(This is what I wrote, originally, as my introductory blurb … but it was too long, so I’ve shunted it here, with a few amendments).
Architecture tends to draw its practitioners into a narrowly focussed view of the world based on construction, assembly, procedures, regulations and processes, to become a box-ticking functionary, responsible for delivering a constructed environment that meets the client’s brief, on time and within budget. Keeps the rain out, the heat in and the people in their place.
The opposite of that – and my interest – is to focus on the essential process of architecure – placemaking. Rich. Humane. Generous. Aware. Engaging with people. Engaging in civil society. The most public art.
Years ago, I followed a course called ‘Art in Architecture’ that seemed to promise a discourse on much of the ground that interests me. A course for artists wanting to work with architects, nonetheless, it showed me how artists wanted to be seen in placemaking, and what their primary pursuits were. I began to think more like an artist.
I met a group of people that made a great impression on me. I’d been engaged with different arts organisations and ventures for years but it was only then that I really started thinking. One of those people was Pandora Vaughan – a ‘proper’ artist – with whom I have had a very stimulating interdisciplinary collaboration for the past 14 years.
I’ve given up on questions such as ‘can architects be an artist?’, because that is largely about definition and perception. The essence of the ‘making of place’ is about people, engagement, values, community, action and conviction. The tools for achieving ‘place’ of lasting worth are mostly to be found in the hands of artists. Pigeonholes are uncomfortable places, and a bit like Groucho, we’re not happy in any that you might put us into.
Aspects of art that relate to ‘place’ are now a medium sized industry all of its own, but I’d be very glad to hear from you – yn arbennig i bawb sy’n medru’r Cymraeg.
