworks facades and any maintenance requirements. • Public art on public display inside buildings, e.g. City Hall, St David’s 8.31 The development of a public art Hall as well as inside shopping database would require the creation of a centres and train stations etc clearly defined central collection point for • Public art at schools, libraries, health the registering of information regarding buildings and within local public art. This should be established within communities the Council and it is proposed that this work • Public art within the boundaries of should fall within the remit of the Public Art private developments and Officer. ecclesiastical buildings. 8.32 Further consideration would be Recommendation 6. required to determine how such information Information on Public Art could be made available to the public and A database should be created to record how it should be used in respect of issues information relating to public artworks within relating to the maintenance and Cardiff based upon a comprehensive audit of decommissioning of public artworks. existing artworks across the County. Marketing and Publicity 8.30 The Council does not currently hold a comprehensive database of existing public 8.33 The depth and quality of public artworks. Two databases have been artworks in Cardiff provides a wealth of compiled by the CBAT: The Arts and opportunities for marketing and publicity. Regeneration Agency and the Public This can not only contribute towards the Monument and Sculpture Association, both city’s cultural profile, locally, nationally and of which cover aspects of public art in Cardiff. internationally, but also provide a valuable However there is a need to compile a wider educational resource for the residents of and more up-to-date database, which as Cardiff and visitors to the city. far as possible records details of all existing public art in Cardiff. This would necessitate Recommendation 7. Website the The Council should dedicate a section of its undertaking of a comprehensive audit of website to public art, providing access to public artworks, which is based on a number information for members of the public. of key issues, including the need to: Recommendations for Implementation for Recommendations 8.

47 Famous Faces

Statue of John Batchelor, The Hayes, City Centre James Milo Griffith, 1886

Statue of Aneurin Bevan Statue of Jim Driscoll Queen Street, City Centre Bute Terrace, City Centre Robert Thomas, 1987 Philip Blacker, 1997

48 8.Recommendations for Implementation of guidebooks, leafletsand audio guides for of educationalseries materials intheform 8.36 • • reveal localhistory. Examplesinclude: ofasite theheritage andpieces thatportray figures from thecity’s that past, to artworks Cardiff, ranging from sculptures ofprominent anddevelopmentinsight into of thehistory 8.35 shouldbedeveloped. public art ofeducationalA series materials relating to Recommendation 8. buildings. withinpubliclyaccessible and publicart trails, venues for events, spaces performance public art ‘map’ could alsohighlight publicart derived from thedatabase.artworks The ofthe andpictures information, history the County whichthenlinkto background across highlighting thelocation ofartworks website. This could taketheform ofamap to membersofthepublicviaCouncil’s make elements ofthisinformation available would exist to established theopportunity 8.34

The opportunity exists to develop a The opportunity Many ofthe City’s provide an artworks is Once adatabase ofpublicart now Cowbridge East.” Road escaped andswam down what is River Elyoverflowed andBilly thefloodingof1927when after particularly popular localattraction, Cardiff Bay in1912.He was a very nets ofaboat operating outof 1939. Hehadbeentrapped inthe Park from 1912until hisdeath in the seallived inthelake Victoria and improvements to thePark. ’Billy’ ofthegeneral refurbishment part of centenary Victoria Park andwas commissioned to celebrate the ‘Billy theSeal’. work was “The their boats alongthecanal.” ofcanal pulling workers efforts once busycanalandthephysical asareminderThe ofthe handsact of theformer Glamorganshire Canal. grew outofitslocation at thesite Street. inspiration for thedesign “The ‘All Hands’ located onCustom House Information Guides 10 9

49 • • • themes could include: oftrailsa series around thecounty. Possible located withinCardiffartworks anddevelop between existing establish themedlinkages currently exist. exists to The opportunity that ofartworks thevariety acknowledges in theway ofinterpretation that therearray hasbeenlittle ofpublic artworks, 8.37 developed around andCounty. theCity trails shouldbe ofartwork A series Recommendation 9. references. highlight thesecultural andhistorical schools, colleges andvisitor centres that partners. the Council andparticipating generate fundingandprovide for publicity amongst targetPublic audiences, Art promote theStrategy, raise awareness ofthe 8.39 audiences. amongsttargetawareness ofpublicart to promote Strategy thePublic andraise Art campaignA marketing shouldbedevised Recommendation 10.Marketing standardised plaques. through theuseofsignage and artworks increase intheonsite identification of the Council’s website, butmay alsorequire an literature andaccess viaothersources suchas would notonlyrequire through publicity 8.38 • • 10 9 www.pmsa.org.uk www.pmsa.org.uk

Although Cardiff contains a vast A marketing campaignA marketing would helpto trails The development ofartwork Art in the Bay: Focusing intheBay: onshort Art and JimDriscoll memorials, Bevan includingAneurin Famous Faces: Incorporating monuments andsculptures century Historic Trail: Identifying19th early incorporated into buildingfacades. andhistorical artworks modern onBuildings:Highlighting Art located across thecounty artworks Arrive andDrive: Taking account of walks around theinnerharbour Trails Historical Insight

All Hands, Custom House Street, City Centre, Brian Fell, 2001

Billy the Seal, Victoria Park, Victoria Park Road, David Peterson, 1997

50 9. Action Plan

The recommendations established in Long Term Priorities Chapter 8 have been considered as a series of actions that may be taken upon adoption. It is • Develop a series of tour brochures important that a clear plan of action is and educational material established, focusing on what is achievable • Research and advise on sources of and practicable and not over committing. funding and sponsorship To this end the proposals have been broken opportunities down into a series of short, medium and long • Undertake a review of the strategy term priorities for implementation. document

Short Term Priorities

• Promote the Strategy document and associated policies both externally and within the Council • Establish the position of Public Art Officer within the Council • Promote the implementation of ‘Percent for Art’ and the early integration of public art through development proposals • Establish a database for recording public art information • Develop a ‘Public Art’ page on the Council’s website

Medium Term Priorities

• Establish the mechanism for a Public Art Fund • Identify opportunities for future public art initiatives • Establish the mechanism and membership of a Public Art Forum • Co-ordinate a marketing programme for the city’s public art collection • Identify maintenance needs and produce a maintenance programme Recommendations for Implementation for Recommendations 8.

51 Cargoes

Cargoes Stuart Street, Mermaid Quay Brian Fell, 2000

52 Appendix 1: References • • • • • • • • • • Documents Appendix 1:References Cultural Tourism Strategy for Wales ofCardiffCity Plan Local Cardiff Development Unitary Plan Cardiff’s Community Strategy StrategyArts A Culture Strategy for Wales: Creative Corporation Bay The Strategy for inCardiff Public Art Assembly Government Advice Note 12:Design Planning Policy Wales Technical Welsh Assembly Government Planning Policy Wales 2004) Cardiff County Council Paper inCardiff onPublic Art Government ACity Public Art: Green (2003) Wales Tourist Board County Council County Council Statement (to 2016):Deposited Written Council 2004-2014 Council Government Future (1990) Cardiff BayDevelopment

(2002) Welsh Assembly (October, 2003)Cardiff (2004) Cardiff County (1998) Cardiff County (March 2002) (2002) Welsh (1996)Cardiff (Spring (Spring 53

• • • • Web Sites Email: [email protected] CF10 4UW Atlantic Wharf County Hall Cardiff Council Strategic PlanningandEnvironment Regeneration Group document, pleasecontact: youIf have any general regardingenquiries this Contacts of LiverpoolKeynes. andMilton strategiesof existingincludingthose publicart also drew contained onbestpractice inarange CBAT: and andRegeneration Agency The Arts This document was produced withthehelpof Acknowledgements Association Public andSculpture Monuments www.publicartonline.org.uk Online Public Art www.cardiff.gov.uk/publicart Cardiff County Council www.artswales.org Council of Arts Wales www.pmsa.org.uk S t r a t e g i c P l a n n i n g