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Actual Project Outcomes
The Sculptures
The Audio Guide
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The Sculptures
Location: City of Nottingham
Eight buildings were selected to form the trail through the Lace Market, covering a range of periods, usage and architectural styles. The eight buildings are:
1. A Georgian town house
2. The Unitarian Chapel
3. The Shire Hall
4. St Mary's Church
5. Broadway
6. The Adam's and Page Building
7. The Cuckson, Haseldine and Manderfield Warehouse
8. The National Ice Centre.
With the buildings now chosen several other factors had to be considered.
The exact location of each sculpture.
The viewing height of the sculptures, and their supports.
Appropriate tactile warnings.
The visual impact within the conservation area of the Lace Market.
To address the above artist Alec Keeper consulted with Nottingham City Council to determine appropriate solutions. Various sections within
Development and Environmental Services as well as Social Services' Team for Visual Impairment were involved at this stage. Each walked the route with Alec and the trail began to take shape.
Alec began work on the sculptures in May 2001 at the Nottinghamshire Royal Society for the Blind (NRSB). NRSB provided the project with materials and workspace, allowing the artist to work alongside clients in their art room.
Photographs of the eight chosen buildings were translated into three-dimensional clay pictures, or reliefs.
Individuals then investigated these reliefs through touch. Responses were noted from people of varying age, tactile ability and sight conditions. Work continued on the clay models until they successfully described the building.
At the Co-operative Monumental Services in Glasgow the project was again provided with materials and workspace. Here the artist translated seven of the clay models into white Italian Carrara marble, the chosen finished material.
The eighth model was cast as a clear resin. The National Ice Centre is the only modern building on the trail. Clear resin is a manufactured material and with it's ice like appearance was perfect for this building.
Consultation continued at NRSB with the marble and resin versions, and again adjustments were made where required. This process of description and tactile response began to develop the navigation element that would form the basis of the audio guide.
Contact between the project and NRSB clients was not just confined to the art room. Staff encouraged the artist to meet with clients in the day centre and discuss the project. Talks were also given by the artist and the work in progress shown.
By the end of August the eight sculptures were ready and work commenced on the audio guide.
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