For the purposes of this presentation I am imagining a spectrum of events or situations ranging from the ‘instrumental’ to the ‘emancipatory’

1. Participatory Projects
Art and Design in a Social Context
Gent 2007
Tom Chambers MBE
University of Strathclyde, Glasgow
tomsocad@tiscali.co.uk
tom.chambers@strath.ac.uk
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2. For the purposes of this presentation I am
imagining a spectrum of events or situations
ranging from the ‘instrumental’ to the
‘emancipatory’

3. Where on that spectrum does the aesthetic lie?

4. Where on that spectrum does the aesthetic lie?
Is it a question of value or merely taste?

5. ‘instrumental’ - a response to practical,
economic and matters of taste – merchandising.
‘emancipatory’ – enabling, concerned with
social values and effective communication – social
inclusion and sustainability.

6. Is it a question of truth or merely opinion?

7. I believe that the events of yesterday, where notions
of trust and positive regard for others were in
evidence, are the beginnings of achieving positive,
communicative interaction.
Communicative actions are at the core of participatory
projects.

8. A brief outline of the practice from 1968 -
Biography
Graduate of The Glasgow School of Art in
painting and sculpture.
Working in educational institutions
Canada, Australia and United Kingdom
Exhibitions in Canada, Australia and UK

9. Focus of the presentation
An environment project
Questions of inclusion and exclusion
Hospitals & environmental art
Working with NHS and CSA (NHS Scotland)
The use of CAD and presentational techniques

10. These are arts ‘projects’, working within
particular communities – enabling people to
work within there own areas of interest and
beyond. The first project illustrated is the
Kirklands Hospital Art Project, followed by a
selection of others involving artists, designers
and architecture students collaborating with
particular community based groups.

11. Kirklands Hospital Art Project

12. Kirklands Hospital Art Project
Involving those within the institutional context
working in partnership with others – with
Higher Education, with learning communities
and the voluntary sector.

13. Kirklands
Located in Bothwell, south of Glasgow, built
as an asylum in the 19th century for people
with learning difficulties was considered
advanced for its time. By the 1970s it was
considered inappropriate and subject to
redevelopment.

14. Kirklands Hospital (from 1980s)
The aim of the arts project was to act as a
bridge to the wider community hopefully
initiating change in the perception of the wider
community, and staff within, to enhance the
life of residents and staff.

15. Issues confronted
Sensory impairment
Learning difficulties
Social exclusion and asylum

16. Reflecting on:
Cultural exclusion
Cultural institutions
Cultural dominance

17. Considering issues of access
to those with a sensory impairment
to the cultural hierarchy of objects (galleries)
and access to public sphere (discussion/dialogue)

18. Key concerns - interpretation and communication
A problem of a confusion of thought.
An example of the confusion of thought in the
interpretation of an event (object/context)
in which the interpretation of the viewers were
influenced by their role in a cultural institution.

21. Two works by participants in the project
The first of the last two slides – a work by a young
lady with a visual impairment.
The second by a young lady with sight.
The first went on to initiate inclusive workshops.
The second to graduate and post graduate programmes
and as artist in residence in USA and Europe.
In the case of the first, it was not considered possible
to pursue an education in the visual arts

22. The context of the work was an institution of
confinement – formerly a 19th century asylum.
The context of the exhibition, and the confusion of
thought, was in The Glasgow School of Art as part of
the events celebrating the event of Glasgow as the
European City of Culture 1990.

23. Strategy
Initiate an environment project, which engages
the agents of change in the built environment
In education, architecture and health authorities.

24. Agents of change
Beginning with the user and potential
commissioners of public buildings
Partners – voluntary arts, arts organisations
(Third Eye Centre), art and design tutors and
architectural services NHS (Scotland) and
Health Board Strategic Planning officers.

25. Key issues - hierarchies in art and design practice
The social applications of art and design
The role of the ‘artist/designer in residence’
To follow are examples of the skills introduced
for those young people working with residents
with special needs. The latter a casting exercise
by the residents (both in cement casting).

26. Cement
casting by a
student of
art.

27. Cement
casting by
residents
of the
hospital

29. Aim - Bridging the communities and accessing
the social institutions and
the cultural institutions

30. Tools Media and Communication
Considering presentational form and accessibility
Questioning preconceptions in and through visual
media

31. Sculpture by an
artist in residence

32. Proposal by visiting artist in the pilot project

33. The finished mural for staff lounge by the visiting artist in the pilot project

34. The hospital administrative and therapy block completed during the pilot stage

35. Art interventions
celebration of past
enhancing the environment
raising questions of value

36. A detail of the
original building
retained in one
of the courtyards
used for
exhibitions and
recreation.

37. A temporary
installation to
demonstrate the
use of media

39. The first major
installation with
resident block in
view

40. A view from the
therapy room
with an altered
detail of the
original building

41. Stain glass
design by
visiting artist
located between
recreation hall
and an inner
courtyard

42. Media and Communication -Material processes
• fabrication and construction (adobe)
• cement casting
• bronze
• glass
• ceramic
• screen-printing

43. Medium:
sculpture in
bronze, steel
adobe
fabrication and
stone sets

54. Medium:
ceramic and
mosaic added to
the recreation
hall entrance

56. Medium:
ceramic culpture
by visiting artist
located in the
therapy area

57. What follows are community based projects
facilitating local initiatives in:
early childhood
primary pupils and community groups
learning community and a health unit

58. They include:
facilitating local initiatives in:
early childhood in an area of social deprivation
primary pupils and community groups
learning community and a health unit
involving artists and students of architecture

59. Bronze casting with children and adults in a
learning environment.
Illustrated are the modelling of wax (pre-five
year old) and bronze casting with a visiting
Indian artist)

65. Bronze and concrete casting with community
based project as part of the redevelopment of a
historic building/library (adults) and changes to
landscape in a hospital (children and teenagers).
Illustrated sand casting technique from wood
pattern to produce bronze work and paving and
metal fabrication of seating (maternity hospital).

72. Mentoring young artists and designers
The environment project/media workshops
The participatory design stage
The use of CAD in teaching & learning
The participatory workshop
Students of Architecture and Building
Design Engineering, University of Strathclyde

73. Oncology Centre, Western Infirmary Glasgow
facilitating staff initiatives
under graduate and post graduate contribution
in a partnership between a learning community
and health unit

75. University of Strathclyde
design ideas – demonstrating process
virtual model
presentational form image and filmic image

76. University of Strathclyde (Architecture)
• Oncology centre (year 3 & 4 BDE)
• Partick Jail – sensory impairment (year 3)
• Care of the elderly (year 3 BDE)
• East Kilbride (year 3 BDE)
• School based health promotion (year 4 BDE)
(John Wood – Integrated Building Design and BDE)

86. University of Strathclyde
Partick Jail – Sensory Impairment
virtual model
presentational form image and filmic image

93. University of Strathclyde
Care Home landscaping project
virtual model
presentational form image and filmic image

105. University of Strathclyde
East Kilbride ‘village’ project
virtual model
presentational form image and filmic image

112. University of Strathclyde
South Lanarkshire – health promotion project
virtual model
presentational form image and filmic image

120. Concluding remarks
Light, in English is often associated with
freedom, emancipation, enabling processes.
The dying of the light with confinement, restraint
and incarceration.
I believe that the work you are involved in, which involves
concepts such as engagement, participatory design process, sociability
enabling - are at the core of good design – design for all. I believe as artists you
are being radical and revolutionary by challenging the technological
economies of production.
Where communication transmits a universe of disconnected images, remarks,
statements and commentaries – you are searching for aesthetic form creating a
sense of order in the midst of chaos.

121. In addition to knowledge, understanding and appreciation of the key issues of
an inclusive design process, you require a philosophy of design – in fact an
ethical approach.
In reading a new city, as in the design process, we need first an intuitive grasp
of the situation in which we take one step at a time. For the V.I.P, negotiating
a new urban situation, each step comes with excitement, fear, exhilaration or
dread – an event fraught with danger but always with risk involved. Can a
philosophy of art or life be achieved without challenging the existing norms or
preconceptions and presumed certainties?

122. In forming or identifying our own point of view we begin with what is known or
presumed and begin the process of respectfully challenging the claims and
assertions of the given point of view, the established position. This process should
be a rational argument rather than a mere assertion of unquestioned opinions. In
order to establish and sustain such a dialogue we engage in communicative actions
aimed at reaching a shared point of view, a common interest on which may be built
a strategy for transforming our world, which at all times we share with others.
We take positions but can only hold these by the power of our argument – reasoned,
defendable propositions. The path we choose will be in the light of our reasoned
argument or in the dark of doubt and prejudice. In moments of doubt, when we are
unsure or out of step, we can discover new ways of seeing the situation,
enlightening our point of view – hence the value of risk taking.
At times we might be concerned with objects or buildings – objects of desire, which
hold our attention and distort our seeing. At other times it is with the space between,
the relationship of one to a set that casts the most critical attention on the relational
dynamics of a shared urban space. The transformation of the urban space, should
not only be an instrumental exercise but emancipatory. The tools necessary are
media and communication in the service of the participatory project together with
the users from initiation to completion.