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Maggie’s Lanarkshire
Get PDFThe project is an enclosed walled garden for the Maggie’s Centre at Lanarkshire Hospital in Airdrie. Maggie’s Centres provide the physical space for practical, emotional and social support to people with cancer, their family and friends. The garden has several distinct components comprising an entrance courtyard, a woodland garden, and a series of four small external courts which are embedded within the building plan, all of which are enclosed and linked seamlessly and cohesively to the building by a finely articulated perimeter wall of Danish bricks which also embraces two detached stands of mature lime trees. Fraser’s practice-based research over 4 years involved all stages of the design and construction of the project. It enhances knowledge associated with designing outdoor environments to improve human well-being in a cancer caring environment via design team, client and stakeholder engagement, design development and iteration. The research also establishes a model for future centres by emphasising the relationship of building and walled garden (internal and external spaces) as a cohesive overall environment in contrast to many of the earlier centres, in which building and garden remained detached from one another. The research contributes further knowledge to the delivery of projects via the technical resolution of the walled garden/hortus conclusus concept which allowed the retention of the existing mature trees despite the associated boundary wall foundations on a site with Japanese knotweed present. Both the wall and the presence of Japanese knotweed would typically require the removal of the mature trees and the dilution of the concept. The retention of these trees suggests a dialogue between them, the series of enclosed gardens and the building itself. Significance has been recognised by a wide variety of awards, reviews, publications and peer reviewed website and exhibition inclusion. The project was also shortlisted for the RIBA Stirling Prize in 2015
The Southwark Memorial
Get PDFThe output is a bronze sculpture of a youth and a fallen tree on a low base (dimensions: 6m x 3m x 2.13m). The base bears an inscription by the Scottish poet Hamish Henderson. The sculpture is installed in London, in Elephant and Castle’s recently constructed public space, Walworth Square. The sculpture involved the bronze casting of a fallen ash tree and a bronze f igure of a boy made through clay modelling and casting. Hunter was competitively selected and commissioned by Southwark Council to create a permanent public artwork that would both animate a new civic space and serve as a memorial to war and conflict in the year that marked the centenary of the end of the First World War. The commissioning committee included the Leader of the Southwark Borough Council, Imperial War Museum curators and members from the Royal Society of Arts. Hunter worked alongside the Contemporary Art Society Consultancy, Lendlease, and Southwark Borough Council to realise the piece. The output is part of Hunter’s longstanding investigation into the contemporary purpose of memorial sculptures, their function as collective sites of reflection and remembrance and their experience by diverse publics
Hybrid Soundscapes
Get PDFHybrid Soundscapes is a multi-component body of outputs investigating acoustic ecology. It is comprised of sound installation, an album, participatory community engagement activities and peer-reviewed publications.The output was the outcome of three years of practice-led research into the impact of renewable energy technology on rural and natural landscapes. O Keeffe investigated four sites where new types of renewable energies have had an impact on natural landscapes: the southern region of Iceland, the Northern Terra Alta region of Spain, Barrow-in-Furness in the UK and Beijing, China. The research also investigated graphic composition as a mode of mapping sensory, social and ecological sonic experiences over time. The research employed different methodologies including retreats in natural landscapes, participatory listening workshops with local communities and documentary research. Hybrid Soundscapes was commissioned by the curator Christine Eyene in 2016 (curator of the 2019 Moroccan Biennale) for a touring exhibition titled Sounds Like Her that would for the first time present established women artists who have expanded the field of sound art. For the exhibition, O Keeffe presented four large printed graphic scores/sound maps and an immersive audio composition for five speakers. The scores comprised photographic images and drawings of the sites in which O Keeffe conducted field research. The audio composition functioned both as a single immersive audio work and a spatialised site-specific performance. Hybrid Soundscapes I–IV was first presented in the exhibition Sounds Like Her at the New Art Exchange, Nottingham, 13 October 2017 – 3 January 2018. Subsequent exhibition presentations included: York Art Gallery, 12 July – 25 August 2019, and Gallery Oldham, 14 December 2019 – 7 March 2020
Architecture as Support Structure
Get PDFDegree Show Catalogue documenting an ESALA MArch (Modular Pathway) studio ‘Architecture as Support Structure: How to Construct a Post-Petroleum World’. Studio Leaders: Sepideh Karami and Naomi De Barr. 2023-2024
Desastre, reconstrucción, liderazgo: Sistematización de las experiencias tras el deslave de Panabaj de 2005
Get PDFEl paso de la tormenta tropical Stan en octubre del 2005 se cuenta entre las tormentas más trágicas que se ha vivido en Guatemala. En el departamento de Sololá, el impacto más grande se sintió en el municipio de Santiago Atitlán, lugar devastado por días continuos de lluvia. El cantón Panabaj fue escenario de un deslizamiento de tierra masivo que soterró gran parte de la comunidad, dejó cientos de muertes y damnificados, y generó estragos infraestructurales significativos. En la respuesta al
desastre, la sociedad civil y líderes locales asumieron un rol protagónico, articulándose con instituciones estatales, así como con la cooperación nacional e internacional. Hoy en día, a casi veinte años del desastre, se considera necesario sistematizar estas experiencias de la reconstrucción que aun repercuten en el tejido social, cultural y político del municipio. La sistematización nace precisamente de una solicitud de la comunidad. Se acercaron varios líderes al equipo del proyecto Ixchel para proponer la elaboración de un estudio que contara con las voces de personas que vivieron de cerca el desastre y el proceso de reconstrucción, identificadas por su liderazgo y por su participación en varias iniciativas que siguieron el deslave. Con este documento, se busca ofrecer un análisis crítico e identificar los factores externos e internos que caracterizaron la respuesta antes, durante y después del deslizamiento en Panabaj, provocado por el paso de la tormenta Stan. La organización comunitaria generada durante dicho evento se caracteriza por una fuerte reivindicación de la cultura tz’utujil, una articulación del poder comunitario, estatal e institucional, así como con el entonces emergente escenario político tras los Acuerdos de Paz (1996)
Naked Craft Network
Get PDFThe Naked Craft Network (NCN) was a multi-component, international collaborative research project (2014–2017) that investigated topical issues in contemporary craft practice in Scotland and Canada. Through an innovative combination of practice and theoretical reflection, bridging design history and theory, practice-based research and public engagement, the project brought together an international network of practice- based researchers, writers, curators and industry partners. They questioned the value of craft as a practice, an historical phenomenon and a contemporary experience. The main outputs from the project were a cluster of interlinking research events, including residencies, workshops, a public education programme and accompanying symposia. The research was disseminated to the public through a touring exhibition of Canadian and Scottish craft that was accompanied by a catalogue with commissioned essays. Led by craft historian and theorist Juliette MacDonald and Dr Sandra Alfoldy, Nova Scotia College of Art & Design, Canada, NCN was the first major craft partnership between Scotland and Canada and involved four academics, 23 professional craftspeople, five curators, and three research assistants. The Make workshop and symposia brought together individual makers from local craft communities, and researchers from academic institutions from Canada and Scotland. 20 June – 6 September 2015 Art Gallery of Burlington, Burlington, Canada. 26 September – 28 November 2015 Centre Materia, Quebec City, Canada. 14 January – 10 April 2016 Art Gallery of Nova Scotia, Halifax, Canada. April – May 2016 Thurso Gallery and Iona Gallery, Kingussie, Scotland. Both galleries at once with one month in each, but it was counted as one exhibition venue. June – August 2016 Barony Centre Craft Town, West Kilbride, Scotland. October 2016 – February 2017 Peebles Art Gallery, Peebles, Scotland. April – June 2017 An Lanntair, Stornaway, Orkney, Scotland. The legacy of the research lies in the way it has opened up channels of communication between the two communities to establish a space for reflecting upon and re-evaluating the traditional roles of craft practice for the future
The Magazine
No full textThe Magazine is an experimental novel conceived as a series of 13 books, written and illustrated by Mason and produced over a decade. The novel was commissioned by the independent publishers, The Caseroom Press (University of Lincoln.) To date, three books have been published. (January, Autumn 2013, February, Summer 2015 and March, Spring 2019). The Magazine takes its inspiration from Victorian illustrated compendia. It employs the inherent multiplicity of the compendium form to explore ideas of authorship, narrative and relations between text and image
Cloud Dialogue
Get PDFCloud Dialogue is a sculpture (approximate dimensions 7.5 x 11.5 x 2.6m ) which investigates the potentials of iron as a sculptural material. The work expands the expressive, associative and poetic potential of iron within the context of contemporary art. The work was conceived, made and installed by Ewan Robertson in collaboration with Scottish sculptor Gordon Munro. The research builds on the symbolism and the historical associations of iron, as a ubiquitous element of our lives. Through the creation of a large-scale sculpture and experimentation with techniques of fabrication, it challenges perceptions of iron as a utilitarian material. Cloud Dialogue has been made in several iterations, with different combinations of nodes and arms. Each form conjures different symbolic associations whilst responding to their different sites. As such, the research is also an extended experiment in site-specific installation
Navigate the Blood
Get PDFNavigate The Blood is an 80-minute opera conceived by Gareth Williams, co-composed by Williams and Admiral Fallow, with a libretto by Sian Evans. The work aims to find new partners, participants, collaborators and audiences for contemporary opera in Scotland, by developing a new methodology for creating work in this genre. The work was developed at NOISE Opera between 2015 and 2018, and produced in partnership with Glasgow Distillery, where the premiere took place on 2 November 2018. The work toured throughout November 2018 and 40% of the audience who attended performances were new to opera. Williams, opera composer and musical director of NOISE Opera, invited the indie folk band Admiral Fallow to collaborate on a concept opera that explored the industry and community of distilling in Scotland. After a series of research trips, interviews with distillers across Scotland, musical workshops, and readings of the libretto, a process was devised to mentor the new operamakers (Admiral Fallow) through the process of co-creating opera, creating a common language across the genres of indie folk/pop and opera, during the writing of this music theatre work. Through a new partnership with Glasgow Distilleries, seven distilleries across Scotland were secured as performance venues, and the whisky/gin making communities of Scotland were consulted and involved in the process of creating the libretto for the work. The work was performed in distilleries across Scotland: Glasgow Distillery, Oban Distillery, Glen Scotia Distillery, Campeltown, Ardnahoe Distillery, Islay, Blair Atholl Distillery, Pitlochry, Lost Loch Distillery, Aboyne, Summerhall Edinburgh and La Taverna Aviemore. The completed score is a collaborative document, where Williams placed the work of Admiral Fallow songwriters, Louis Abbot and Sarah Hayes, into the framework of the opera, alongside his own music, blending the different voices, gestures, genres and timbres into a cohesive, singular, dramatic piece
Desastre, reconstrucción, liderazgo: Sistematización de las experiencias tras el deslave de Panabaj de 2005
Get PDFEl paso de la tormenta tropical Stan en octubre del 2005 se cuenta entre las tormentas más trágicas que se ha vivido en Guatemala. En el departamento de Sololá, el impacto más grande se sintió en el municipio de Santiago Atitlán, lugar devastado por días continuos de lluvia. El cantón Panabaj fue escenario de un deslizamiento de tierra masivo que soterró gran parte de la comunidad, dejó cientos de muertes y damnificados, y generó estragos infraestructurales significativos. En la respuesta al
desastre, la sociedad civil y líderes locales asumieron un rol protagónico, articulándose con instituciones estatales, así como con la cooperación nacional e internacional. Hoy en día, a casi veinte años del desastre, se considera necesario sistematizar estas experiencias de la reconstrucción que aun repercuten en el tejido social, cultural y político del municipio. La sistematización nace precisamente de una solicitud de la comunidad. Se acercaron varios líderes al equipo del proyecto Ixchel para proponer la elaboración de un estudio que contara con las voces de personas que vivieron de cerca el desastre y el proceso de reconstrucción, identificadas por su liderazgo y por su participación en varias iniciativas que siguieron el deslave. Con este documento, se busca ofrecer un análisis crítico e identificar los factores externos e internos que caracterizaron la respuesta antes, durante y después del deslizamiento en Panabaj, provocado por el paso de la tormenta Stan. La organización comunitaria generada durante dicho evento se caracteriza por una fuerte reivindicación de la cultura tz’utujil, una articulación del poder comunitario, estatal e institucional, así como con el entonces emergente escenario político tras los Acuerdos de Paz (1996)