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Art and Architecture Legacy Trust UK Youth Theatre Creative People and Places Fund -

The Mailout Trust aims to promote and advance the practice.com/mailout mailout is published by Mailout Trust Limited Editors: Robert Howell Sue Robinson Contributing Editors: Lyndsey Wilson Claire Williams Kajol Lally Administration: Culturapedia Contents REGULARS Artman Postcard from the editors Funding 3 3 50 CraftyMoon Theatre 37 Share their love of crafting their surroundings International Youth Arts Festival 40 Unleash their interactive arts programme for 2012 Contacting the World 42 Contact’s festival shapes the next generation of artists EXCLUSIVE LEGACY TRUST UK Moira Swinbank exclusive 4 Kajol Lally interviews Chief Executive of LTUK FEATURES ART AND ARCHITECTURE—A MAILOUT FOCUS Lace in Place 10 Bedford Creative Arts mission to resurrect a declining craft The Lost Cuckoo 14 One artist and three architects collaborate with cardboard 2Up2Down Anfield builds a stronger community 20 GENERAL FEATURES Creative People and Places Fund 25 mailout starts the debate on the latest ACE fund Bringing Back The Passion 44 Adele Thomas on her personal journey of rediscovery for one forgotten town COVER: Main photo: Lakes Alive at Whitehaven courtesy of Legacy Trust UK Thumbnail: The Lost Cuckoo Project Credit: 2hD Architects & Marcus Rowlands Architecting Awareness 23 Filip Van Huffel challenges typical conventions of choreography YOUTH THEATRE—A MAILOUT FOCUS Fumin’ Productions Presenting theatre in its purest form 33 mailout is the national magazine for people developing participation in the arts. understanding and profile of high quality participatory arts in the UK. 5252801 ISSN 2048-2647 CALIPSO .co Facebook: www.co W: www.com/ mailout.trust Twitter: twitter.mailout. Blackburn. The Mailout Trust Ltd is a company Ltd by Guarantee.facebook. Registered in England No. BB2 6LX T: 01254 674777 E: hello@mailout.mailout The Barn 61A Manor Road.

As the UK is frantically preparing for an Olympiad summer and Arts Council England is drowning under an overwhelming demand for Grants for the Arts. We’ve not seen much evidence of participatory arts but have a couple of interesting observations to pass on. Presumably the fact that De Lattre was a composer has inspired Jackson’s mourners. Lola Montez. which has become an impromptu shrine to Michael Jackson. endless messages and photographs. Munich is a very liberal city in a very conservative Bavaria. As we passed through it was hosting the 2012 Special Olympics Deutschland.POSTCARD FROM THE EDITORS ARTMAN POSTCARD FROM THE EDITORS Bavaria. just to the north of the city. your editors have headed for a short break in Our other find was the statue of Roland De Lattre. We stopped to watch some swimming and cycling. This is an example of the community taking something over for their own needs. The Olympics were here in 1972. Roland is still there and none of the messages cover his name. The Olympiapark is still a major leisure and sporting complex. Court Composer to Ludwig the First of Bavaria. Whilst not really able to understand the devotion of Jacko fans we loved the expression and the tolerance of it. Ludwig had a passion for the arts and his downfall came at the hands of the Irish dancer. • The Editors mailout greetings from bavaria 3 . It is all intact with fresh flowers.

Here Marcus discusses the process of the collaboration with Tom Hughes and Thibaut Devulder of 2hD. as I do not have to share them as consistently as you. It was all about the people involved. inspired by the need to engage a new audience for an arts festival. TH: Working as a group of three was hard at times. talking and drawing all at the same time… I thought it was going to be dynamically incompatible. we'd sometimes take a direction I didn't expect and I'd need some time afterwards to digest and assimilate what had happened. Marcus Rowlands: At our first real meeting I brought a book on cardboard architecture but remember thinking: “I have no idea where this is going. often all predetermined before we arrive. This was a step into the unknown. At the same time our conversations were often challenging or befuddling.. That was quite scary for us because in our practice there are always parameters and restrictions to what we can do. I found it shocking at first: the noise of someone typing.. the collaboration has led to an ongoing development in the practices of both artist and architect.ART AND ARCHITECTURE mailout cardboard collaboration 14 The Lost Cuckoo is a collaboration between artist Marcus Rowlands and architects 2hD. coming from being able to visualise the ideas. This was highlighted in your need to visually represent each others’ thoughts.” There was no head scratching… just an immediate response that we wanted to work together and would use cardboard. TH: Most successful for us was that it came together without a particular brief. it was very open at the start. MR: With Thibaut living in Serbia we really tried to think . Tom Hughes: In the working relationship I knew that you two would hit it off… but of course you didn't know each other. MR: That's also about your own humility as a practice. But it worked! MR: Working with you two enabled a sense of security. With an initial focus on empowering families to build their own cardboard structures. Most of my thoughts stay in my head.. Working with you both brought about a very different rigour to my thinking and approach..

In this view at the centre of everyone's minds will be the design… generated from the ‘genius’ of the architect. at Brocklewood Junior School (Nottingham. As soon as you step into working in the community you realise that this would not work. We set up a web cam hanging from the ceiling to show the pictures and thoughts. You are an “This is some kind of antithesis to conventional architectural training. to give you an opinion on your ideas. but also what we were thinking. MR: I remember Thibaut and I called you and we were going round and round with ideas and responses to the families’ creations. which puts the architect at the centre of things. You need people you trust. which puts the architect at the centre of things. UK) how best to share what was happening in the design sessions in schools. In this view at the centre of everyone's minds will be the design… “ This is some kind of antithesis to conventional architectural training. you are your own brand and it's all about what you do. the role of artist is sometimes seen the same way. MR: When you are an artist you are doing it for yourself. But of course it ain't like that! I imagine to some extent that individual. You finally said: 'Is there a question you want to ask me?’ TH: It was useful to have one of us on the outside. instead we moved them on to another level. ideas did not get lost.ART AND ARCHITECTURE mailout cardboard collaboration 15 Parents during an experimental design workshop. In our collaboration we were all clear .

Remember the two Mums who wrapped and wrapped boxes creating a massive volume the size of a room. Even when Thibaut got concerned about people using canes to stab the boxes. it informed our design choices. TH: Cardboard was familiar and light… “We actively gave them permission to explore and made it clear we would be documenting the process to influence our thinking. etc. the process it went through was fundamental to the end result. We had a relationship with it. I remember two boys working together and they found themselves right on the edge throughout the experience. TH: Even though we say it’s just a cardboard box. To me it was like they were sketching for us… Think about the physicality of the Dads and their need to build high. Even when Thibaut got concerned about people using canes to stab the boxes. UK) from the beginning that the exciting bit was placing the families in the middle. remember. decorations. ‘There are some boxes. Please begin!' And they did. or not fit… MR: We actively gave them permission to explore and made it clear we would be documenting the process to influence our thinking. MR: There would be no challenge without the corner detail. one of the aims was to not lose the familiarity of the box. I think the material choice was right. I wonder whether this was its success. TH: The activity was absorbing and it was easy to forget the normal constraints. away you go…” We could have easily complicated it with fixings. Their parent was concerned about the closeness . The success was based on everyone’s enthusiasm and the fact that we were all learning from each other. balanced with the uncertainty of what was going to happen. The excitement of rapid progress in the building. “It's a box without a corner. it informed our design choices. MR: We were walking around trying to grasp how quickly they were moving things forward.” MR: At the beginning. TH: I think when they turned up they weren't expecting that but they very soon got it.ART AND ARCHITECTURE mailout cardboard collaboration 16 Experimenting with the cardboard construction modules in public spaces (Nottingham. whether it was going to fall.

“A lot of projects fail because they don't recognise the importance of that stage: they value the doing and the product. Space where there is nothing to constrain you. anything could happen. mainly because it is just too slippery. there was the notion of holding a space for the families. it is working on an energetic level within a space. but by inviting us along to design something for them they are making themselves vulnerable. TH: Our practice clients may not always be obviously vulnerable. you can just create some conditions within which they can be creative. As soon as someone signs up to do a workshop. A lot of projects fail because they don't recognise the importance of that stage: they value the doing and the product. but not the skill and time involved in creating a space that allows creativity to develop. that needs to be recognised rather than abused or overlooked. but not the skill and time involved in creating a space that allows creativity to develop. UK) of a fight breaking out. ” Experimental design workshop. but not the skill and time involved in creating a space that allows creativity to develop. It seemed key to allowing them to zoom off confidently and get engaged with the project. TD: Working with the public is something we often don’t dare do. it is a creative space or imaginary space that people can occupy… MR: Yes. They .ART AND ARCHITECTURE mailout cardboard collaboration 17 “A lot of projects fail because they don't recognise the importance of that stage: they value the doing and the product. think it is a valued or recognised enough. you can just create some conditions within which they can be creative. Space where there is nothing to constrain you. at Portland Primary School (Nottingham. No. Thibaut Devulder: Can you explain what you mean exactly by ‘holding the space’? TH: You do not actually instruct people. MR: It is something that is important in my practice and that of a few others.” TH: Alongside the permission to explore. ” TH: This space that is held… It might involve a physical space but not necessarily. but I don't “You do not actually instruct people. as there is a big expectation about an architect’s involvement. a cardboard box would not do that. An awareness of this is needed on projects like The Lost Cuckoo because you are dealing with so many different individuals.

If we invite their expertise about their needs we can come across sounding like we don't know any answers. the work just sails. Nottingham. MR: What I love witnessing is the building-up of energy and quality of attention in families that get entrenched in an fascinated by people doing something different in reaction to a particular place. TD: There is a chaos within a designated. protected space which means it is much more acceptable to create there than at random sites… TH: But how can we factor-in the response people have to different places? I am TD: What is our level of involvement? With the Lost Cuckoo I felt like I did very little at the festival. how do you hold and expand space. MR: How far could you take people on a journey without being present? For instance. MR: Do you allow yourself that same vulnerability in the process or do you find that you have to play the role of the professional to reassure them? TH: It is an interesting mix to get right. I would like to see if this open approach could be applied to more permanent spaces and the use of “harder” materials than cardboard. whilst giving freedom to interact without being inhibited? . that’s a tricky conundrum! The Lost Cuckoo project has taught us a lot about the value of not being the controlling professional. When I work with people who value the not knowing and the letting go. Given that we've probably been hired to give them the answer. UK) are opening up to us finding out about them. and we can end up influencing their lives. (June 2011. and just won't give me the work. Some people get frightened by not knowing what the outcome will be. whilst allowing freedom for people to be creative? How do you remove yourself.. “What I love witnessing is the building-up of energy and quality of attention in families that get entrenched in an activity and a location over a period of time.. Each site could give the opportunity for people to become entrenched in it. I like the idea of creating a walk where you create friction at certain points that make you change course or action.ART AND ARCHITECTURE mailout cardboard collaboration 18 The Lost Cuckoo at the Wheee! International Childrens' Theatre and Dance Festival at Nottingham's Lakeside Arts Centre. Could this be done with a moving-trail type activity? TH: It could be a question of creating a necklace of different sites that have their own unique qualities.” activity and a location over a period of time. MR: This comes full circle back to the idea of ethos.

Leaving a trail of devastation and creation behind us as we go… TH: I want to be the one rowing a boat carrying the boxes. TD: Could we work with small groups and create a series of interventions to explore? The site could move rather than the activity being different.com 2hD Architects 2hD is a three-person architectural practice: Tom Hughes.co. artists and other professional practices.uk www.2hD. Their design revolves around a deep sensitivity to social contexts and site specificity.uk .uk Thibaut Devulder. Where we land is where we build… MR: As long as I can carry a blow torch. Thibaut Devulder and Alina Hughes. Artist: marcusrowlands@ntlworld. www.co. innovative and engaging artwork in collaboration with communities. UK) Credit: 2hD Architects & Marcus Rowlands Profiles Marcus Rowlands Marcus Rowlands is an experienced Nottingham based artist who has worked very successfully managing and creating large outdoor interactive sculptural events at festivals and various community settings.ART AND ARCHITECTURE mailout cardboard collaboration 19 Experimenting with the cardboard construction modules in public spaces (Nottingham. 2hD Architects: thibaut@2hd. public art. The three designers have interdisciplinary skills combining architectural and urban design. playfulness and craftsmanship to foster engaging user experiences and create spaces with a strong sense of place. He actively seeks collaboration and willingly takes the role as a Lead Artist on projects involving whole communities.com Tom Hughes. 2hD thrive in interweaving conceptual thinking. Marcus has a vision to provide imaginative. TD: On a bike… Marcus Rowlands.co.marcusrowlands. 2hD Architects: tom@2hd. engineering and education.