Landmark Wales by maclaren1


									                               Landmark Wales

  A Partnership of Seven Local Authorities, Capital Region Tourism
               and the North Wales Economic Forum

Call for Expressions of Interest for Phase One
Brief to Artists and Designers (note: this document will be updated on the
website www.working-parts/landmarkwales depending on site based
developments and it is the responsibility of applicants to ensure that they
monitor any alterations affecting their submission)

1       Introduction
Landmark Wales is a partnership of seven Local Authorities (Monmouthshire,
Newport, Rhondda Cynon Taff, Merthyr, Flintshire, Wrexham and Ynys Mon), Capital
Region Tourism and North Wales Economic Forum who have come together to deliver
this “Landmark” project for Wales. Monmouthshire County Council is the lead body for
this partnership and have appointed Working Parts Ltd to act as Project Manager for
this stage of the project supported by a grant from the Big Lottery Fund.

The Landmark Wales project is an ambitious plan to mark major entry points to Wales
and key transition locations between regions. This is about signalling entry to another
country and another culture and reinforcing the sense of pride in community in Wales.

Consultation has already established the 8 locations : Entry Points at The Second
Severn Crossing, the A40 at Monmouth, the A5/A483 at Chirk, the A55/A550 in
Flintshire and Holyhead Harbour and the transition points at Brynglas Hill in Newport,
Taff‟s Well on the A470 and area around the A465 roundabout at Dowlais in Merthyr

This is a Public Art Project of unprecedented scale and ambition as indicated by the
proposed budget of over £18.5m.

With development funding from the Big Lottery Fund and we are now launching
the procurement strategy for all the sites in 2 Phases:

Phase One
   Holyhead Harbour where there are 3 site Options with a suggested budget
     of circa£2M.

      The Second Severn Crossing where there is scope for a major work
       between the M4 and the Paddington to Newport/Cardiff railway line with a
       suggested budget of circa £2.6M.

      The A550 at the Flintshire/Cheshire border where there is scope for major
       work in the axis of the Highway and the River Dee, with a suggested
       budget of circa £1.7M.

   The artists/design teams for these sites will be shortlisted from written
   submissions and evidence provided with the Expressions of Interest. We will
   appoint five Artists/Teams per site.

   Each shortlisted competitor will be paid £5,000 for an exhibition quality
   submission and, following consultation. One concept will be chosen per site.

Phase Two will involve the A40 at Monmouth, the A5/A483 at Chirk, Brynglas Hill
in Newport, Taff’s Well on the A470 and the A465 roundabout at Dowlais in
Merthyr Tydfil. The proposals for these sites will be chosen through an Open
Competition that is open to all and subject of a separate brief.

The scale of the Phase One sites and our ambitions for them mean that we are
seeking practitioners with the best ideas and the ability to turn them into buildable
projects. The project is open to artists, architects, designers, engineers and to
multidisciplinary teams.

2       The Need for the project
Wales is asserting a sense of nationhood after a long period when it was simply an
adjunct to its larger and dominant neighbour. The cultural differences are now
celebrated where they were once suppressed. These differences are most evident in
festivals, in song, literature and of course through the language. The establishment of
the Welsh Assembly and a government seeking to establish Wales in the world
through clear branding and identity also provides a spur to the project.

This sense of cultural identity and independent nationhood is however not so evident
where the infrastructure crosses the borders, probably because it was never originally
meant to be. There is little sense of entering a different country and when one is
moving through Wales on some of the key routes there is little sense of how Welsh
culture has affected these transition points. It is only in the deep heartland of the
isolated rural areas and perhaps most strikingly in the former mining communities of
the South Wales Valleys where a different sense of Welshness is evident from the
geography and surroundings.

Crossing the border at the key arteries of the M4 and the A55 brings no impression of
change or even transition. The A40 border crossing has a more dramatic landscape
that at least offers some articulation. The same administration has built the
infrastructure and has created a bland uniformity that strips out any possibility of
cultural expression.

There have been expressions of interest in asserting a sense of Welshness at the
boundaries and on internal arteries for many years but the resources have not been
available. These initiatives have included consideration of some of the sites that we
have identified as important. Cywaith Cymru, the National Public Art Agency,
proposed a Trail of Artworks that articulated the North/South connection of the A470.
Although not realised, this idea had genuine value to a nation that so often hugs its
coastline. Work was also done at the beginning of the century at the Second Severn
Tunnel Junction site. Similarly, the North Wales Economic Forum has identified the
need for a gateway feature in North Wales as part of its work in encouraging the
regeneration of the region. Smaller local initiatives have been attempted such as local

residents‟ and arts workers‟ attempts to bring the Plinth at Taff‟s Well into use.
Formerly a supporting column to a long gone viaduct, the invitation that this site offers
could not be ignored. As the country is developing self confidence it is timely to
reconsider expressing the boundaries and principle arteries more assertively.

There are other reasons why we want to develop this project, related to giving clearer
visual icons to a country that is best known for its performing arts.

A recent experience from the Rugby World Cup hosted in Wales offers a parable that
this project will attempt to address. Surveys conducted by Tourist Organisations in
Wales revealed that overseas visitors were, almost without exception, using their time
between matches to visit attractions in England and that Wales was lacking Visual
Icons that drew people into the country, albeit that the Millennium Stadium is now itself
providing one of those icons.

The outcomes of this project will be to clearly articulate the boundaries at the major
crossing points and create „must see‟ icons that express a proud sense of Welshness,
both at these boundaries and on key internal transitional routes.

These new icons can help draw people‟s attention to all the other qualities of Wales;
its cultural and industrial heritage, its diversity, the extraordinary natural environment
and the social structures that have shaped the country and its people.

The locations and sites that we have chosen are the result of lengthy research
undertaken by a professional team of public art specialists and landscape architects,
in close consultation with officers from most of the Local Authorities through which the
programme will run. We obviously acknowledged the presence of the 1200yr old
Offa‟s Dyke, still seen in the landscape but largely invisible from the highways.

During the research stage the project team explored the different types of entry points
to the country, by road, rail, sea and air. By far the largest number of people enter
and depart via the road network. The entry points by air offer their own different kind
of drama but airports don‟t lend themselves easily to the manageable expressions of
visual culture. Furthermore passengers have to pay to participate and we want to
create something free to enjoy. Lower numbers for train entry would not alone justify
the expenditure necessary and working in partnership with Train Operating
Companies and the owners of the Infrastructure will be the most effective long term
solution for Rail Gateways.

Landmark Wales will focus primarily on the Highway Infrastructure but will include
some sites with close rail proximity and the UK‟s busiest western port at Holyhead.

It will seek to create Visual Icons that signal entry or transition but these icons will be
more than silhouettes passed at speed in vehicles; they will also reward personal
encounter and offer people the chance to experience at close quarters how visual
artists, architects and designers of the highest calibre interpret some of the key
elements of Welsh nationality, history and culture in modern materials.

3      The Sites

3.1    The site at Second Severn Crossing.
Whilst the new bridge itself is a dramatic structure, crossing it does not offer the views
of the Bristol Channel or the Welsh Coast that one would expect. The wind barriers
on the Bridge inhibit views out and make the principle view that of the two main bridge
The M4 does not change at all and there is little sense of difference on landing in
Wales. There is a „Welcome to Wales. Croeso y Gymru‟ sign but this seems to lack
The site options include areas on both the South and North of the M4.
The northern site option is a large triangle of land between the M4 Toll Booths and the
London to Newport/Cardiff railway line. It is in the ownership of Monmouthshire
County Council and is higher that the M4 carriageways. This site could be either be
the primary site or used in conjunction with the other site to the south of the M4 and
enable the creation of a project to conceptually „cross the M4‟.

The South side is more problematic because of its environmental sensitivity, being
close to the estuary shore, including an SSSI and being long established meadow. It is
in private hands but we hope to be able to obtain permission for its use if a suitable
proposal is submitted. It is a very large tract of land, very visible from the exit of the
new Severn Bridge and from the English side of the Channel/estuary. There is
potential for a major land artwork to be visible from both sides.
Artists and Teams could consider the southern site, especially if we can create access
to the meadows around the Bridge landing area from the Motorway Services. If used
for Landmark Wales, the meadows could also still be used for livestock rearing to
create a conjunction between the industrial, social and pastoral history of Wales.
The aforementioned sites have been investigated in recent years, however successful
applicants will be offered flexibility in interpretation for the border area from the bridge
to the junction of the M4/M48.

3.2    Holyhead Harbour
Holyhead is one of the busiest passenger seaports on the West Coast of the UK and
now has very effective road links with the rest of Wales and with England, since the
upgrading of the A55 coast road. The town itself has been in a spiral of decline that is
now being reversed by substantial new investment. Ironically the quality of the road
links may have contributed to the town‟s decline because of the ease with which traffic
can leave and the lack of significant magnets to attract people to explore. The
Harbour has been inaccessible to many so denying people the drama of seeing big
ships entering and leaving at close quarters.      The recent opening of the Celtic
Gateway bridge creates a link between the town and the harbour and spans the A55.
The A55 is to be extended and a new port access and exit road is to be built and this
will improve connections and access to the Inner Harbour which is the proposed
Landmark Wales site.
The Inner Harbour is tidal but water traffic is restricted to barges and small vessels by
vitue of the bridges linking the town to the Ferry Terminal.
The New Celtic Gateway Bridge is a particularly striking intervention that is a key part
of reconnecting people to the waterfront and opening up the Inner Harbour for
The Inner Harbour site is triangular is enclosed by the new bridge and its inner
harbour causeway and a largely unused Ferry Terminal that will be subject to private
sector redevelopment on the model of Albert Dock in Liverpool.

The town side of the Inner Harbour has been earmarked for a new Public Open Space
and an Information and Visitor Centre and Gift Shop. The Design Teams are asked
to develop a these components into their proposals to generate an integrated
response. There is also scope for the development of a new waterfront walkway
around the Inner Harbour.

The site is overlooked by the whole town and the Design Teams should look at how to
exploit this visibility including that from new bridge, the railway station, the new
walkway and the Ferry Terminal.

The Client will provide details of the utility and accommodation requirements of the
New Visitor/shop facility.

The Local Regeneration Initiative and the harbour landowner, Stena Line are keen to
explore complementarity between Landmark Wales and the other initiatives taking
A masterplan is in preparation for the waterfront and this will include the Inner Hrabour
area. The selected Landmark Wales proposals can be integrated into these plan and
the Masterplan will form the basis of a significant bid for EU Convergence Funding
which is administered by the Welsh Assembly Government .
The overall aim is for a complete integration of the Masterplan Bid and the Landmark
Wales Proposals to completely regenerate the Waterfront and town.
The Budget identified within Landmark Wales overall plans is £2m including all fees.
The additionality available via the Convergence Funding will be confirmed by the Local
Authority partner.
The scale of the incoming vessels will obviously be an issue for the designers to
overcome as will the general scale of the maritime surroundings. Stena Line are also
the Ferry Operators so their involvement unlocks a lot of opportunities..
As with all the Landmark Wales Projects we would like the Design Teams to explore
how people will name the project. If people can name something then it can enter the
popular imagination.

3.3   The A550/A494 at Flintshire Border
A vibrant area of industry is blossoming around this entry point from Cheshire, Wirral
and Merseyside. Commercial traffic mixes with substantial volumes of holiday traffic
heading for the North Wales coast, Snowdonia and the Irish ferries. The demands of
all this traffic have generated engineering works that have smoothed the flow but
diminished local distinctiveness. It is already a busy visual environment so
introduction of a landmark will be challenging and need to take account of road safety
considerations, which suggests an approach that calms and harmonises the visual

There is a very wide corridor of public realm, with local traffic using roads that run
alongside the through-road, so there is reliable control of the land that might be
required on the south side of the A550. Other modes are also present in the vicinity,
with a railway nearby and the River Dee navigable at this point. Local firm, Airbus,
transports aircraft wings by boat along this route and are a likely private sector
sponsor of a landmark investment here.

Development of the Deeside Industrial Park is being considered right now and the
Local Authority are exploring the scope for a new public park on a piece of land

bounded by the A550 ( A494), the River Dee up to Shotton, the railway line and east
towards Drome Road.

The site specific brief

3.3.1 Flintshire and the River Dee form the main gateway into North Wales and to
      Ireland beyond. Flintshire is a border county and was fought over by the
      Romans and Celts, the British and Saxons, and the Welsh and Normans. The
      county was formed in 1284 by King Edward 1 after he had built Flint Castle,
      one of a chain of fortresses designed to suppress the Welsh.

       Today, Flintshire is a vibrant industrial area, with a large rural hinterland. It has
       very strong links with neighbouring North West England but is proud to be part
       of a new Wales. The entrance to the county and to Wales, is undramatic. The
       landscape is urban and flat and there is little sign of having entered a new

       The Council takes the view that the River Dee itself offers the best opportunity
       to create a sense of place and new entry point for the following reasons.

              It is an historic crossing point and entry point into Wales.

              It is an important transport node, with the canalised River Dee (still used
               for freight traffic) and the A494, the main road route to North Wales, the
               London-Holyhead and Wrexham-Liverpool rail lines.

              This location will form part of the River Dee Regional Park, a linear park
               concept which is being developed with Local Authority partners in North
               West England and Wales.

              The River Dee Cycle Route (part of the SUSTRANS national cycle

       This location not only provides a main entry point for a range of modes of
       transport, it is also a location of great social and economic significance.

              It provides an opportunity to link the main employment zones of Deeside
               with the main residential areas of Shotton, Connahs Quay and
               Queensferry. The further development of Deeside Industrial Park
               „Northern Gateway‟ is well established. This will provide a large mixed
               use development, providing much needed jobs and investment into one
               of the most deprived areas of the County.
              It provides the opportunity to improve access to the River Dee Cycleway.

              It is close to Shotton. The Higher Shotton Communities First area is one
               of the 100 most deprived wards in Wales.

              It will provide an environmentally sustainable alternative to improve
               access to jobs and open space in a heavily trafficked area.


Flintshire County Council wishes to see the development of a „corridor‟ along
both sides of the river to the north and south of the A494 Dee Crossing. The
area to be considered is therefore represented by the four “quadrants” formed
by the crossing itself. It is intended that proposals should ultimately include:

      A new pedestrian/cycle bridge linking the west bank with the existing
       cycle route on the east bank and a new public park to be developed in
       the north east “quadrant”.

      Enhancement of the existing „Blue Bridge‟ and the A494 Road Bridge.

      Enhancement of the „busy‟ landscape on the west bank.

      A composition which draws together and enhances the ecological, visual
       and functional qualities of the four “quadrants” both for travellers and
       their hosts – the resident community.

As a multi-modal crossing point, the site acts as a threshold for local, regional
and international travellers. Local residents cross the river on their journey
between home and work. Regionally, recreational users of the riverside park
and cycle route pass through the site on a north-south route. International traffic
from England to Wales and beyond to Ireland also cross this threshold in

This area is seeing significant transformation. Originally reclaimed estuary, it
has been farmed, it has formed part of a major steelworks site (albeit this area
was never developed) and is now proposed for development as a large mixed
use employment park.         This latter use will include 650 houses, an
environmentally sustainable employment zone and potentially, a 200 acre
public park.

The adjoining area to the south (formerly RAF Sealand) was an operational
military facility from 1917 until 2005. It was one of the earliest RAF training
units, was visited by Charles Lindburgh in the 1930‟s and in the Second World
War was the base for a fighter squadron defending North Wales and North
West England from bombing attacks. Between 1957-58, it was used by the

There are many existing buildings and artefacts which link the area to this
former use. A local group is now proposing to manage and administer part of
this site as a museum, and this will give the opportunity to accommodate a
range of other community uses.

These aviation links remain very strong. Four miles away from this site at
Broughton, Flintshire has the major Airbus plant where all wings for the Airbus
family of aircraft have been built since the 1970‟s. The wings for the largest of
these aircraft (A380, the largest passenger aircraft in the world) are floated on
barges down the River Dee to the Port of Mostyn for transhipment to Toulouse.

The Council would also wish to see the development of a River Dee Visitor
Centre in this location:

      this would provide a focal point to display the history and culture of the
      provide a focus for the new „Dee Park‟.
      be a facility to encourage use of the River Dee Cycle Path.

4       Consultation and Information
There has been widespread consultation with the stakeholders regarding the project
and the choice of sites and there will be substantial ongoing consultation with people
in the localities as the project develops.
There will be a Touring Roadshow organised by the Client Project Team to take the
proposed designs out to their respective communities to explain the national scheme,
describe the local proposals and gather views and opinions.
Professional consultation will utilise existing council and arts networks and be
threaded into the ongoing programme. The main issues are likely to be securing buy
in by host communities, achieving local and national relevance, fears of vandalism and
issues of security and perception of the artworks as a waste of public funds.
To assist the design process, those successful in being appointed will be invited to
attend stakeholder meeting for the relevant site. This will enable the appointed teams
to further deepen their knowledge of the project and expectations of the local
The appointed artists/design teams will be expected to collaborate with the Client
Team in building the case among residents, senior officers and elected members of
the Council Partners, and partner organisations within the public and private sector.

At a Strategic level, a Steering Group will be established that will focus on information
and advocacy to ensure that stakeholders have a strong sense of the benefits the
scheme will offer.)

5      Submission Material for Phase One and Shortlisting Criteria
Your Expression of Interest submission,( starred items below at a minimum )
should reach the Living Landmarks Project by 5.00pm on Monday January 8th
2007 and we must have all items listed below as hard copy by Sat 13th Jan 2007.
*      A CV or Practice Profile of the Artist or Creative Leader(s)

*      CVs and background information on any other team members
       Illustrations and descriptions of built and unbuilt projects that demonstrate your
       track record, experience and working practice.
       We would however expect applicants to explain how they will explore the
       specific cultural conditions pertaining to Wales and how this will influence their
       A statement about your methodology. We want to be able to understand how
       you think and work, what you think are the issues and how you will approach
       A statement explaining your resources and how you will be able to deliver in the
       compressed timescale detailed in 10 below.

       Details of the Technical Lead on your team who can demonstrate the
       workability/feasibility of your proposals.0
*      Details of your legal status ( sole trader, partnership, limited company etc) and
       any financial information you are able to supply, such as recent accounts.
*      Contact Details of 2 referees whose knowledge of you is relevant to this project.
       Professional Indemnity and Public Liability insurance may be required.
       Applicants are requested to indicate what insurances they hold in this

       Send your Expression of Interest to
                    Landmark Wales
                    C/o Geoff Wood, Project Manager
                    Director, Working pArts Ltd
                    Shoulder of Mutton, 70 Towngate
                    Midgley, West Yorkshire, HX2 6UJ
                    Or email to
       Selection Criteria
       We will select the shortlists on the basis of evident creativity, track record of
       realised projects and a demonstrable appetite for exploring what this project
       could mean for Wales.
       Evidence from previous work that you can deliver designs within a compressed
       Evidence that you/your team can translate a good idea into a deliverable
       Practitioners from Wales are actively encouraged to apply but being Welsh is
       not a requirement. We are looking for the most interesting and stimulating
       projects for each site.
       We will be looking for people who can or have overcome challenging and
       complex physical situations and will be able to work with a multi agency client.

6     Design Competition Outputs
Stage 1 – first concepts
The shortlisted artist/design teams will be asked to present their initial thoughts and
work in progress to the client at an interim presentation meeting. This should take
place when the concept design is perhaps 70% developed and is expected to take
place around February 22nd – 28th 2007. £3,000 of the Honorarium will be released
following confirmation to proceed at this point.
This interim meeting will involve discussions of:
-   the broad concept
-   materials proposed
-   the scale of the designs
-   Infrastructure - supplies, access etc
-   the likely technical implications

-   buildability
-   cultural fit

The interim meeting is for evaluation by the Client‟s consulting engineer and the
project managers, Working pArts. This process is intended to assess the initial
practicality, workability and affordability of the proposals at an early stage in the
process. There is always a possibility that new design ideas which grow out of the
process may throw up difficulties that were not foreseen prior to the project
commencing. At the end of this interim stage the artist/design team will be given the
go ahead to complete the Design Submission stage.

Stage 2 – Completion of Design Proposals
The artist will then be required to work up and refine the concept up to full proposal
submission stage to be delivered to the Client no later than 3.00pm on Tuesday 27th
March 2007.
This should include the following, all of exhibitable quality
4 X A3 Foam Boards mounted with:
         - scale plans
         - rendered elevations of the project in its site context from at least 2
             principal viewpoints and including day and night views.
         - sketches to illustrate the scheme, fully annotated with materials, any
             mechanical or working components, fixing methods, light sources and
             any other relevant information
         - a detailed written description, with a clear rationale behind the overall
             concept and explanation of each component.
Separately supplied on paper:
         - a detailed written description, with a clear rationale behind the overall
             concept and explanation of each component.
         - a technical specification for the proposal with evidence of its buildability
             from a qualified source
         - a costing, from a qualified source, demonstrating the total financial
             requirements for its implementation including all fees, all foundation and
             groundwork costs, fabrication, transportation and installation.
Lastly       a 3D model of the proposal of exhibitable quality either in maquette or
             digital format. Only winning maquettes will be retained by the Client. All
             others will be returned.
All documentation to be supplied on CD as well as hard copy

The delivery address for the finished proposals is
Landmark Wales (Phase One)
C/o Rick Longford

Economic Development Manager
Monmouthshire County Council
County Hall
NP44 2XH

We may request a presentation of the proposal be made to the Selection Panel.
Please Note : Applicants who are successfully appointed to Phase 1
are NOT precluded from entering any or all of the Open competition
sites in Phase 2
7     Budget and Fees
The Competition Honorarium of £5,000 will be paid to each shortlisted Artist/Design
Team. VAT is payable.
The precise Budget for each project will be detailed after shortlisting but is expected to
be in line with the figures in 1 above.

8     Timescale and Schedule
Deadline for receipt of Expressions of Interest -       08.01.2007 (see 5 above)
Shortlisting                                     -      19.01.2007
Stakeholder Briefings for Shortlists             -      22.01 – 08.02.2007
Preliminary Proposal Assessment (Concept)        -      22.02 – 28.02.2007
Final Submission                                 -      27.03.2007
Consultation Roadshow period                     -      28.03 – 23.04.2007
Selection of Final Projects                      -      07.05.2007
Submission to Planning                           -      23.5.07
Submission of Living Landmarks Phase 2 Application 31.5.07
Living Landmarks Funding Determination           -      30.09.2007
9      Contracts

The Artist/ Design Team will be commissioned directly by the client, Monmouthshire
County Council. The contract for the duration of this competition will be based upon
this brief and submissions provided by the appointed teams. Standard terms and
conditions of appointment will be outlined at the time of appointment

10     Exhibition of Proposals and Press Briefings
The Landmark Wales team will issue regular press releases and updates and also
host exhibitions and previews of projects within the scheme. These may include
artists‟ and other design professionals‟ designs, drawings and models made for the
various commissions within the scheme.

The artist and their technical collaborators will be expected to produce designs and
illustrations of their commission which can be exhibited publicly.

11      Commissioned Artists Education Role
The project team are in the process of developing an education programme and
should the project be successful and achieve implementation funding those appointed
for the implementation stage will need to be aware of the project‟s commitment to an
education role

12     Site Illustrations and Plans
Site Plans and Illustrations will be posted on the website separately and may be
updated if new information comes forward.

13      Project Management
Landmark Wales is a partnership of seven Local Authorities (Monmouthshire,
Newport, Rhondda Cynon Taff, Merthyr, Flintshire, Wrexham and Ynys Mon), Capital
Region Tourism and North Wales Economic Forum who have come together to deliver
this “Landmark” project for Wales. Monmouthshire County Council is the lead body for
this partnership and has appointed Working Parts Ltd to act as Project Manager for
this stage of the project supported by a grant from the Big Lottery Fund.
Working pArts will be the first point of contact for the short listed artists/teams and all
dialogue with the Client should be conducted through them or with their active
involvement, for example all email traffic should be copied to the nominated lead
officer of Working pArts for that particular project.
During the Concept Design Stage, the artist/design team will maintain a regular
reporting and discussion arrangement with Working pArts, who will advise at all critical
reporting points and be present at all formal design discussion meetings with the
Client. The lead from Working pArts will be Geoff Wood, Director.
14     Project Questions
If you have any questions prior to submission of your Expression of Interest that are
not answered in the brief you may email and the responses
will be posted on The deadline for submission of questions
related to Phase One is 1st Jan and issues already dealt with in the brief or already
posted will not be answered.
Appendix 1
1      Big Lottery Fund’s Living Landmarks Programme is the key funder for
       this Project and has a series of Target Themes
       and Outcomes. We have reproduced below some of our responses to
       their Aims and Themes.

1.1    How does the project meet BLF and LL themes and outcomes?

     Community learning & creating opportunity.
Communities around each site will become involved in the development of the brief for
each local subset of the project. A Touring Roadshow will visit each site area during
the development stage of the project and this will give local people the opportunity to
share their experience of place and national identity with the delivery team. This
information will then shape the way design teams are briefed to develop proposals for
the sites.

During the design development and implementation phase we will work closely with
the Arts Development Team for each local authority to enable people to explore their
relationship to the place they live, the relationship of their area to national identity and
the experience of visitors travelling through the area. The aim is to make each subset
project an integral part of the identity of the area, the country and the cultural
infrastructure of the place.

     Community safety and cohesion.
We do not pretend a significant contribution to community safety but believe the
project as a whole will contribute significantly to the sense of national cohesion
through helping express the sense of nationhood. We aim to develop projects that
can stand as national symbols and give three dimensional form to much loved and
revered ideas. Photographs of the projects will travel the world and help represent
Wales. The delivery team for the project will all be Welsh or Wales based.

     Promoting well-being
The core aim of the project is to enable people to express a greater sense of national
identity and feel a sense of pride in the distinctiveness of being Welsh. The projects
will offer national and local symbols around which people can muster. We hope that
Welsh people will feel a surge of pride as they cross the border and a sense of
„hiraeth‟ as they leave.1

     Better chances in life, better access to training and development.
The main gateway area will be based around the area of the Second Severn Crossing
and it may be possible to establish a small visitor centre based at the Services area
immediately over the Bridge. This will provide employment for interpretive staff.
Each Landmark project will involve a commission to an Artist or Architect led design
team. Each design team, whether Welsh based or not will be shadowed by a Welsh
Artist to provide work experience and career development. Other training and
development opportunities will come from educational projects based around the
themes of each project. There will be a substantial schools educational programme
based around each Landmark Project. These will be led by Wales-based artists and
respond to the form, materials and chosen theme of each project.

We will develop a Community Documentation Programme to keep the nation and
each locality updated on the progress of their projects. Rather than using the
traditional press and media pundits we propose that local people will be the reporters
on progress. They will then have the chance to develop their own critical faculties and
by using a wide range of different people from diverse backgrounds we expect a wide
range of responses. People will have the chance to observe how large artistic
projects are designed, developed and realised and comment on a programme that is
truly of, with and for them.

      Building stronger communities with more active citizens working together
      to tackle problems.
We will set up an Amdassadors Programme that will encourage local people to
become advocates of the project. This will involve recruiting volunteers and providing

    Almost untranslatable but the nearest English word is „longing‟

information and training for them. The aim is to enable a constructive debate about
the resurgence of Welsh Pride.
We will also work on the development of „Friends of‟ the Landmarks to assist in
monitoring and aftercare. The Community Documentation Programme will also
encourage people to see this as a programme for and with them rather than done to

      Improving rural and urban environments which communities are better
      able to access and enjoy.
One of the core aims of the project is to create a series of dramatic and beautiful
expressions of Welshness. Each site will encourage people to visit not just as
motorists but as pedestrian visitors.

    Bringing about healthier and more active people and communities.
The projects will encourage visits and each require walking to the site. The Roadshow
and ongoing consultation will enable people to tell us what is important to them, learn
more about the qualities of their own place and help shape what happens to it.

1.2     How has the community been involved and how will they continue to be
        actively involved?
To date we have publicised the project in the South Wales Press and articles
encouraging people to write in the ideas for themes have resulted in significant
interest in a 3D realisation of the Welsh Dragon. This will obviously be one of the key
themes we explore in the project.
The overall Landmark Wales project will be delivered as a series of sub-projects and
each will have strategic, conceptual and local relevance. Each site will have a
relationship to its local audience and its transitory audience.
The local audience around each site will be involved in the development of the brief for
its project. People will be actively involved in the project through the Education
Programme, the Ambassadors Programme and the Community Documentation

1.3    Who are the main partners and stakeholders and in what ways do they
       support the project?
Monmouthshire County Council - Lead Body role for the partnership in delivering
Stage 2. Client role for contracts. Financial controller of project. A potential Second
Severn Crossing site is in Council ownership. Will assist with planning issues and
support stakeholder and public consultation.
Newport City Council – Roles - Newport have been keen to promote the idea of a
gateway to Wales for some time and they will offer us political support and assist in
securing funding for the project
Rhondda Cynon Taff Borough Council – Officers from both Planning and Culture
have expressed support for the project and will assist us with information, Arts
Development Officer support, consultation support, and assistance in negotiating for
access and use of the Taff‟s Well site.
Merthyr Tydfil Council – Officers have been consulted and offered support related to
sites within their Authority. The Heads of the Valleys Regeneration Team are also
key supporters of the Dowlais project and are possible funding partners.
Capital Region Tourism – Funded the Initial Feasibility Study that explored the
South East Region and the Development of the LL Bid. Promoted the project to the

West Development Agency. Introduced the Project to the 2 key Ministers at the Welsh
Assembly Government.
Welsh Assembly Government – We have presented the project to the Ministers for
Economic Development, Andrew Davies, and Culture, Alan Pugh. Both have
expressed support for the project.
National Museums and Galleries of Wales – The Director, Mike Toobey has been
consulted, has pledged support for the project and will give us curatorial support for
development of the programme.
Flintshire County Council is fully supporting the project and exploring site scope.
The acting Chief Executive has expressed support and officers are seeking match
funding opportunities.
The County Borough of Wrexham supports the A5/A483 project and is providing
officer time and resources to progress site investigation.
Other Local Authorities that we have consulted and who have pledged support to the
project include Torfaen, Caerphilly, Blaenau Gwent, Denbighshire and Conwy. We
have also consulted the World Heritage Site at Blaenavon.

1.4    In what way will the project be inspirational in planning and design?
Each individual project within Landmark Wales will be a commissioned design of the
highest artistic standards. In order to ensure this we will set up a Series of Design
Panels. These panels will have a constant national dimension with representation
from National Museums and Galleries of Wales, Working pArts who manage the
project and Independent experts drawn from the Arts and Architecture fields along
with the Local Authorities where each of the sites are: Monmouthshire, Newport,
Flintshire, Ynys Mon, Wrexham, Rhondda Cynon Taff and Merthyr Tydfil.

1.5     How will the project transform and revitalise the community and its
        physical environment?
We will create a series of Major Landmarks that will give people in Wales something to
be proud of, something that they have contributed to and that reflects the new found
confidence in the country. The sites we have chosen are at key transitional points
and have been selected after extensive research by an expert team. We want to
generate a surging sense of pride amongst Welsh people crossing the border and a
sense of ‟hiraeth‟ 2as they leave.
Each site has dramatic potential. For example, The Severn Gateway could change
from a bland Motorway flank to a dynamic „field‟ that signals change, while Taff‟s Well
will be a dramatic signal on the start of the North/South link.

1.6      The range of options we have considered.
      Alternative Locations and Sites
Initially we considered City locations but decided that these would be more associated
with the cities themselves than with Wales itself. City centre sites would also only be
seen by people who had deliberately entered the city and we wanted to reach people
who were just passing. We have looked at a range of sites and talked to LA officers
with extensive local knowledge. Sites that we considered but decided not to pursue
Caerleon - The site offers potential for a landmark project that enhances the profile
and visitor experience of Caerleon. Links to the developing arts festival, its visibility

    Almost untranslatable but the nearest English word is „longing‟

from the hotel on the hill (potential private sector support), and proximity of the art
school are all points in its favour as a project with local/sub regional significance.
However, the nature of the site means that the viewer needs to be in Caerleon to see
it, so it was discounted.
M4 by Celtic Manor - The location itself is arguably ideal and an obvious choice, with
exceptional visual prominence from the M4 and picking up the important traffic
merging from the English Midlands via the A449.
Whilst Celtic Manor itself occupies the only natural location for a Landmark in the
vicinity and dominates the principal views, the team is firmly of the opinion that the
building and a new artwork would constitute an unworkable relationship and therefore
it was discounted.
Cwmcarn Forest - The growing numbers of visitors, the planning that has already
gone into consideration for development of the site, its proximity to the main through
routes and the possibility of a range of work varying from environmentally sensitive
pieces through to artists‟ intervention in the design of the cycle routes (chicanes,
bridges, slopes etc) to an international design competition for the proposed chair lift
make it an exciting and potentially viable site. Its location and topography lend its
potential to development as a successful visitor destination (comparators Kielder
Forest and Grizedale) rather than a Landmark or Gateway and it was therefore
Wilcrick Hill – An alternative Border Site to the Second Severn Crossing. An Iron
age fort and companion hill top. Visible from the M4 in both directions soon after
entering Wales. CADW has been consulted and we do not anticipate constraints on
the favoured „companion‟ site on an adjacent landscape mound next to the Hill Fort
Site. The mound offers potential for a vertical landmark gateway sculpture. This site
is near enough to the border to be the first visible sign of a different culture. The
proximity to an ancient site could be tantalising and add to the intrigue of the project.
It could enable layering and overlapping of meaning that artists would find attractive
and stimulating. Visibility is extremely good with long views from the West and from
the East a sudden revelation of the project from behind the Hill Fort site. There appear
to be no difficulties with the proximity of the Hill Fort site from CADW‟s viewpoint or
that of the local authority. The Local Authority is Newport City Council and ownership
is CADW who care for the Historic Hill Fort but the favoured site is privately owned.
No Planning constraints anticipated at present. The site is in the midst of pastoral land
which will form an entirely appropriate setting and backdrop. The proximity to the Hill
Fort could be a very positive attribute offering visitors a dual experience of heritage
and contemporary art. Funding opportunities - Objective 2 transitional area. This site
offers a viable alternative to the Second Severn Crossing and we will hold this in
reserve until the full viability of the Second Severn Crossing Sites is known.
      Lower levels of expenditure
The Project Team Members have a great deal of experience of major public art
projects and it is our contention that the scale of the sites, surrounding buildings and
natural features and even the size of vehicles on modern roads demand that the
projects have substantial scale. Projects that have become Icons for their locality are
almost always extraordinary in scale, Angel of the North, Statue of Liberty, Eiffel
Tower, Christ the Redeemer, Tower Bridge. Some have succeeded without scale but
with other characteristics to make them special; for example: the siting of the Little
Mermaid in Copenhagen harbour so that she appears to be surrounded by water (she
is only a few feet from the harbour wall) and the connection to Hans Christian
Andersen; the Mannekin Pis (or a similar sculpture) has occupied its site in Brussels

since the 17th C. It has been removed during battles, it has been stolen and has been
granted costumes by Louis XV. It is now feted as a tourist attraction and new
costumes are made for it by local businessmen. On the whole though, scale,
extraordinary design and spectacular siting are vital. The Angel of the North would
cost approximately £1.5 - £2m at today‟s prices.
     Reducing the number of sites
We have given considerable thought to reducing the number of sites but based our
decisions on the fact that communication in Wales is fragmented, the country has
regions with very distinct characteristics and there are communities that are not
particularly mobile.
     Using only Welsh Artists/Designers
We have learnt from other projects that being local does not ensure that an artist or
designer has exclusive title to sensitive interpretation of a place‟s characteristics.
Antony Gormley is not from Gateshead but he is an intelligent man able to tap into the
spirit of place and encapsulate it in a work of art. Sculptor Frederic-Auguste Bartholdi
and engineer Gustave Eiffel were French but their collaboration on the Statue of
Liberty created the National Symbol of America. What is crucial is the quality of work
and of the ideas. We will ensure that all Artists, Architects and Designers have an
equal chance to bid for the projects and will also offer opportunities for up and coming
local practitioners to shadow the winning teams.

How does the project promote sustainability and quality of life?
The Project promotes a better quality of life for people by encouraging the sense of
Wales as a whole country and encourages a sense of independence. Close up, it will
interpret some of the characteristics that distinguish Wales, it‟s history, it‟s industrial
past, it‟s social and cultural structures. From a distance Landmark Wales will provide
symbols of Wales that can travel the world and help establish its distinct identity.
Each project will also be a great spectacle to visit and enjoy. The scale and ambition
of the projects will amaze and impress. They will be something that people can be
genuinely proud of.

1.7    What risks have we identified and how will we manage them?
 The risk of not securing agreement for the use of all the sites.
Some of the sites are in public ownership and belong to our partners. We also have
contingency plans for alternative sites.
 The risk of not securing sufficient partnership funding.
We have secured co-operation from a wide range of partners who all have access to
regeneration funding. Land ownership and help in kind will give us substantial
 The risk that people will not like the outcomes.
We will assess and re-assess the proposals throughout the process and apply the
experience of a broad range of very experienced art and public art personnel. The
Project Management Team have huge experience of working in Public Art.

1.8    How will we take account of lessons learnt to ensure the success of the
 There have been other projects that have attempted to mimic the success of the
Angel of the North but many have failed as they have lacked the scale, ambition and
funds that Gormley‟s project had. Other major successful Arts Council and Millennium

Lottery Funded Public Art Projects have focussed successfully either on smaller works
in series on art trails, e.g. Irwell Sculpture Trail, Riverside Sculpture Trail in Newcastle
or on integration of artists‟ work into the built environment, e.g. A13 Artscape, Phoenix
        The most successful projects combine extraordinary siting, striking form, scale
and materials and a determination to integrate the project into the life of the
community. What we have learnt is that the quality and relevance of the idea is
crucial, the siting must be prominent and photographable, the project must be
buildable as proposed, the local community must be fully involved in the process and
the project must have political support. Ongoing maintenance must be considered at
the briefing stage and fully funded and the project must have a committed client
prepared to sign up to its ongoing care, maintenance and promotion.


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