joinedupdesign for myplace

8/13/2019 Joinedupdesign for Myplace

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The Sorrell Foundation 2010

Engaging young people in youth-centre design


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Cover: A member of the Hornsey clientteam introduces their final presentation


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CONTENTS

Outcomes . . . . . . . . . . . . . 8 The results of the programme for theyoung people involved, the local legacy,and the wider impact of joinedupdesignfor myplace

The process . . . . . . . . . . 18How the joinedupdesign model wasadapted for myplace and how itwas coordinated

Whos who . . . . . . . . . . . . . 66 The client and creative teams who tookpart in joinedupdesign for myplace

Thank you . . . . . . . . . 70

Young people as clients . . . . 4Why young people should be the clientsfor the design of their youth centres

What young people want . . . 14 The common elements of the briefs setby client teams from across the country

Joinedupdesign for myplace . . . . . . 2 An introduction to the programme

The projects . . . . . . . . . . 24 The story of each project, with thedesign concepts that were produced


4/76 The Sorrell Foundation 20102 Joinedupdesign for myplace

Sto ton-on-T s

N w st - on-T n

B nt

Ho ns N wh

W d

Don st

Stow t

B th

B n h

B sto

To b

H st n s

T o d

O dh

Over a 6-month period in 2009, the Sorrell Foundationcoordinated more than 300 hours of discussion, in155 meetings between young client teams andprofessional creative teams. A total of 160 youngpeople were directly involved across 15 projects, andthey extended that reach by consulting their peers.


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The Sorrell Foundation 2010 3Joinedupdesign for myplace

JOiNeDupDeSigN

fOr myplace

The aim of myplace is to deliver world-class youth facilities drivenby the active participation of young people, and their views andneeds. Delivered by the Big Lottery Fund (BIG) on behalf of theDepartment for Children, Schools and Families (DCSF), myplace ispart of Aiming High for Young People, the governments strategy toimprove young peoples access to positive activities. The myplaceprogramme is delivering over 270m of government capital investment

to around 70 local authorities and not-for-prot organisations acrossEngland, through grants of up to 5m for each youth centre. Duringthe programmes development, the Talent & Enterprise Taskforce,

which operates within the DCSF and other government departments,identied an opportunity to involve the Sorrell Foundation.

The Sorrell Foundation aims to inspire creativity in young peopleand improve the quality of life through good design. For ten yearsthe Foundation has applied its joinedupdesign model to a rangeof programmes under the same guiding principle: that the end usersof youth, education and leisure facilities children and young people should have the role of clients in their design. The Foundations

programmes join up some of the UKs most creative architects anddesigners with young people.

Joinedupdesign for myplace worked with 15 myplace projectsaround the country. The Sorrell Foundation asked the bid teams tocreate client teams of local young people. The Foundation then joinedup these clients with specially selected creative teams comprisingarchitects, branding experts and creative advisers. These professionals

worked for their young clients, generating concepts in response totheir design briefs.


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The Sorrell Foundation 2010 5Young people as clients

yOuNg peOple

aS clieNTS

This publication demonstrates ways to actively involve youngpeople in the design of their youth centres, and can be used byeveryone as a guide to involving young people in any design project.Giving young people the role of clients can create an in-depth,sustained conversation with a wide group of participants, includingtheir peers, architects, designers, communities, and the organisationor individuals responsible for the project. Informing the young clients

about design and architecture makes them a valuable asset duringevery stage of the project, from the selection of the design teamthrough to the opening of the building.

A member of the Wakefield clientteam presenting the final concept

You have to get in touchwith the young peoplesaspirations and dreams.They should be treated

as real clients Myexperience of workingwith young people is thatI learn more than they do.Mike Davies CBE


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The Sorrell Foundation 20106 Young people as clients


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The Sorrell Foundation 2010 7Young people as clients

They are the consumers of youth provision Youth centres are built for and used by young people. They are the real experts in what works for them andtheir peers.

Th b o n o d, ns d nts,adding real value to the process

Young people contribute energy and a creative sparkto the design process, bringing fresh thinking to thetable in the conversation with their designers. If timeis taken to inspire and inform them about the designprocess, they can add value at every s tage, from beinginvolved in the selection of the architect through to thecompletion of the project.

It can help deliver design that is more thant o os Young people want the best from their creative teams.While being pragmatic and aware of the limitations of aproject, they always strive for the best possible design.

It raises everyones gameIn recruiting an enthusiastic, passionate team of youngpeople, who will be directly affected by the outcome ofthe nished building, there is more at stake. Thismotivates everyone involved in the design process.

it s so s st n bClient team members can go on to work in the youthcentres. There are opportunities for them to play anintegral part in the completed centres, and to providepositive role models for future generations.

It engages the local community Young clients become ambassadors for their youthcentres, championing the cause and promotingresponse and feedback. They represent a natural linkbetween the developing projects and the community.

OppositeClients take part inworkshops and visitsaround the country

Clockwise from top left:

Trafford clients workwith creative adviserSteve Clutton; Hornseyclient team members;Domenic Lippa fromPentagram discussesnaming and brandingideas with Stowmarketclients; Keith Priest ofFletcher Priest Architectswith clients fromNewcastle-upon-Tyne;

clients on a site visit inNewcastle-upon-Tyne;Doncaster clients witharchitect Tom Vigarfrom Bauman LyonsArchitects.

Why should youngo b th nts

for the design of theiryouth centres?

This kind of engagementbenefits the participantsenormously. It expandstheir agenda, raises theirexpectations, exposesthem to new aspects oflife, and having their viewstaken seriously is hugelybeneficial.Keith Priest, Fletcher PriestArchitects

It is great to have a clientwho tells you exactly whatthey want. Their honestyand integrity and notaccepting something theydont want is fantastic.Steve Chilton, Marks BarfieldArchitects


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The Sorrell Foundation 2010 9Outcomes

OuTcOmeS

Joinedupdesign for myplace demonstrates that designing youthcentres with young people as clients has a number of benets.

The clients themselves are given opportunities to expand theirknowledge and experiences, and gain a sense of pride in theircommunities and a range of useful life skills. The programme leavesa tangible legacy for bid teams and local communities, includinghigh-quality design concepts for their youth centres and highlymotivated, informed young client teams. It has a national impact,

creating a new model of youth engagement that can be used tofull the DCSFs policy commitment of involving young people in

youth-centre design. It also demonstrates the value of involvingoutstanding architects in projects such as these across the country.

The trust they put in usmade us feel responsibleand like wed done

something good. Im veryproud of what weve comeup with. Very proud.Client, Stowmarket

Ive enjoyed meeting newpeople, learning aboutarchitecture and gainingnew skills and knowledge.But most of all, being partof a team.Client, Wakefield

Philip Gumuchdjian of Gumuchdjian Architectspresents a model of his design concept to theStowmarket client team


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The Sorrell Foundation 201010 Outcomes

Opposite: Members

of the Hornsey clientteam act out a scenedemonstrating thehistory of HornseyRoad Baths in theirfinal presentation

Outcomes for theyoung clientsl n n how to th sWorking closely with professional designers helps theyoung clients develop the communication skills andvocabulary to put their case successfully to adults.

Working well in a team The clients, sometimes from different backgroundsand communities, form close bonds with their fellowteam members. They learn to work together to achievea common goal.

Successfully addressing large andsmall audiences

Through a series of meetings with their creativeteams, the young clients develop communicationand presentation skills. The conversations culminatein concept presentations where the young people,working closely with their Sorrell Foundation projectmanagers, present to key stakeholders. During

joinedupdesign for myplace, one group addressedan audience of 200 and, at the celebration event inCentral Hall Westminster, a representative from eachclient team presented to an audience of 300, includinghigh-ranking government ofcials.

a sth t j d ntDesign presentations by creative professionals,together with inspiring visits to architecturally signicantplaces, help the young people become discerningclients. They develop informed ideas and opinionsabout design, while also considering practicalityand functionality.

B n b to s d oth s ndmake decisions

The clients develop negotiation skills during theproject. They debate the brief with their peers,discuss design concepts with their creative teams

and negotiate the youth centres proposed activitiesand facilities with local bid teams. They also haveto overcome obstacles such as budget limitations,often making difcult decisions about what shouldbe part of their youth centres.

g n n s - stBeing taken seriously by adults and professionalshas a dramatic effect on young people; many clientssay that seeing their ideas discussed by world-classprofessionals, then used in the nal design concepts,helped them grow in condence.

r s n th oss b t s o thyouth centre

Through in-depth discussions and visits, client teamsrealise that youth centres could provide young peopleand others in the community with new opportunities.

They see potential for income generation, and rolesfor themselves within the centres.

g n n now d o d s n nd b dprocesses

The clients acquire specic knowledge about design,architecture, the built environment and the creativeindustries. They are introduced to the workings ofcreative and build processes, see how local councilswork, and participate in meetings between adults withdifferent agendas. This gives them a unique insightinto the complexity of delivering a multi-million poundcapital project.

an ns ht nto th wo n wo d nd thcreative industriesBy interacting directly with creative professionals,the clients gain a sense of the possibilities that existfor their lives beyond school. During the programme,many client teams visited the studios of their designersand architects. Some undertook work experience withthe branding expert who had developed the name andbrand for their centre. They were given ownership ofthe brand and were taught how to use the graphicsfor different applications.

und st nd n th o n th o n tWhen young people are actively involved in solvingproblems in their community, their sense of citizenshipcan grow dramatically. Joinedupdesign for myplacegave young people a means of doing this and helpedthem to be taken seriously as youth representatives oftheir area. They worked closely with adult stakeholders

and community leaders, and argued powerfully for theelements they wanted in their youth centres, learningto take into account local needs and context. Thisexperience gave them a sense of ownership of theiryouth centres and pride in their towns.


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The Sorrell Foundation 2010 13Outcomes

lo World-class architectureInvolving outstanding architects, especially if theyhave worked with young people before, helps tocreate high-quality architecture and design conceptsfor youth centres. If the concepts are realised, thebuildings will be a direct response to the needs of localyoung people, and will be of lasting benet to thecommunity. Adult stakeholders also gained a greaterunderstanding of the benets of good design.

a st on n nd b ndInviting a branding expert on to the project gives

the proposed centres a distinct identity, which helpsthe clients and bid teams visualise their youth centres.

The brands act as guiding concepts that make iteasier for both adults and young people to explainthe proposed youth centres to local stakeholders.

They also provide a focus for wider consultation inthe community. Joinedupdesign for myplace introducedthe importance and value of having a good name andbrand, created in conversation with young people, to

the wider myplace project. Several bid teams haveasked the branding experts to continue their workwith their client teams.

Informed and inspired client teamsPerhaps the most important legacy of engagingwith young people in this way, is the creation of local,enthusiastic client teams who can continue to helplead the projects in the future. The clients participatingin joinedupdesign for myplace became authoritieson the design of their youth centres, making theman important asset to the ongoing projects. Theyproved to be excellent project advocates and goodcommunicators; their passion, together with the skillwith which they presented their cases, helped thebid teams understand what young people need fromthe centres. The client teams consulted other youngpeople, which meant that more views were taken intoconsideration. In many cases a strong relationship

was created between the local project boards andclient teams.

l n n nt t s w th th o n t A nal concept presentation is an opportunity tointroduce the community to the proposed youthcentre. It can help local people become moreamenable to the buildings creation, design andlong-term existence by demonstrating the central rolelocal young people have played. The joinedupdesignfor myplace presentations highlighted the positiveactivities that would be taking place in the centres,as well as the way they would be opened up to thecommunity. The presentations were well attended

and often generated signicant local media interest.Stakeholders reported feeling proud to see theclient teams presenting such complex issues, andacknowledged the value of having this informed group.

National impactRealising the potential of outstanding designSome of the worlds best architects are based in the

UK, and myplace presents an opportunity to involvethem. Joinedupdesign for myplace has demonstratedthat outstanding architects are willing to work on thesekinds of projects, and work for client teams of youngpeople. Developing youth facilities with truly world-classdesign across the country, can serve as a symbol ofhow young people are valued by society.

cont b t on to o

Lessons learnt from joinedupdesign for myplace havealready been taken on board by BIG and the DCSF. This has informed the ongoing development of themyplace programme, and conrmed the importance topolicy makers of involving young people in the designof their youth centres.

Creation of a new modelJoinedupdesign for myplace tested a new model forengaging young people in the creation of youth facilities.

The process represents more than consultation. It isa detailed conversation; a reciprocal, creative andproductive method of listening to the people who willeventually use the centres.

D ss n t on o n nKnowledge from joinedupdesign for myplace wastransferred to BIG and the DCSF at the end of 2009through meetings, seminars and a paper. This document

makes the learning available to bid teams for thesecond round of myplace funding, and can inform thedesign and build process of future youth facilities.

Opposite: TheStowmarket client teamprepare a proposed

schedule of activitiesfor their youth centre,during a workshop atthe Sorrell FoundationYoung Design Centre atSomerset House, London


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The Sorrell Foundation 2010 15What young people want

WHaT yOuNg

peOple WaNT

Giving young people the role of clients in joinedupdesign formyplace revealed common themes and aspirations across thecountry. For example, young people everywhere want to plan theprogramme of events, and a caf is a popular idea for generatingincome. There are also signicant variations, which underline theimportance of addressing the needs of each individual community.

In some joinedupdesign for myplace projects, such as Bath, openingup the building to the community is a priority. In others, includingHornsey, clients want a soundproof building with a separate entrancefor the evenings, so neighbours are not disturbed.

It needs to stand out ifyou think the outside isinteresting then you will

be curious and wantto go inside. It should beimpressive and appealing.Client, Newham

The centre is about turningour negative image back intoa positive image by bringingthe community together.Client, Hastings

Creative adviser William Warren and theOldham client team during a site visit


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The Sorrell Foundation 201016 What young people want

Opposite: Torbay clientstell their architect TomJarman from FeildenClegg Bradley Studios,what they want for theirnew youth centre

Common themesand aspirationsD st n t v h t t

Young people want their youth centres to lookiconic and modern buildings they can feel proudof and inspired by. They are clear that they shouldnot feel institutional.

a o n n n th ntClient teams say that they should be at the heart ofyouth-centre organisation, designing the programmesof activity themselves. Being involved in management

and decision-making is also an opportunity to gainexperience and new skills.

a to s o o t n t s Young people want places where they can discovertalents, develop skills and showcase abilities. Theircentres should act as a route to further educationand work, providing them with guidance and training.

a ss b t nd n s v tIt is important to clients that their youth centres areopen to people of all ages, genders, ethnicities andabilities. There should be extended opening hoursand wheelchair access throughout.

Communicating a positive image Young people are keen for the local community toknow about the positive activities going on in theiryouth centre. Design is one way to communicatethis, such as creating a shop window or a streetthrough the building, allowing people to see whatgoes on inside.

Enterprise and income Young people are very entrepreneurial and want high-quality facilities that can generate income. Across the15 projects, a caf was a popular idea for revenue,along with ticketed events and performances.

Reputation and identity All the joinedupdesign for myplace client teamsunderstood the importance and advantages of aneffective name and brand for their centre. They wanteda strong brand that represents them in a positive wayand will attract young people to the centre.

S st n b d s n Young people are concerned about their environmentand issues of sustainability. During the programme,the clients asked for their centres to be energy-efcientand made from environmentally friendly materials.

lo t on nd v s b t Young people want their youth centres to be highlyvisible landmarks that also t in with local architecture.

They want them to be located at the heart of thecommunity, helping young people to feel respected,proud and valued.

Somewhere colourful Young people ask for vibrant, dynamic, moderninteriors that use colour to enhance mood and help

with waynding. They like the idea of using large wallgraphics to animate and explain different spaces.

f x b s s Young clients recognise that having multifunctionalareas can help overcome space and budgetrestrictions. A dance studio might double as adrama space or an indoor sports hall, for example.

D d t d s s Youth centres also need spaces dedicated to certainactivities. Young people ask for special areas for usingcomputers, studying, holding meetings and learningspecialist skills.

Outdoor spacesOutdoor spaces are a priority for young people,providing alternative areas for performance, sportsand socialising. During joinedupdesign for myplace,some clients were keen to develop kitchen gardens,art studios and skate parks. They were clear that carparks should not be intrusive or dominate the site.

a w o n nt nFeeling welcome and secure as they walk into theircentre is crucial for young people. Cafs or galleryspaces could be positioned at the front of the buildingto attract users and the wider community.

Safety and security Young people stress that everyone should feel safein their youth centre, and free from concern aboutbullying or theft. However, they do not want securityto present a physical or mental barrier to visitors.


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The Sorrell Foundation 201018 The process

p nn n &preparation

D b 2008Th conv s t on: t n s, v s ts, wo sho s, d v o n th b

Through the joinedupdesign formyplace process weve been ableto recruit more young people andreally work together as a team.Client, Torbay


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The Sorrell Foundation 2010 19The process

Over the past ten years, the Sorrell Foundations joinedupdesign process for linking young peoplewith creative professionals has been employedin a variety of architectural, design andeducational projects. The process was adaptedto suit the myplace programme and used withall 15 joinedupdesign for myplace projects. TheDCSF asked the Sorrell Foundation to work withthe bid teams during the six months before thedeadline to submit their capital and businessplans to BIG Lottery. The projects ran at differentspeeds depending on local circumstances.

Three Sorrell Foundation project managerscreated a link between the client, bid andcreative teams. They each worked closelywith ve projects, coordinating meetings andvisits, and helping to develop the youngclients understanding of design. A projectleader and assistant provided support acrossall 15 projects, and kept in touch with theDCSF and BIG.

The concepts Final presentation Next stepsc b t on

THe prOceSS

I liked the process. I feltwe had been listened to.Client, Hornsey


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The Sorrell Foundation 201020 The process

p nn n & t onEngaging the design communityIn December 2008, the Sorrell Foundation invitedleading designers and architects to an event aimedat encouraging them to participate in the myplaceproject. The event was held at the Young DesignCentre at Somerset House. Lucy Parker, Chair of the

Talent & Enterprise Taskforce, emphasised the benetsof linking the UKs world-class creative industries tothe youth provision network. The designers andarchitects, who would be awarded only a smallhonorarium for their participation, unanimouslyexpressed their wish to engage in the programme.

Those who became involved showed enormouscommitment to their young clients, giving far more timeand carrying out more work than anyone expected.

S t n th b ds The Sorrell Foundation team examined the 41 bidsthat had been submitted to Big Lottery Fund (BIG)and, in January 2009, worked with the Department forChildren, Schools and Families, and BIG, to identify15 projects to support. The Foundation studied thebids so that community context and the role of localpartners was fully understood. Some proposalsincluded refurbishments of listed buildings; others

were new builds. The selection was made on thebasis of the bids architectural challenges, togetherwith their proposals for creative and social activities.In the spring, the Foundation met the selected bidteams and visited the proposed sites.

Selecting the teamsEach bid team was asked to select a group of localyoung people to act as the client team; their rolewas to advise design professionals about what localyoung people wanted for their new youth centre. TheFoundation then assigned creative teams, choosingarchitects, branding experts and creative adviserssuited to the needs of each project. Many had previousexperience of working with young people as clients. Insome cases the local bid team had already appointedan architect; these architects were invited to join thecreative team, and were briefed by the Foundation onhow to work with young clients.

The conversationClose cooperationGuided by the Sorrell Foundation, the young clientteams embarked on a six-month conversation withtheir creative teams. This was made up of a seriesof structured meetings designed to develop a closeworking relationship and ensure that the youngpeoples ideas and needs were incorporated into thedesigns. Most meetings took place on or near the siteof the proposed new youth centre, while others werearranged at architecturally signicant venues andincluded tours to help inspire the teams thinking.

The meetings helped the clients develop their briefand guided the creative teams in their response.

First meetings The rst meeting between the Sorrell Foundation

and the young client team provided the clients withan insight into design, explaining how it could helpthem create a rst-class youth centre. The Foundationalso explained how architects and designers clientsget great results. At the rst meeting with the youngclients, the creative team presented their credentialsand talking about previous projects. The clientsexplained the particular challenges of their locationand the community context before discussing the

proposals outlined in the original bid.

Workshops and inspirational visitsMost of the young client teams came to London tovisit the Sorrell Foundation Young Design Centre atSomerset House, taking part in intensive workshopsfocused on developing their briefs. There wereworkshops in the morning and, at lunchtime, a

marketplace forum giving the clients access toindustry professionals who offered advice on variouspotential elements in their youth centre. The forumincluded experts in performing arts, fashion, lm,exhibitions and displays, music production, marketingand fundraising, restaurant/caf provision and productdesign. After lunch, the clients took part in a brandingworkshop. Later, they visited inspiring places includingthe Roundhouse in Camden, the Southbank Centreand the Trinity Laban conservatoire of music and dancein Deptford, to learn about architecture and design and

how it could be applied to their own projects.


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D v o n th d s n b The London trip was followed by meetings facilitatedby the Sorrell Foundation, during which the youngclient teams became more knowledgeable and self-condent. In response to the client teams input, thearchitects and branding experts created initial conceptsfor the new youth centres. The available budget waspart of the conversation. To help generate more ideas,the client teams were taken on additional inspiringvisits. They learnt to question the evolving conceptsand became very vocal in stressing the need forimaginative, clever design, good use of light and colourand the creation of a welcoming, secure atmosphere.Many client groups chose to carry out widerconsultation of young people in their area; they did thisonline, in their schools, and on the street. They also

held a series of meetings with their bid teams to gettheir feedback. Sorrell Foundation project managersorganised communications, kept everyone in contactand recorded ideas as they developed. Theconversation ensured that the creative teams deliveredwhat the young clients really wanted, while takinginto consideration wider viewpoints. Through thismethod, each youth centre evolved its own unique,and local, identity.

Previous spread: A series of imagesfrom (left to right): Stowmarket, Brent,Hornsey, Brent, Newcastle-upon-Tyne,and the celebration day.

Left: An Oldham client team memberdiscusses an architectural model witharchitect Mike Davies CBE

The creative team has reallytaken on board what we havesaid. It feels very inspirationalto see the results.Client, Bristol


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D s n con tsFinal adjustmentsIn July 2009, the creative teams began presentingnal architectural and branding concepts to theclient teams. In most cases, the architects anddesigners went beyond expectations, producingplans, physical models and computer-generatedy-throughs to illustrate their concepts. Designersshowed how their brand concepts could appearacross a range of applications, including signage,stationery and T-shirts. The clients suggested naladjustments to the concepts and began rehearsalsfor presenting the designs to stakeholders.

Concept presentationsBetween July and September, having taken ownershipof the design concepts, the young clients madepresentations of the architects and designers work.

To tell the story of how the ideas developed, they usedslide-shows, 3D models and, sometimes, performanceart. Their audiences included MPs, mayors, localcouncillors and council ofcers, representatives fromBIG, the DCSF, the Talent & Enterprise Taskforce, andthe bid team, local residents, other young people andthe press. The venues for the presentations variedfrom the site of the proposed build to iconic localbuildings. The young clients were enthusiastic andarticulate in their presentations, and in handlingquestions from the audience and the press. All thepresentations were well received.


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Opposite: Torbay clientteam members hold upFeilden Cleg g BradleyStudios architecturalmodel outside ParkfieldHouse following theirfinal presentation

Right: The Bristol clientteam celebrate thelaunch of their brandand the architecture oftheir new youth centre

c b t on The Sorrell Foundation hosted a major event atCentral Hall Westminster in October to recogniseand celebrate the young peoples achievements andthe generous input from the creative teams. Almostall the client teams were able to attend and were given

T-shirts bearing the logo of their centre. A displayshowed the concepts for all 15 projects, giving clientsthe opportunity to see what had gone on in otherlocations. The event was compered by Radio 1 DJRas Kwame, and Joel Rundle, a member of the Bristolclient team. Short lms about each project werescreened, and every young client received a certicateto recognise the value of their contribution. A streetdance group, Vortex, performed in the intermission,and music was played by DJ Klose One.

Next Steps The Sorrell Foundation has fostered good relationshipsbetween the client teams and adult stakeholders,helping to ensure that the young peoples wishes arerespected. Some client teams have been involved infurther presentations for example, the Wakeeldclient team repeated their presentation to theConfederation of Heads of Young Peoples Services.Some of the bid teams have continued to work withtheir branding consultants who, in some cases, havegiven their clients work experience at their studios.Many bid teams have suggested that elements ofthe architectural and branding concepts will be takenforward, and that they will continue to listen closelyto input from the young clients, all of whom havebecome experts on the design of their youth centres.


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The Sorrell Foundation 2010 25The projects

THe prOJecTS

The 15 joinedupdesign for myplace projects are located in inner city,rural and coastal towns across England, from Newcastle-upon-Tyne

in the north, to Torbay and Hastings in the south. The projects rangefrom new builds to listed-building refurbishments. On average, theclient teams were made up of 12 people, and included youth councilrepresentatives and people not in education, employment or training.

The clients ages ranged from 923; the average age was 16.

We want it to be a place

where every young personcan go and feel safe andcomfortable.Client, Hastings

Newcastle-upon-Tyne clients discuss thepossible content of their youth centre


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The Sorrell Foundation 201026 The projects

BaTH The Southside Youth Centre is functioning but run-down. Theclient teams brief asked for a welcoming, colourful and inspiring

refurbishment that could also serve as a social space for thewhole community. SHH responded with a design concept thatuses the outdoor area to attract visitors to the centre, opening upthe entrance and making it fully accessible. The branding graphicsare vivid, energetic and colourful, both inside and out. The bid teamhas taken SHHs concept forward, making amendments to meetplanning permission requirements. The client team remains anintegral part of the project.

Bid team B th & No th e st So s t co n

Client team 5 local people aged 15 18

a h t t nd b nd n SHH

Creative content advice ann en

Branding for a Southside MobileProvision Bus features a dramaticmontage of the activities people canexpect to find at the refurbished youthcentre. It will be used to take media,learning and counselling provisionout into north-east Somerset.

The client team discusses thebrand at the Sorrell Foundation

Young Design Centre

SHH created a strong, recognisablelogo. The clients pointed out that itwas hard to find the entrance to theexisting Southside Centre, so SHHdeveloped the design into a 3D signfor the top of the entrance ramp,accentuating the main entrance tothe building.


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Above: Cross-section revealing thelower ground floor, and elevationshowing the main entrance. Timber-effect cladding is combined withcoloured panels, answering theclients request for bright colourswhile remaining sympathetic tothe surroundings.

After presenting the design conceptsto a large audience, the team was givena plaque for the finished building

Right: In the multi-use outdoor games and socialspace, a woven-mesh screen answers the clientteams concerns about security while providingsupport for climbing plants. Totem poles, madefrom reclaimed telegraph poles, with paintedcolour bands, shield the view of the youth centrefrom the nearby houses. The north elevation (atthe bottom of the image) shows how colouredglazing breaks up the buildings bulk.

The centre is for thecommunity, not just forus. We made a decisionto open it up to thecommunity ourselves.Client


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BirmiNgHam This myplace bid is for a new build on the site of the demolishedLongbridge Rover car plant it will be one of the rst new buildings

to be constructed there. The clients wanted a modern building witha large, well-equipped performance area, and plenty of facilities fortraining and study. They gave the creative team a detailed brief,outlining how they wanted the centre to look and feel and askingthe architect and designers to reference the heritage of the site.

The creative team responded with the concept for the Factory, aplace where people come together and things are produced andachieved. The bid team is understood to be going through thetendering process to procure an architect.

Bid team Birmingham City Council

Client team 9 people from the project areaaged 1317

a h t t m s B d a h t ts

Branding int b nd

Creative content advice e z b th l n h

The brand concept was inspiredby an aerial photograph of Minis

parked at the Longbridge plant

Interbrand presented a number of executions fortheir branding concept, using language inspiredby factory signage. These included T-shirts andposters advertising activities on offer at the centre.

Right: The client team duringa flight on the London Eye with

Steve Chilton of Marks BarfieldArchitects (left), part of the teamwho created and designed it


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Above and right: The final design conceptincorporates a roof with a saw-toothshape, inspired by a drawing from one ofthe clients. The pattern from the branding

concept is used to create windows.

The clients present the

design concepts at HillscourtEducation Centre, Birmingham

Below: The reception and ICT suiteas they would look inside the Factory,decorated using the brand colours


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The ground floor includes a reception/caf/chill-outarea; reception and office; entrance corridor, accessedthrough sliding glass doors; performance/sportshall with a door leading to the exterior and potentialfor building a stage outside; TV/green room for

screenings; training kitchen; dance space; changingrooms, toilets and disabled toilets

The first floor houses a mediacentre and group training room

The architects provided the clients with a floor-by-floor breakdown of the building and its spaces:

The branding concept and building design of the


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Factory closely relate to each other, and were producedas a result of a close collaboration between Interbrandand Marks Barfield Architects. The sweeping curve ofthe faade is designed to reflect the idea of open arms,and was introduced in response to the clients requestfor a welcoming feeling.

The second floor has a recording studio, equipmentstorage, group room, toilets and disabled toilets

The third floor includes a group room, health centre,

main offices, young peoples offices, plant room,toilets and disabled toilets

BRENT


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BRENT The Sorrell Foundation and Urban Salon recruited the client teamfrom a local youth forum. The clients wanted the Roundwood

Club, a youth facility by a local park, to be rebuilt as a high-quality,eco-friendly building with world-class performance and socialspaces. They also wanted to improve the centres visibility andmake it easier to access. Urban Salons concept includes a central

street that draws visitors in from the existing main entrance anda new one on the park side. The arrangement of dramatic timber

parasol canopies brings light and drama to the building. GTFsbold branding reects the colours of the surrounding park andresponds to the clients brief to keep the Roundwood name central.

The design concepts have been handed over to a contractorappointed by the bid team from their procurement framework.

Bid team Brent Council

Client team 10 o n o d 15 20,representing a range of localyouth groups

a h t t u b n S on

Branding g h Tho ht f t (gTf)

Creative content advice William Warren

Below and opposite, middle left:Flexible branding makes it easyto emphasise different activities

The brand was applied to T-shirts,which the client team wore for

their final concept presentation

I think what we need is somethingthats gonna stick out, thats gonnabreak the mould in Brent.Client

A client presents different roofingoptions to the local youth forum


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options to the local youth forum

Right: The main reception within the streetBelow: One of the entrances to Roundwood, showing the parasolcanopies designed to attract attention from the nearby park. Thiswas the option chosen by the Brent Youth Matters 2 Forum.

Roundwood Hill is an integral part of the youth centredesign and would be created from the rubble of the


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gold building. This visualisation shows an audience onthe hill watching a concert taking place in the flexibleperformance and sports space on the first floor.


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BriSTOl


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BriSTOl The Bristol project proposed the conversion of a listed formerre station in the town centre. The clients want a space in which

to showcase their talents and provide them with training and theinspiration to learn new skills. They asked for a caf, completewith training kitchens, to be a central element. Stride Treglownsrefurbishment concept includes a dramatic entrance featuringlarge red re-station doors with copper canopies. This would leadinto the caf, which offers a secondary performance space. Afterseveral sessions with SPY, it was decided that the centres nameshould simply be The Station, to recognise the sites heritage; aame symbol completes the identity. The client team has sincemade several presentations to groups of stakeholders andremains an integral part of the project.

Bid team Young Bristol


a h t t St d T own, o nt db th b d t

Branding Spy

Creative content advice ann en

Above and below: Thebrand and flame icon

Hoarding around the Grade II-listed building duringthe rebuild could display large-scale branding

The client team on a tourof the Paintworks, a collection

of artists studios in Bristol

When I look at the brand, itlooks like our work. SPY really

listened to what we said.Client


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The first floor contains art studios,an internet caf, chill-out space and

radio production facilities

Refurbished fire-station doors will bea prominent feature of the new centre

The clients presented to an audienceof over 200 people, launching the brandwith lights and banners. One team memberperformed a song he had written about whyhe loves living in Bristol.

The caf retains the fire-station doors

and includes a training kitchen foryoung people

DONcaSTer


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DONcaSTer The bid proposed youth facilities on two sites, serving two differentcommunities in Doncaster: Bentley and Conisbrough. Unfortunately,

the project sites in these locations were not secured during the joinedupdesign for myplace programme, which prevented designconcepts from being developed. Despite this, the informed andenthusiastic clients are ready to engage with the project in thefuture. Their brief, detailed below, is part of a larger documentgiven to the bid team by the Sorrell Foundation in 2009, so theconversation can continue. The young client team met theircreative team on several occasions, and participated in workshopsat the Sorrell Foundation Young Design Centre at Somerset House.

They also visited the studio of Bauman Lyons Architects in Leeds.

Bid team Don st m t o o t n Bo o h co n

Client team 16 people aged 1317 from schools

in the 2 project locationsa h t t B n l ons a h t ts

Branding and edw ds D s n

Creative content advice John N wb n

Building design Bright, vibrant colours inside and panels of colour

on exterior walls and windows Simple glass faades so you can see whats

happening inside from the outside Unbreakable windows and vandal-proof fencing Unusual, modern architectural shapes that are in

sympathy with the surroundings A mix of modern and natural materials, such as glass,

stainless steel, some wood and oxidised copper A welcoming, vibrant atmosphere An open-plan design, especially for social spaces Big, bold signage Something eco-friendly and sustainable

So s s, n t ons nd v nts A community caf serving drinks, snacks and

full meals A caf staffed by young people, serving meals

to OAPs during the week Sunday roasts An outdoor space for eating and socialising A large, comfy social space Colourful, individual, robust furniture, including

hanging chairs A payphone (for when they run out of credit

on their mobiles) A green roof-garden for sunbathing Sleepover facilities Social trips to places of interest Separate days and events for young people of

different ages

Management and supervision Open every day from 10am Closed by 10pm, in time for the last bus Minibus service to make sure everyone can visit Mother and baby sessions during school hours Five-a-side football tournaments, lms and parties

during weekend afternoons and evenings A Saturday-night bar serving non-alcoholic cocktails Suggestion box for additional activities Security, including membership cards, CCTV

monitoring, a set of rules and bouncers

The clients visit the studio of

Bauman Lyons Architects in Leeds


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a ts nd nt t n nt Creative space for arts, craft and fashion, along with

a gallery space to exhibit work and a grafti wall Music facilities with state-of-the-art DJ decks and

mixing equipment in soundproof rooms A dance studio, rehearsal rooms, performance spaces

and dance instructors A stage and performance space A games room complete with pool tables, air hockey,

board games, video games, arcade games anddance mats Photography and lm-making studios, with image-

and lm-editing computer equipment An ICT suite A cinema space A community radio station broadcasting throughout

the centre and on the internet

Sports and exterior A spacious indoor gym with modern equipment,

including weights and treadmills An indoor skate park/BMX park Facilities for tness exercises like aerobics Proper changing rooms, with power showers

in cubicles with mirrors, hair-dryers andtemperature controls

Secure lockers Outdoor courts and pitches to make use of

the green spaces around the sites Parkland areas with outdoor seating and

social spaces, owers and a kitchen garden Unusual sculptures

adv , s o t nd n n Careers guidance, with career ofcers on site during

the week and at weekends Rooms with internet access dedicated to homework

after 7.30pm Hair and beauty training salons open at the weekend Sociable, friendly, qualied staff providing supervision Vocational training, teaching anything from running a

small business to mechanics and motor repair

Training for young people to become supervisors Advice and health clinic, open all weekend A training kitchen

A workshop in London

The clients engage in a mappingexercise, looking at existingfacilities around their sites

A mood board created by the clients

HaSTiNgS


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gSt Mary in the Castle, a listed Georgian church on the Hastingspromenade, was a controversial choice for a new youth centre;

local groups cherished the building and were concerned aboutits suitability for use by young people. The client team proposedimproving the auditoriums acoustics and, drawing inspiration froma visit to the Roundhouse in London, was keen to turn the cryptsinto music studios. CTM suggested opening up the buildingsfaade with an expanse of glazing to reveal an inviting caf andbox ofce. Rob Andrews worked closely with the client team todevelop the centres name, The Point. One client, a designstudent, came up with a concept for logo design and developedit with Robs support. The client team gave two presentations ofthe nal concepts to accommodate demand; local people werereassured that the former church was now in responsible hands.

Bid team H st n s T st

Client team 8 H st n s yo th co n b s

aged 1419a h t t cTm a h t ts nd Jon th n D nn

a h t ts, both o nt d b thb d t

Branding rob and ws


A visit to the Roundhouse inLondon was an important

part of the conversation

Business cards, with theclients vision on the back

Above and below: Logo and guidelines developedby Rob Andrews, with a client design student,during a day of work experience


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HOrNSey


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y The clients want to turn the historic baths on Hornsey Road,Islington, into a world-class performing arts centre for young

people. It would also be a hub for the creative industries, withan art gallery, dance and music studios, and a theatre space. Architects from VHH were seconded to the creative team andbriefed on working with young clients. The architects respondedto the clients brief by positioning the caf at the front entranceto attract the public, and by designing exible interior spaces thatcan be adapted for current and future uses. VHH also includedacoustic insulation to prevent disturbance to neighbours in nearbyats. Morag Myerscough worked with the client team to reect thehistory of the building through words and graphics. Together theygenerated a range of potential branding concepts, turning a poemwritten by the clients about the space into a slogan for the centre.

The young advisers will remain involved throughout the project.

Bid team Islington Council

Client team 14 o dv s s, d 1517,

t d b th b d t nds o t d b a ch n , community arts organisation

a h t t V n H n n n & H w d a h t ts(VHH), o nt d b th b d t

Branding Studio Myerscough


The clients decided to name rooms accordingto how they wanted the spaces to feel. Forexample, the main performance space mightbe called soap box.

Choosing branding optionswith Morag Myerscough

Near right: Residentialflats share the courtyardspace (the youth centreand its entrance are on


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and its entrance are onthe right)Below right: The viewinto the courtyard

Far right: VHHs sketchshowing the youth centreentrance was submittedto Islington Councilduring the competitivetendering process

green room/chill-out

Line of flats above

Line of new

lift beyond

New roof on line of existing roof withacoustically massive construction

New roof and roof light

Line of existing roof

New floors and stairswith voids to allow light

down the stairwell

Walls lined and windowssecondary glazed

Dotted lines show levels oflandings behind

Level of floor regraded for easy access

workshops

meeting room

media studios

caf/entrance

performance space

performance space

Cross-section through the youth centre

A poem written by the client team,which Morag used to develop her

branding ideas

The client team celebrateafter their concept presentation

It is importantto relate thearchitecture to thehistory its aboutrelating somethingpersonal.Client

NeWcaSTle-upON-TyNe


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The site for the Newcastle-upon-Tyne project is a listed 19 th-centuryschool building in the city centre, together with part of neighbouring

Newcastle City Pool. The clients want a sustainable, colourfulyouth centre with exible spaces and a shop window to give itstreet presence. Fletcher Priests concept includes a transparent

pavilion at the front of the building and exible areas inside tomaximise use of the restricted space. The architects alsointroduced a range of environmentally sustainable features andproposed turning the existing chimney into a colourful landmark.Elmwood worked with the clients to generate several brandingconcepts, which the clients presented to local people via streetquestionnaires and Facebook, nally choosing to name theircentre The Link. The design and architecture concepts havebeen handed over to the bid teams in-house architects, whowill take the project forward. The Sorrell Foundation brokereda relationship between these architects and the client team;they still meet regularly.

Bid team Newcastle City Council


a h t t f t h p st a h t tsBranding Elmwood


The client team chose the roller-brusheffect logo from a range of options, andselected the colours themselves. Theywere enthusiastic about ideas forpossible executions, including namebadges and external signage.

The clients with Keith Priest at theFletcher Priest studios in London


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Fletcher Priests concept creates a sequence of flexible spaceswithin the existing building. The plans involve a 21% increasein efficiency, equivalent to 100m 2 of additional space.

Fletcher Priest gave the clients a seriesof drawings to help them understand thebuildings context and architectural heritage

A member of the client team isinterviewed after the presentation

Fletcher Priests concept includesa pavilion that would extend thelisted building, and turns the chimneyinto an illuminated, coloured beacon


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The client team felt strongly that the name

The client team deliver the finalpresentation at East Ham Town Hall


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The client team felt strongly that the nameshould be visible on the buildings exterior

At the moment, the site is a big emptygreen canvas with a couple of trees,but we have the vision, the power andthe opportunity to make it so much more

than this. To make it the site of the bestyouth centre in London.Client

OlDHamThe Oldham proposal is for a centrally located world classBid team OnSide North West


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The Oldham proposal is for a centrally located world-classbuilding to attract the towns diverse mix of young people. Theclients wanted a unique building that stood out; they found theoriginal proposal boxy and asked for something with morecurves. They also questioned the predominance of sports facilitiesover those for arts, music and performance. After consultationwith Mike Davies at the studios of Rogers Stirk Harbour + Partners,architect Mark Serventi took his original model and sawed it in half,creating a street through the building as the main architecturalfeature, and adding curves to the roof. Rob Andrews reected thisin a stencil typeface that divides the lettering in two. He based thelogo design on the clients idea of turning Oldham on its head tocreate the name Mahdlo: Oldham spelled backwards. The clientteam remains an integral part of the project, and Mark Serventicontinues to develop the building design.

Bid team OnSide North West

Client team 16 o , d 12 19, o

consultation group of 40 local peopleConsulting architect m D v s cBe o ro s St H bo

+ p tn s ( t n nd nd nt ),ss n d b th So fo nd t on

a h t t m S v nt , e W ht g o ,o nt d b th b d t

Branding rob and ws


Top left: The void in the O ofMahdlo represents the divisionbetween the two buildingsLeft: The logo created by Rob Andrews

Mike Davies had special badgesmade for the client team

Were everything youexpect from Oldham,turned on its head.Client, Oldham


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Gymnasium (above) andcinema/theatre (below)

Sports hallAll-weather multi-usegames area

The street

Entrance actingas a glass beacon

Stepped amphitheatre for performance,watching cinema or chilling out

Accommodation block formanagement, training

and counselling

Mark Serventis renderings for the scheme

Team members with their Mahdlo medallions

STOCKTON-ON-TEES The Stockton-on-Tees bid was for an inspiration, creativity andBid team Stockton-on-Tees Borough Council


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p yentertainment centre a new build on a site that will also housea new school. The clients conducted extensive research intoStockton-on-Tees architectural heritage, wanting to reference localindustry in the buildings design, style and materials. BDP workedclosely with the clients, the bid team and the councils in-housearchitect on the use of space. Offering three options for thebuildings design, they helped transform a proposal that containeda large proportion of ofce space into one in which the majority isdedicated to young people. Atelier Works produced two brandingoptions, both reecting the clients wish for the centres identity tobe about energy and industry. The bid team is continuing the

development of the centres design.

g

Client team a o o 8 o o d 14 22,

nd w d o o 35 who ont b t dto meetings

a h t t B d n D s n p tn sh (BDp)

Branding at Wo s


Quentin Newark from Atelier Works described theStar brand option as quite literally a ball of energy.It shines out. It influences us. Its high up, we talkof reaching for the stars, of exceeding ourselves.A star is something special, a promise, a hope.Constellations make up different activities on anadvertising poster for the centre (below).

Clients discuss performance spacesduring a workshop in London

The other option Quentin developed was Zagzig: Thisname reverses the conventional order. Zagzig is aboutenergy. Its a lightning bolt. Its about radical switchesin direction. First you zag, then you zig. Its aboutspeed, dynamism, movement. Its about change.

OPTION 1:THE HUBKey FeaturesOpen-plan social hub

Activity roof Social hub Functional & iconic


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SpaciousPublic identity Flexible spaces

Activity roofSkate parkOpen-air cinemaBasketball court

OPTION 2:COURTKey FeaturesSecluded, protective environmentPersonal scaleGarden spaces + microclimateFlexible spaces

Activity roof

OPTION 3:STEPPING STONESKey FeaturesPavilionsSocial street

Building in landscapeIconic presence on streetDistinct territories

53The projects

Courtyardmicroclimate Personal scale Activity roof

Landscape roof Active edge Internal street Iconic pavilion forms

BDP presented three options for thebuildings design to their clients

STOWmarkeT The Stowmarket project, a new build on a main road into the town,Bid team Suffolk County Council


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will provide a landmark for the community as well as recreational,leisure and training activities, and emergency accommodationfor young people. In response to the clients brief, Gumuchdjian

Architects designed a modern building that stood out from, andyet worked with, surrounding architecture. Rooms for individualactivities are connected by a naturally lit avenue through thebuilding, itself a social space. The centres name, The Mix, wasgenerated in branding workshops with Pentagram. The X waspicked out as a logo because X marks the spot and because itreferences XCHANGE the projects original title. The design andarchitecture concepts have been handed over to the bid teams

in-house architects, who will take the project forward. The SorrellFoundation brokered a relationship between these architects andthe client team, who are still meeting regularly.

Client team 11 local people aged 1420

a h t t g hdj n a h t tsBranding p nt


The client team chose the name TheMix for its simplicity and flexibility

The clients visit SomersetHouse, London


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The Mix the gateway toStowmarket would be one

of the first buildings yousee as you enter the town

Philip Gumuchdjian presents his design conceptto the clients in the form of a model, during a

visit to his London studios


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Gumuchdjian Architects designed a glazed piazza thatallows young people to see all the activities on offer,and doubles as a social space. The client team plansto hold exhibitions showcasing local young talent here.The reception desk, located in the heart of the piazza,would be managed by young people. A caf at the frontof the building is designed to attract and serve young


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of the building is designed to attract and serve youngpeople, and the whole community.


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Tr r

Tr r l l r


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r l r Tr l

r r

7 r r

r r

l r

l - r l . 7

Above: The client team, bid team and designerwear their Parkfield branded T-shirtsLeft: An overhead rendering shows the locationof the proposed buildingBelow: The sports and performance space, withskylights bringing in plenty of natural light


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TraffOrD The Trafford project is a new build on school grounds. Theclients want the best performance venue possible, as well asexible spaces for relaxing and getting advice and training They

Bid team B o do S hoo , w th p t n tonnd c n ton yo th p tn sh

l l l l d


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exible spaces for relaxing and getting advice and training. Theyalso asked that the architecture be unique, acting as a locallandmark and separating the youth centre from the school. EWAdevised a concept based on building blocks tumbled together representing the different types of people and activities mixing inthe centre. LOVE worked with the clients to generate The Fuseas a brand, which suggests a dynamic, explosive melding ofminds and talents. The clients repeated their nal conceptpresentation for a variety of audiences and two of the clientsspent a day working at LOVEs studios, where they learnt how

to apply and manipulate the brand.


a h t t e s W s a h t ts (eWa),o nt d b th b d t

Branding lOVe


The designersdemonstrated how the

brands font could beused to advertise events

The design for the word the suggests alength of fuse leading towards dynamite,a medium for high energy and activity

Team members take part in anexercise to assign budgets to

spaces using fake money


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WakefielD The Wakeeld bid envisages one youth centre serving ve localtowns. It will be attached to, and share facilities with, a newvocational centre. The clients are keen to keep the vocational

Bid team W d m t o o t n D st t co n



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Andy Edwards offered several branding options: asingle pentagon shape denotes the five towns servedby The Hut. Most of the clients preferred the optionwith the five coloured pentagonal hoops.

The clients on a visitto Leeds Museum withAndy Edwards, to seean exhibition he and acolleague had designed

pfunction distinct from the youth centre. To achieve this, BaumanLyons responded with an E-shaped plan positioning sharedfacilities in the central arm and creating exterior social spaces inbetween. Responding to the briefs emphasis on sustainability,they suggested a biomass boiler, solar panels, a rain collectionsystem, natural ventilation and plenty of natural light. AndyEdwards proposed three design options for The Hut, a namethat the clients felt suggested a safe and friendly atmosphere.His designs employ a pentagonal shape referring to the ve

towns served by the centre. The client team has repeated theirnal concept presentation to the Confederation of Heads of

Young Peoples Services and remains involved in the project.

a h t t B n l ons a h t ts, o nt db th b d t

Branding and edw ds D s n


The courtyards located between thethree units. The clients liked the timbercladding, which they thought was softer

than brick or stone.


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The faade is made of coloured glass (not shown), and theexterior is further enhanced with brick, zinc and timber. TheHut is the building on the right. Glass pods at the front arefor breakout and relaxation.

The Hut andvocational centrein Airedale

The client team present tostakeholders and local councillors


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The Sorrell Foundation 201066 Whos who

Bristol

Birmingham

Newham

Oldham Stockton-on-Tees Stowmarket

Trafford Wakefield

BrentBath

Hastings

Hornsey Newcastle-upon-Tyne

Doncaster

Torbay

WHOS WHO


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The Sorrell Foundation 2010 67Whos who

The clients worked in 15 teams, each made up of around10 young people. They were appointed through existing youthgroups and through applications and, for many, this was the rst

time they had met. Each team formed a good bond and all hopeto stay involved with the projects as they develop in the future.

They were debating witheach other and coming upwith ideas. Thats what youget with young people honesty which you dont

get anywhere else. Nothingstops them from sayingwhat they think.Stavros Nissiotis, FletcherPriest Architects

Client team representatives at the endof their celebration day in Westminster


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The Sorrell Foundation 201068 Whos who

Graphic Thought Facility Frieze Art Fair logo

Gumuchdjian Architects The St Marylebone CE School, London

InterbrandBrand identity for Geneva-based airline Baboo

LOVEThe Game logo forSony Playstation

ElmwoodDurex packaging and branding

Feilden Clegg Bradley StudiosAccordia housing, Cambridge

Fletcher Priest Architects One Angel Lane, London

BDPBridge Academy, London

Andy Edwards Design Counterflow, West Wall,Neville Street, Leeds

ArthurSteenHorneAdamson Identity for The Dukeof Edinburgh Award

Atelier Works Data face logo designed forthe British Council

Bauman Lyons Architects Flaxengate, Lincoln

Rob Andrews Chambers English Dictionary

Marks Barfield ArchitectsLondon Eye PentagramLondon Design Festival Rogers Stirk Harbour + PartnersHeathrow Terminal 5, London SEAJamie Oliver brand

SHHAcland Burghley School, London

Studio Myerscough Barbican signage, London

SPYFamily action

Urban SalonFalmouth School Design & Technology Building, Falmouth


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The Sorrell Foundation 2010 69Whos who

The designers and architects who worked on joinedupdesignfor myplace are some of the UKs leading practitioners. Their

work includes workplace, residential, retail, restaurant, exhibition,

arts and leisure, and health and education projects. The Foundationalso works with respected designers in fashion, graphics, web,identity, product, digital media, packaging and communication.Some are large practices of international repute; others are smallerorganisations with niche expertise. All excel in two key ways: theirdedication to the creation and delivery of buildings, environments

and products that are imaginative, sustainable and enjoyable to use;and their expressed interest and skill in working with young people.

I really enjoyed workingwith the architects. Theywere so professional andtheyd listen to us, and wecould learn from them.Client, Stowmarket

Clients from Newham being presented with certificatesby their creative team at the Westminster celebration event

THaNk yOu The Sorrell Foundation would like to thank everyoneinvolved with joinedupdesign for myplace.


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The Sorrell Foundation 201070 Thank you

Client teamsFrom Bath, Birmingham, Brent, Bristol, Doncaster, Hastings,Hornsey, Newcastle-upon-Tyne, Newham, Oldham, Stockton-on-Tees, Stowmarket, Torbay, Trafford and Wakeeld, including:

Amal Abdi, Joshua Adejokun, Mohammed Adil, Kelly Adlington,Sandra Afeku, Awais Ahmed, Michael Aitcheson, Alexander Aitken,

Hani Ali, Niall Anderson, Saima Anwar, Roble Ayele, Laura Baptist,Faith Baror, Tom Beach, Courtney Beckford, Nazma Begam, RabiaBegum, Salma Begum, Sharmin Begum, Shuheena Begum, JordanBenoit, Zachary Bergman, Sherine Berry, Lauren Best, AndrewBilbrough, Chantelle Birtwistle, Lily Bland, Lorna Boulton, MatthewBowcott, Will Bowles, Joshua Brierley, Heather Brigham, StaceyBritton, Sheralyn Bullock, Nicki Butereld, Abby Calley, PeterCalley, David Carr, Lucy Carter, Danny Cave, Simran Chopra,Mainuddin Chowdhury, Anna Christie, Ryan Clarke-Lockhart,Mark Clifford, Alan Collins, Wendy Connor, Josh Cook, DaleCrosby, Laura Crosby, Becca Dale, Lea Day-Lemathy, Amy Dixon,Garth Dixon, Carlisha Dixon-Williams, Chloe Dougherty, SymoneDougherty, Ashleigh Edwards, Bayo Egunlae, Sheena Evans,Laurence Farndale, Daniel Farr, Oli Fawcett, Becki Fox, JordanGee, Sesen Ghezai, Gino Gibilaro, Jessie Gill, Tamsin Gittings,Gina Gray, Lizi Gray, Emily Greasby, Jack Greaves, TylerGrimwood, Kirsten Hall, Rachel Harden, Zoe Harding, JoanneHeeley, Rebecca Henshall, James Hillier, Emily Hogg, PatrickHolield, Mike Hollield, Simon Holt, Matthew Houghton, Moses

Howe, Kelly Hubback, Claire Hughes, Laura Humphreys, AlexIgoe, Callum Ince, Kerry Irvine, Becca Jackaman, StephanieJepson, Lizzy Johnson, Michael Johnson, Shornie Johnson,

Aaron Keller, Charlotte Kilroy, Jennie Kite, Annabelle Knock,Nathan Knock, Connor Knowles, Sapphire Lacey-Wilson, MeganLane, Connor Lovell, Charlotte MacDonald, Oliver Maddock,William Maddock, Helen Madgwick, Razwana Mahmood, FentonMann, Kiah Manning, Scarlett Matthews, Carlie Mattock, HughMaylon, Alanis McCarty, Zoe McIntytre, Jacob Miller, ScarlettMilligan, Gareth Mockler, Francis Monaghan, Yasmin Monroe,Emma Morgan, Jason Morgan, Max Morris, David Moulder,Rashida Moulton, Stellah Nafula, Cristina Narciso, Jackie Neilsen,Claire Newsham, Adrian Njenga, Jennifer ONeil, CharlotteOLoughlin, Olive Obi, Petergaye Palmer, Vanessa Parmar, SaxonParton, Julian Peter, Abby Potts, Jess Potts, Thomas Powell,Georgia Quinn, Afrah Qureshi, Jack Rawson, Amethyst Reardon,

Tammy Reed, Paul Renton, Dan Robinson, Ellie Robinson, NeilRowe, Joel Rundle, Sabaa, Sahed Salam, Phyllis Sannoh, GraceScott, Grant Scott, Elissa Sedden, Adama Sesay, Ricardo Sharry,Elizabeth Shearer, Samantha Shepard, Anthony Simms, KaranjitSingh, NinaKaur Singh, Lauren Smeaten, Amanda Smith, CourtneySmith, George Smith, Samuel Smith, Victoria Solademi, Rowan

Spodris, Mike Starr, Jess Stewart, Abbie Sutherland, LucilleSzumski, Usman Tariq, Uwais Tariq, Reiner Tarry, Kirston Taylor,Billy Thomas, Demi Thomas, Emily Thompson, Lee Thompson,Darryl Thorpe, Bessie Turner, Liam Turner, Amy Turner, Rachel

Vincent, Taysha Vose, KerriDawn Webley, Wendy, Georgia Wilcox,

Leanne Wilkinson, Hope Wilton-Waddell, Danielle Witter, JackWonnacott, Stacey Woods, Thomas Wright, Georgina Wyatt,Paulette Wynne, Michael Yates and Wendy Zadigue.

Bid teams, partners and stakeholdersBath : Tracey Pike, Paula Bromley, Jenny Williams and MartinEvans, Bath and North East Somerset Council; Birmingham :Mark Shaw, Carol Morgan and Juliet Faulkner, Birmingham CityCouncil; Brent : Elizabeth Adare, Brent Council; Taiwo Adedeji,Roundwood Centre; Bristol : Troy Tanska, Basement Studio;

April Richmond, Bristol City Council; Henry Lawes, Fairbridge;Kim Tilbrook, Real Ideas Organisation; Trevor Jones, Young Bristol;Doncaster : Sue Borrington, Dee Hammerson, Carol Dunkerly,Carol Collett, Dean Mangham, Andy Shaw and Steve Harrison,Doncaster Metropolitan Borough Council; Hastings : Mel Bonney-Kane, Carol Biggs, Alan Privett and Jodie Taylor, Hastings Trust;Hornsey : Rachel Egan, Islington Council; Suzanne Lee, AllChange; Newcastle-upon-Tyne : Jill Bauld, Warren Crake, JohnHart, Vicky Hartley, Don Irving, Wendy Lott, Sara Morgan-Evans,

Ruth Rogan, John Copley, Mark Jackson, Stuart Turnbull, JulieWheeler and Keith Balmain, Newcastle City Council; Jeff Hurst,Newcastle YMCA; Aylssa Cowell, Heidi Douglas and Ellen Smith,Streetwise; Newham : Kevin Jenkins, Community Links; PatriceNewsam, Newham Community Education and Youth Services;Oldham : Mark Serventi, Eric Wright Group; Jodie Barber, OldhamBorough Council; Jeremy Glover MBE, Rob Carter and AdamPoyner, OnSide North West; Laura Windsor, Positive StepsOldham; Stockton-on-Tees : Claire Walsh, Gary Laybourne,Scott Roberts, John Tierney and Gareth Carson, Stockton-on-

Tees Borough Council; Stowmarket : Keith Jennings, StephenSkeet, Chief Inspector Neal Atwell, Adri Vandercolff Green, CarlLockwood, Marisa Batson, Denise Smith, Rebekah Green, SharonWallice and Lynn Clancey, Suffolk County Council; Ryan Hollis,

YMCA Training; Amy-Louise Nettleton; Torbay : Maggie Naylor,myplace; Nicky Corbett, South Devon College; Ali Matthews andJoe Elston, Torbay Council; Trafford : Andy Grifn, BroadoakSchool; Mark Bailey, Trafford Council; Nick David, West TraffordLearning Partnership; Wakeeld : Neil Kennedy, Chrysalis YouthProject; Rachel Kaye, David Sharp, Tamsin Mohans, Nina Thomas,Denise Rhodes, Carrie Brook and Nicola Pearce, WakeeldMetropolitan District Council.


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The Sorrell Foundation 2010 71Thank you

Creative team members assigned by the Sorrell Foundation Rob Andrews ; Andy Edwards and Justin Brooke, AndyEdwards Design ; Marksteen Adamson, Scott McGufe, GeorgieClaridge and Richard Delingpole, ArthurSteenHorneAdamson ;Quentin Newark, Atelier Works ; Tom Vigar, Bauman Lyons

Architects ; Keith Papa and Keith Watson, BDP ; Elliot Wilson,

Sarah Wade, Dave Thompson and John Hughes, Elmwood ;Keith Bradley, Tom Jarman and Nicola du Pisanie, FeildenClegg Bradley Studios ; Keith Priest, Tim Fyles, StavrosNissiotis and Matteo Cainer, Fletcher Priest Architects ;

Andy Stevens, Graphic Thought Facility ; Philip Gumuchdjian,Daniel Glaessl, Emma Bailey, Ryan Beecroft and Ralph Eikelberg,Gumuchdjian Architects ; Jonathan Hubbard and Pete Dewar,Interbrand ; Adam Rix, Sarah Corlette, Tom Myers and PhilSkegg, LOVE ; Steve Chilton, Marks Bareld Architects ;Domenic Lippa, and interns Yara Jalkh and Rishi Sodha,Pentagram ; Mike Davies CBE, Rogers Stirk Harbour+ Partners ; John Simpson, SEA ; Helen Hughes, Ashley

Thompson and Neil Hogan, SHH ; Ben Duckett and FraserClark, SPY ; Morag Myerscough and Avani Mehta, StudioMyerscough ; Alex Mowat, Kenny Tsui and David Pierce,Urban Salon .

Creative content team assigned by the Sorrell Foundation Anne Engel, Steve Clutton, Elizabeth Lynch, John Newbigin,

William Warren, and Didi Hopkins.

Creative team members appointed by the bid teams Jem Taylor, Bauman Lyons Architects ; Guy Holloway,CTM Architects ; Michael Swinson and Simon Ford, EllisWilliams Architects ; Mark Serventi, Eric Wright Group ;Ida Hess and Jess Billam, Hawkins\Brown ; Derek Rankin,Jonathan Dunn Architects ; Kieran Lilley, Kenton Simonsand Usman Yagub, Stride Treglown ; Joanna van Heyningen,James Gallie and Simon Ricketts, van Heyningen andHaward Architects .

Industry professionals who gave their time andexpertise at the myplace London workshopsMary Abiola, The O 2, live events; Anne Engel, fundraisingfor social enterprise; Joe Hunter, Vexed, fashion; Rob Khan,BBC music, radio; Elizabeth Lynch, performing arts; ArthurPotts Dawson, Acorn House restaurant, restaurants andsocial enterprise; John Newbigin, lm and digital content;

Niru Ratnam, STORE gallery, gallery spaces; Raf Rundell,1965 records, music production; Luke Warburton, VOP,grafti; and William Warren, 3D design.

Special thanksFor kindly speaking at our Joinedupdesign for myplaceintroductory seminar: Beverley Hughes MP, former Minister ofState for Children, Schools and Families; Lucy Parker, Chair ofthe Talent & Enterprise Taskforce; and Alex Mowat, Urban Salon;to Arup and Leon Renwick for project management support; for

the celebration event: Ras Kwame, Radio 1; Joel Rundle, memberof the Bristol client team; Vortex dance group; DJ Klose One;Dawn Primarolo MP, Minister of State for Children, Young Peopleand Families; for client team member work experience: DavidField, Zoological Director, London Zoo; for skate park designadvice: Russ Holbert, Maverick Industries; photographers,Magnus Andersson, Ben Blossom, Graham Carlow and OliviaGrabowski-West; writer Nick Skeens; copy editor Mary Scott;designer Fay Cuthbertson; and lmmaker Russell Reed.

Department of Children, Schools and Families myplace team Anthony Hughes, Chris Caroe, Ian Selkirk and Tracy Spencer.

Talent and Enterprise TaskforceLucy Parker, Anthony Cooper, Lucy Canning and Janet Opanuga.

For hosting client team visits and meetings Andy Edwards Design studio, Artspace, Basement Studios,Bauman Lyons Architects studios, the Bristol City Museum

Art Gallery, Brent Youth Matters 2 Forum, British Film Institute,Childer Road Community Education Centre, Chrysalis YouthProject, Community Links Connexions Newcastle, CTM

Architects studios, the Deptford Project, East Ham Town Hall,Ellis Williams Architects studios, Elmeld House, F-ish Gallery,Fletcher Priest Architects studios, Gallery Oldham, Gumuchdjian

Architects studios, Hawkins\Brown studio, Kaleidoscope Childrenand Young Peoples Centre, the London Eye, The Lowry, Salford,the Museum of East Anglian Life, Newcastle City Library, NewcastleCity Pool, The O 2, Greenwich, The Paintworks, Pentagramstudios, Castleford Phoenix Theatre at Airedale High School,Quarterhouse, Radclyffe School, Oldham, the Roundhouse, theSouthbank Centre, Streetwise, Stride Treglown Studios, the

Tobacco Factory, Trinity Laban conservatoire of music and dance,Urban Salon Architects studios, Watermark Place, The WebBuilding, Westminster Academy and YMCA Training.

Photograph credits for page 68 Andy Edwards Design Kippa Matthews; BDP Martine Hamilton

Knight; Feilden Clegg Bradley Studios Tim Crocker; FletcherPriest Architects Tim Soar; Interbrand Pete Dewar; MarksBarfield Architects Nick Wood; SHH Morley von Sternberg.

The joinedupdesign for myplace project teamWill Sorrell, Project LeaderJen Ohlson, Magdalena Novoa and Jack Roche, Project ManagersHelen Love, Project Assistant


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The client and creative teams celebrate theirinvolvement in the joinedupdesign for myplaceprogramme at Central Hall Westminster.


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The Sorrell FoundationSomerset HouseStrandLondon WC2R 1LA 020 7845 5860www.thesorrellfoundation.com The Sorrell Foundation 2010

The Sorrell Foundation aims to inspire creativity in youngpeople and improve the quality of life through good design. Itworks with young people in primary and secondary schools,academies and universities, as well as with those not ineducation. The Foundation supports the Building Schoolsfor the Future, Primary Capital and Academies programmesto help pupils create briefs for their new schools. Other workincludes Designing Out Crime, an investigation with young

ISBN 978-0-9551178-2-4


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g g , g y gpeople into issues concerning crime, and the Young DesignProgramme, in which student designers work as consultantsfor pupils in schools. The National Art & Design Saturday Clubis a recent initiative giving young people opportunities toexplore their creativity at their local college or university. TheSorrell Foundation Young Design Centre at Somerset House,London, provides a base for hosting visits and workshops withyoung people from across England. The Foundation draws onan expert network of designers and architects, many of whomhave worked with young people as clients.

joinedupdesign for myplace

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