“A sense of beauty, although mutilated, distorted and soiled,remains rooted in the heart of man as a powerful incentive.”

Simone Weil

Places for ArtFeilden Clegg Bradley Studios

07 | Introduction

08 | Space and LightThe Yorkshire Sculpture Park Underground Gallery Observations by Clare Lilley, Head Curator

16 | Private Art: Public ArtThe Leventis Gallery, Cyprus

23 | Places for Artists and MakersPersistence Works, Sheffield

26 | CollaborationsArtists and the Design Process

35 | Art and Climate ChangeCape Farewell by David Buckland Three Made Places by Peter Clegg

40 | Art and Cultural RegenerationDerby QUAD

44 | Where Art Meets ScienceFrom the Earth Centre to Jodrell Bank

48 | Credits and Acknowledgements

07 | Introduction

Creating place and space for art varies from the practical needsof makers to the complexities of collection and display. There is awelcome meditation in both the making and viewing of art, anopportunity for calm reflection, a focus on craft, material, colourand texture. The ‘slow food’ of the cultural world. For us asarchitects there is an equal fascination with the place and space forart, a relevant opportunity to contemplate space, light and material;to respond to the aesthetic distillation of both space and object.

There is another connection between our work and that of theartist in that both take a personal or private gesture and make itpublic and in this second realm it acquires other readings and values.

There is also a clear difference. The work of art has its ownmeaning or meanings, a piece of silent story telling. The place orsetting is unlikely to be involved directly in the same narrative. Itsstory, if it has one, might be to work with the context of a domesticor institutional place, a landscape place or the universal context ofspace and light.

Using our architectural art to help others produce and displaytheir own inevitably involves us vicariously in the process of art.This booklet records our approach to making places for art—andmaking places for artists to make art—as well as our collaborationwith artists and their own work which bridges the divide betweenart and science.

08 | Space and LightThe Yorkshire Sculpture Park Underground Gallery

Feilden Clegg Bradley Studios has been working at the YorkshireSculpture Park for more than fifteen years, building a temporarygallery, renovating listed buildings, creating a new entrance road,car park and visitor centre, and in 2003 we completed theUnderground Gallery in the Bothy Garden.

Andy Goldsworthy, 2007

1 Roof

1

2 3 4

2 Gallery 3 Concourse 4 Courtyard

Observations by Clare Lilley, Head Curator

Embodied in the unique work of Yorkshire Sculpture Park,we see that art is capable of communicating ideas beyondthe immediate; of reaching out and beyond the everyday; ofpulling disparate people together into one space; of challengingand confounding expectations; of creating fascinating andcomplicated projects for artists; and of making a realcontribution to the physical and intellectual landscape and tothe collective imagination.

Simplicity, space and light are key to YSP’s UndergroundGallery. Within the confines of an 18th century designedlandscape, a conservation area, and an organisation thatpresents work by contemporary artists, Feilden Clegg Bradleyproduced a building that simultaneously slips into the landscapeand is sharply in contrast to it. The gallery mirrors an east-west18th century formal terrace and from the north is perceivedmerely as a line in the ground, for grass covers the roof of thebuilding. A clever ha-ha means that views across the top of thebuilding, towards the opposite side of the valley via specimentrees, is retained. From the south it presents a contemporaryclassical glass, galvanised steel and stone face with a minimalrectangular piazza in front.

It’s a gallery space that artists immediately respond to andadmire—from Tony Cragg and Peter Randall-Page to JamesTurrell and Anya Gallaccio. For a sculptor, it is one of the bestspaces to show in the world because of the galleries’ beautifulproportions, their spareness; spaces that are devoid of ego,but made distinctive by natural light. The Park is a 500 acre siteand the outdoors is vitally important; this building, with itswindow-lined concourse keeps you in touch with the outside,and shifting light through the south facing windows touchesthe galleries. So too does the light from the continuous skylightwhich sweeps the length of the building and washes the back(northern) wall of each gallery space. These are not bland whitecubes, but distinctive spaces.

Views from the concourse to the breedon gravel hard standingand the lawn beyond mean that sculpture sited here can beseen. In the first exhibition, a survey show of work by WilliamTurnbull, a number of Bill’s highly coloured, flat steel sculpturesof the 1960s were sited on the lawn with the yew hedge as abackdrop, in effect extending the gallery space outdoors.

Flexibility is another valuable feature of the UndergroundGallery. The 24 metre long central space can be divided in two,as for Andy Goldsworthy’s 2007–8 project, to make fourinstead of three separate spaces, and was subdivided yetfurther for the summer 2008 Noguchi exhibition. The generousconcourse means that light traps and other devices can beused to create blacked-out spaces, as for James Turrell’s lightinstallations. Andy Goldsworthy, on the other hand, insistedthat all the electric light bulbs were removed to show his workin natural light. Because of the way that daylight infiltrates thedeep space this was successful and extremely beautiful.

The Gallery allows us to curate major public exhibitions.For us it is a building that can be moulded and adapted to suit artists working in different media. It has on the one hand a serene neutrality but it very much belongs to the space it inhabits, adding a new layer to the history of theBretton landscape.

William Turnbull, 2005

James Turrell, 2006

Andy Goldsworthy, 2007

Andy Goldsworthy, 2007

16 | Private Art: Public ArtThe Leventis Gallery, Cyprus

When Jim Ede lived at Kettle’s Yard in Cambridge you could knockon his front door on a Sunday afternoon and he would greet youand let you wander round the house and admire the Hepworths,Nicholsons and sculptures of Henri Gaudier-Brzeska. You wereeven welcome to sit in the corner to write your next essay on thehistory of art and you could attend a chamber concert later in theevening. The blurring of the boundaries between a private artcollection and what we would now call a Gallery made the placeunique. It has somewhat inevitably become institutionalised; it existsnow within the public realm as one of the cultural venues inCambridge, though it still retains the collector’s ‘imprint’.

Above: Kettle’s Yard, Cambridge

Many private collections have made the same transition, butwith less modesty. Henry Tate had to work hard to convince thearistocratic art-loving communities in London that the collectionof a sugar merchant was worthy of a substantial public building.In the end they found him a site at Millbank (on the edge of thecity) and allowed him to build what later became one of theworld’s greatest collections.

Our building in Cyprus for the A G Leventis Foundation will beanother example of a private collection going public. On theone hand it will house a very personal and eclectic range ofworks, primarily paintings, also furniture and indeed wholepanelled rooms that will be transported from the Leventisapartment on the Champs Elysées. On the other hand it willhouse the first comprehensive collection of modern Cypriot artdating from the time of the Revolution in the 1960s. Thechallenge is how to create a building that embodies both thepersonality of the family collection but also creates a newcultural centre for a united Cyprus. Personal and private, publicand political: art infuses everything.

The building has been conceived as a monolithic stonesculpture cut away to create courtyards, terraces and roofgardens—precious sheltered and green outdoor spaces thatare part of the urban character of the old city. Our initialconcept models of plaster and perspex illustrate this idea. Thethree storey gallery building rears up at one corner to form a 10storey apartment building which will help fund the development.The stone clad form is eroded in places to create balconies andterraces, and punctured to create light tubes that deliverreflected daylight into the depth of the gallery space. For us thedesign development is an exercise in optimising the use ofnatural light, and creating highly individual gallery spaces to suitthe particular collections that the family has developed over theyears. But it is also a very urban building engaging with one ofthe main streets of Nicosia as well as with the skyline. And withits intelligent use of natural light and where possible naturalventilation, the use of bore hole water cooling and a substantialarray of photovoltaic cells, it will also set new standards forsustainability in the city.

23 | Places for Artists and MakersPersistence Works, Sheffield

Persistence Works started life in an old cutlery workshop. It providedvery low cost workspace for artists and craftspeople in buildings thatwere barely watertight and hardly safe. When the opportunity arosewith Lottery funding to produce a new space we recognised thatthis would be a unique commission. We could not find any newlybuilt commercial studio space for artists and makers in the country:it is not something that our culture or our commerce provides.Artists inhabit the underworld, the hinterland or the bohemiangarret. Yet the individual studio space influences the output of theartist. Think Monet’s daylit Garden Room, or Giacometti’s studio,taller than it is wide (and recreated at a recent retrospective in thePompidou Centre): no wonder he produced etiolated sculpture.

The basic brief for Yorkshire ArtSpace was to provide cheap andwell serviced space with a variety of heights and areas to suitdifferent craftspeople. Each studio has its own metered heat andelectricity, a water supply, drainage and a ducted connection to theoutside air for exhausting a variety of fumes. The studios have asgood access to daylight as the physical constraints of the site allow.Beyond that the spaces are simply a robust series of workshops,personalised by individual use, humanised by the ephemera thatthe artists and makers tend to accumulate.

When we first met our clients we talked about our ownpreoccupations: daylight and sunlight; solid and void; and ourarchitectural heroes, Corbusier, Aalto, Ando. We also talkedat length about the potential communal aspects of their brief,though being artists, leading their own lives with their ownpreoccupations, they were less interested in that communalsense of belonging and more in square metreage andrental costs.

What emerged was a building that was both robust andflexible. The public realm is confined to the non-orthogonalentrance gallery and the atrium which opens up occasionallyto house exhibitions. In-situ concrete seemed to give us thequalities that we demanded for the exterior of the building, thatit should be unpretentious and solid, distinguished yet ordinary;and there was an element of industrial grittiness to the materialthat provided an enduring association with the building theycame from.

Artists and craftspeople contributed to the fabric withseven commissions ranging from cast handles and steelgates to a floating wall and coloured lights. The socialaspect of the building has, after all, worked well withthe central atrium forming an interactive heart to thebuilding, a space for public and communal art in thecentre of the city.

26 | CollaborationsArtists and the Design Process

Collaboration with artists in creating places for art has always beeninherent in our work. Exchange of ideas, the development ofconcepts, and the offer of technical expertise enrich the extendeddesign process. Artists helped us to...

Catalyse Ideas

Working with Jacqueline Ponceletat the London Centre forNanotechnology we becameinterested in moiré patterns thatwere generated by the combinationof perforate and reflective steelsurfaces on the exterior of thebuilding. The scientists whooccupied it use interferencepatterns to observe the behaviourof molecular structures.

Capture historical reference

Artist Jill Watson sculpted a seriesof figures to enliven the doorwaysof the Clore Centre and illustrateHampton Court’s illustrious past.

Draw in Daylight

Sasha Ward’s glazed panellingdrops blue and yellow light downthrough the central staircase atUniversity of Winchester Library.

Provide a Focus

This light sculpture at WestfieldStudent Village was designed andspecified by FCBS as the final partof our masterplan jigsaw forLondon’s largest student campusand creates a strong focus for thenew piazza.

Create Symbol and Metaphor

Kisa Kawakami designed ‘The Spiritof the Air’ for a prominent site atthe entrance to the RAF Museums’Milestones of Flight building atHendon.

Clarify the Concept

It was a chance discussion on sitewith Anish Kapoor that led us todetail the rooflight at the YorkshireSculpture Park’s UndergroundGallery at ground level to take onthe appearance of a linear reflectivestream through the landscape.

Draw in References

We worked with Eleanor Pritchardto create five suspended tapestrieswithin the atrium of the NationalTrust Central Office, eachrepresenting an aspect of the Trust’sestate. They also act as soundabsorbers and can be lowered toform partitions and subdivide thespace below.

Make Abstract Connections

With Alex Beleschenko wedecorated the glazed skin of theDerby QUAD box, a gallery andcinema overlooking the MarketSquare with an abstracted patternthat reflects the 3-dimensionalgeometries of the building andconnects inside to out.

Record Commitment

Working with Gordon Young andWhy Not Associates, we developeda 100 metre long pathway leadingto the front entrance of theYorkshire Sculpture Park. Donors tothe Park paid for their names to belaser cut into chequer plate steelsheets helping to raise £50,000towards the building.

Commemorate ExtraordinaryPeople

We commissioned Kisa Kawakamito produce a sculpture as amemorial to our founding partnerRichard Feilden who died tragicallyin 2005. Kisa says it representsRichard’s explosive energy. It hangsin the lobby of Haverstock School,Camden—the last school on whichhe worked.

Record Participation

Andy Goldsworthy’s layeredsculpture at the base of thestaircase at the Headquarters forGreenpeace was constructed withthe help of Greenpeace volunteers,using clay dug from the backgarden of the building plot.

Embody Memories

Jeff Bell used the waste sheetmetal that resulted from punchingout cutlery, to create an imprint inslumped glass and make thefloating glass wall at the YorkshireArtSpace as a recollection of thecutlery quarter in which it was built.

Turn Buildings into LightSculptures

The subtle decoration of the façadeof Persistence Works in Sheffield byJo Fairfax transforms the buildingfrom its sober grey by daylight, withits directional shading, into aglowing and colourful beacon atnight.

35 | Art and Climate ChangeCape Farewell by David Buckland

Cape Farewell pioneers the cultural response to climate change.Since 2003 there have been five Cape Farewell expeditions into theArctic where 45 artists/creators and 15 scientists have cohabited,sailed, observed, measured and been inspired. Each of the artistswho have been part of the Cape Farewell expeditions has found avoice that addresses climate change. They have each uniquelyadded to a new bank of ideas and imagery that brings the subjectof climate change into the scale of human focus and cultural vision.

Cape Farewell provides a platform for the artists to engage thepublic. It is, by necessity, very flexible and includes an exhibitionnow on a world tour; a television film documenting the inspirationand making of the arctic works; a book; an award-winning web siteand site-specific installations. We have shown Peter Clegg’s ‘IceTowers’ in the Bodleian Quad, Oxford—this was an extension of thework he did in the high Arctic in collaboration with the sculptorAntony Gormley; Max Eastley and David Buckland’s video andsoundscape in the Millennium Park, Chicago; 10,000 clay flowersby Clare Twomey slowly decomposing at the Eden Project andMarcus Brigstocke has entertained thousands with his live comedyshow, an inspired new take on climate change.

They are all powerful works with a powerful message and theyappeal directly to the viewer to accept the challenge of climatechange. The overall ambition of the Cape Farewell project is to beinstrumental in achieving a cultural shift that evolves into an excitingand sustainable way to live our lives.

Three Made Places by Peter Clegg

How do we envisage global warming? Do we think about aparched English landscape with dying beech trees, redundantski resorts, or continuous disastrous floods in Bangladesh?The first major ecological changes are likely to occur in polarregions, and with the shrinking of the Arctic ice cap, the islandsof Svalbard are likely to experience dramatic ecologicalchanges which will result in, amongst other things, the loss ofthe habitat for the polar bear that proudly occupies the top ofthe food chain.

Cape Farewell is a single issue pressure group that hasorganised a series of expeditions around the islands of Svalbard,100 miles north of the Arctic Circle, through a previouslyicebound but now passable route. The journeys explore the veryseas that hold the key to understanding the health of the world’socean currents. It is hoped that by sailing to the heart of thedebate and drawing together scientists, teachers and renownedartists, Cape Farewell will illustrate the workings of this crucialpart of the planet and engage the public and schools in thedebate about climate change. We know that the major culpritof climate change is the increase in manmade carbon dioxideemissions. We are becoming aware of the concept of a kilogramof carbon dioxide as a measurement of global pollution fromcars and buildings. But what do we understand by a kilogramof CO2? How can our minds grasp the weight of a gas? Weunderstand a gallon of petrol, a pint of beer, a pound of sugarmore because we see them as volumes than feel them asweight. Some time ago it occurred to me that it might be helpfulto try to define the kilogram of CO2 as a space rather thanmass. One kilogram of CO2 at atmospheric pressure occupies0.54 of a cubic metre. That is the volume, approximately, takenup by ourselves and the space immediately around us—it isroughly the volume occupied by a coffin, which is perhaps anappropriate symbolic unit when we are talking about thedestruction of the planet. Once we have this image in our mindswe can then start to relate that ‘coffin’s worth’ of CO2 to theexhaust gases of a 2 litre car travelling 10 miles, or to theemissions resulting from leaving on a 100 tungsten watt electriclight bulb for a day (or a fluorescent bulb with similar light outputfor a week). We can look at a pound of strawberries from Israeland recognise that it costs us and the world that same coffin’sworth of CO2 to bring it to London.

We can also relate this to our current global ‘earthshare’ ofmanmade CO2 emissions per person—being 4,000 of thosecoffins every year. In the UK each one of us is responsible fornearly 10,000 coffins and America is responsible for 20,000.In a sustainable future our emissions should be less than 2,000coffins per year which, with an irony that was discussed atgreat length amongst the Cape Farewell crew, was roughly theamount of CO2 that we had each expended on our return tripto Svalbard, over the course of just one week.

The only preoccupation I brought with me to Svalbard was touse this volume, the representation of the kilogram of carbondioxide, as part of a sculptural statement in snow and ice.Antony Gormley and myself both had an interest in constructingforms using simple blocks that we could cut from the snow,regularised and Euclidean—quarrying a material that had beenthere for months rather than millennia, and creating space andvolume that made simple temporary statements focused aroundour individual and shared preoccupations. We discovered thatwe could saw quite precise blocks with a density somewherebetween lightweight concrete and polystyrene, but in ourbuilding techniques we had to be very precise because thesnow itself, being very dry, did not lend itself to being used as‘mortar’. Our discussions and reference points over the threeday period ranged from the powerful primitive architecturalforms of Egypt and Peru, Mycenae and Pylos, through to ourexperiences of the quarries at Bath and Carrara. We created acommunity of forms—a primitive block cut from the virgin snow,a vertical standing room of similar proportions again related tothe human dimensions, and a snow cave with a significantapproach route and threshold, again based on orthogonal cutsinto the organic drift of wind blown frozen snow. We found thatwe developed a strong relationship with the site, a longing to beout there digging and creating, whilst also absorbing theextraordinary scaleless white landscape that surrounded us.We were blessed with brilliant sunshine that provided intenselysharp and long shadows which brought everything that we didinto a higher resolution. We were delighted with the experience

of what seemed like a 10º temperature difference between theinside and outside of the snow cave. It was essentially a sensoryexperience, working hard and playing hard to counteract theexperience of being at –27ºC, and producing work that wasderived from individual preoccupations and joint collaborationand the inspiration of site and material. Antony refers to the workas Three Made Places: Block, Standing Room and Shelter.“Individually” he writes, “the block indicates a relationshipbetween the individual body and planetary body mass; asubstantial equivalent for one material body; the luminous voidchamber is a vertical space that indicates conscience; and theshelter establishes the necessity of a collective body. Togetherthey constitute a continuum of places that the human needs todwell in: the physical space of the body, the imaginative spaceof conciseness, and the collective space of fellowship. The firstis material measure, the second dedicated to the imaginationand the third useful and used. These three places are all MADEand do not seek to describe the body but indicate its place,using the Euclidean geometry of architecture in an un-inscribedarctic environment.”

The abstract body form enclosures for me had a furthersignificance. Richard Feilden was originally to have been amember of the Cape Farewell team, and I stood in for him onlyfollowing his tragic accidental death. So the sarcophagus block,the first volume cut out of the snow, seemed to take on thecharacter of an eloquent memorial to Richard. Intriguingly thewhiter and lighter top layer of snow that was part of the naturalformation gave it a natural ‘lid’. When Antony and I collaboratedon the vertical version of this volume what emerged was aluminous void—a space that was unseen and enclosed,indicating conscience and life rather than horizonality and death.Standing sentinel over the icebound fjord and bathed insunlight, this enclosed void seemed even more of an appropriateplace for Richard to inhabit. All three spaces are testimonials tothe human form, representing objects in what might turn out, asa result of our wider impact on the planet, to be an all tootransient landscape.

40 | Art and Cultural RegenerationDerby QUAD

The market square in Derby is not square. Like many other townsof medieval origin, its street patterns do not derive from rectangulargeometry, though it does represent the confluence of two grids. The polygonal space resulting is enclosed by some dignified 18thcentury houses, a towering 19th century town hall, and HughCasson’s brutalist and unloved 20th century civic offices.

The vacant site at the south-west corner of the square was leftwhen a hotel developer went bankrupt and the council smoothedover the problem with some suburban landscaping. Much later theyhad the courage to suggest that this might be the site for a civic artsbuilding. So four arts organisations got together to form ‘QUAD’and bring visual film and digital arts to the heart of the city.

Our building completes the square and takes its formal clues fromthe intersecting grids and levels that create the townscape. The siteallowed for a building that was square in plan and almost cubical inform, and the twisting geometries that relate back to the squarereappear in section and elevation as the stone façade wraps in aseries of strata around the building as it rises up to face back to thesquare. The brief called for flexible gallery space on the ground floor,with a reception and café that spill out into the public realm.

Up above are two arts cinema spaces, with a third undefinedgallery which became known enigmatically as ‘the box’, whichcould accommodate visual or video arts or a combination of thetwo. This looks out onto the market square through a layeredseries of coloured screens developed in conjunction with AlexBeleschenko; the shifting geometries of the building dissolveinto shifting plains of colour and texture.

QUAD is a working gallery, with spaces for an artist inresidence, and workshops for community groups, but all thesecurity and environmental controls that are needed to hostsignificant touring exhibits and digital and film facilities to BFIstandards. It places art four-square in the middle of the city.

Right: the plan of the building thatunites the two geometries of the

market squares.

Above left: this frieze of bone chinacreated by local Derby–basedceramic artist Angela Verdon is oneof the pieces of art on permanentdisplay.

Above right: the opening exhibitionwas ‘Spiteful of Dream’ by Janeand Louise Wilson. Their installationwas a direct response to the cubicforms of the new building.

Left: Alex Beleschenko’s glassscreens.

44 | Where Art Meets ScienceFrom the Earth Centre to Jodrell Bank

“We have now become aware of the possibility of arranging theentire human environment as a work of art, as a teaching machinedesigned to maximise perception and make everyday learninga process of discovery.”

Robert Oppenheimer

In 1969 Frank Oppenheimer, co-worker with his brother Roberton the creation of the atom bomb, opened an extraordinarynew museum in San Francisco, The Exploritorium. Its objectwas to use artists to create exhibits to demonstrate all aspectsof science. The goal was not just to get people to understandnature but to understand how they understand nature. Thecarefully controlled chaos in which visitors, students and thecreators of exhibits pick their way, creates a subtle andingeniously designed version of a science curriculum. Art makesscience comprehensible.

Ten years ago we worked on the Earth Centre, a centre foreducation and environmental issues. Working with AndrewGrant as landscape designer we transformed a 300 acre derelictcoal field site in South Yorkshire into a centre for environmentaleducation. The internal exhibitions were created in twocavernous spaces which were built into a limestone escarpmentand faced with the limestone of which the escarpment wasmade. The buildings therefore formed an abstraction of theexisting landscape with one black box space entirely buried inthe hillside; another daylit ‘white box’ gallery space emergingout from it. The entrance canopy is a similar abstraction, aforest of indigenous larch poles held together by galvanisedsteel connectors supporting a canopy of photovoltaic cells thatcollect solar energy like leaves on a tree and generate 30% ofthe building’s electrical usage. Working with artists BruceOdland and Peter Erskine, the interior galleries became apreamble to the environmental education that took place onthe wider site.

More recently we have been appointed to look at thetransformation of Jodrell Bank into a centre for discovery of theuniverse—a centre that continues to provide a home for thescientists that have operated it for the last half century, includingits founder Sir Bernard Lovell, but also a centre which is openedup to visitors who will be able to share and comprehend theextraordinary breadth of knowledge that has been developedthrough the use of the radio telescopes which form the raisond’être of the site. Our brief is based on healing the rift betweenthe ‘two cultures’ of Art and Science. The Lovell telescope,78 metres in diameter, has already been turned into the largestcinema screen in the world with sound and light performancepieces by Jem Finer and Ansuman Biswas. Our task, workingwith Peter Higgins of Land Exhibition Design and the sameteam of landscape designers, services and structural engineersthat we worked with at the Earth Centre, is to make manifestthe extraordinary power of astronomy in our understanding ofthe infinity of space.The Earth Centre, Conisbrough The Exploratorium, San Francisco

48 | Credits and Acknowledgements

Underground Gallery, YorkshireSculpture Park

Client: The Yorkshire Sculpture Park

Project Manager & Cost Consultant:Burnley Wilson Fish

Structural Engineer: WSP M&EEngineer Ernest Griffiths & Son

Planning Supervisor: Turner &Townsend

Landscape Consultant: Land UseConsultants

Façade Consultant:Montresor Partnership

Contractor: Quarmby Construction

The Leventis Gallery, Cyprus

Client: AG Leventis House Ltd

Consultant Architects:A&J Philippou

Environmental Consultants: GEMAC

M&E Engineers: Max Fordham LLP

Image: Nicosia Masterplan Team

Persistence Works, Sheffield

Client: Yorkshire ArtSpaceSociety Ltd

Structural and M&E Engineer:Buro Happold

Landscape architect:Grant Associates

Planning Supervisor and CostConsultant: Citex

Contractor: MJ Gleeson

Derby QUAD

Client: Derby City Council

Arts Project Managers:David Powell

Structural Engineer:Adams Kara Taylor

Environmental Engineers:Max Fordham

Cost Consultant: Davis Langdon

Project Managers: Buro Four

Acoustic Engineer:Flemming & Barron

Lighting Designer: Hoare Lea

Contractor: Morgan Ashurst

Artists: Alex Beleschenko,Angela Verdon

Artists

Alex Beleschenko

Andy Goldsworthy

Angela Verdun

Anish Kapoor

Antony Gormley

Eleanor Pritchard

Gordon Young

Jacqueline Poncelet

James Turrell

Jane and Louise Wilson

Jeff Bell

Jill Watson

Jo Fairfax

Kisa Kawakami

Sasha Ward

Why Not Associates

William Turnbull

Photographers

Jonty Wilde and the YorkshireSculpture Park

Dennis Gilbert/View Pictures

Toby Lewis

Martine Hamilton Knight

Paula Kirby

Tim Soar

Peter Cook/View Pictures

Ben Tindall/Jill Watson Studio

Morley von Sternberg

Eleanor Pritchard Textile Design

Kisa Kawakami

Stuart Blackwood

David Buckland

Hufton+Crow

The Exploratorium, San Francisco

Sebastian Martin

Anthony Holloway

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