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The joinedupdesign formyplace programme

The Talent fk EnterpriseTaskforce report of September2009 set out the value ofinvolving the Sorrell Foundationand their network of designersand architects:

Over the last ten years, the Sorrell Foundation has developed and applieda process that has empowered young people to become engaged with the designand architecture that affects their lives. In joinedupdesign programmes acrossthe UK, it has matched world-class architects and designers with young clientteams to help ensure that new education, sports, play and social facilities aredesigned according to the needs and wishes of the young people who use them.Working intensively with creative professionals has another advantage for youngpeople — it inspires them, giving them new skills, new knowledge and higherself-esteem. The programmes have also helped establish positive links betweenthe design industry and the public sector.

In 2008, the Talent and Enterprise Task Force identified the opportunity forthe Sorrell Foundation to enhance myplace — creating new youth facilities acrossEngland. The Foundation was subsequently appointed by the Department forChildren, Schools and Families (DCSF) to work on 15 standard track myplaceprojects. The Taskforce wanted the Foundation to help ensure that young people,local to the proposed new youth centres, contributed to their design and content.It also wanted to draw on the Foundation's network of leading architects,designers and creative advisers to help create world-class design concepts forthe youth centres. The Big Lottery Fund (BIG) supported the involvement of theSorrell Foundation, saying it would encourage innovative, exciting design, helpthe projects respond to local needs and views, and strengthen engagement withyoung people who might otherwise not take part.

AhoutmyplaceThe myplace programme aims to deliver world-class youth facilities driven bythe active participation of young people, and their views and needs. Myplaceresponds to commitments made in Aiming High for Young People, the DCSF'sten-year strategy for improving facilities for young people and helping themparticipate in enjoyable and purposeful activities in their free time. The strategywas created in response to new evidence showing that when young people aredirectly involved, they can develop social and organisational skills, raise theiraspirations and become more emotionally mature.

The government is investing C272m in the myplace programme withindividual project grants of between Clm and RSm, administered via BIG. Thegovernment hopes myplace will transform the way young people's facilities arecreated by increasing youth involvement, raising design ambition and improvingbuilding standards.

In September 2008, local groups submitted their bid documents to BIG,which then created a shortlist for consideration by the myplace committee. Thecommittee, which included young people, selected 41 projects for the main roundof investment — the 'standard track'. Applicants for the standard track werenotified of their success in principle at the end of February 2009, when they weretold they had six months to develop their business plans and building designs.The Sorrell Foundation worked with 15 of the projects during this 6-month period.

Bids for the final round of myplace funding were received in September 2009.

'Their intervention results in ahighly visible demonstration ofthe fact that young people in thecommunity have creative ideasand aspirations which can berealised — with a landmarkbuilding as testimony to that.

It provides a powerful exampleof the real potential of what canbe achieved by putting young

people in the lead on projectswill affect their lives directly­which is central to the policyobiectives of the DCSF.

It engages a group of local youngpeople who, as it were, breathelife into the building before it haseven opened. This is the vitalingredient in ensuring local prideand ownership.

T he joinedupdesign for myplace programme I 1

The diti for myplace in Hastings

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The bid for the Hastings myplace project was submitted by the Hastings Trust.The bid document set out the background to the project and made proposals forthe new facility as follows:

Hastings is one of the top 30 most deprived boroughs in the country. 46% ofHastings children live in families dependent on benefits, it has the highest levelsof youth offending in the South East, and the fourth-highest teenage pregnancyrate. Young people face a number of problems, resulting from poor schoolperformance, high levels of crime, generational unemployment, and a lackof positive role models.

The bid document states that too many young people in Hastings aresuffering from 'no self-esteem' due to child poverty and other disadvantages, andthat young people with disabilities are particularly poorly served. Young peoplein the town have complained of a negative attitude towards their generation,which they think has been created, in part, by the media.

Hastings has existing youth provision in the form of four sports centres anda skate park, but there are currently no affordable or accessible music and artsfacilities for young people. The idea for a youth hub was raised in 2006 afterextensive consultation and, in August 2008, the town's Young Person's Councilcoordinated a large-scale survey culminating in a 'town hall takeover', whereyoung people were invited to present ideas and proposals for a new youth facility.The Hastings Trust conducted a detailed study of possible sites for the new centre,and the young people used the results from their study to select a venue thatwould put them in an iconic building on the seafront.

The Hastings myplace bid proposes refurbishing St Mary in the Castle, a175-year old Georgian church on the promenade, currently used as a communityarts venue and proving unsustainable, and which features a unique circularauditorium. The proposal would turn it into a state-of-the-art youth facility, witha performance space, music studio and workshop, arts workshops, and digitalmedia space. There would be a cafe offering training opportunities, plus officeand meeting space for a range of advice services. The Hastings Trust has a25-year lease on the premises and believes that the conversion of this historicseafront building into a world-class youth centre will be an important and visiblesign to the young people in the town that they are valued.

The allocated budget for the build is E4,246,275.

Hastings bid teamMel Bonney-KaneChief Executive, Hastings Trust

Carol BiggsAssistant Director, Hastings Trust

Alan PrivettChair, Hastings Trust

fodte TaylorYouth Engagement Officer,Hastings Trust

Top: Map showing the site'slocationBottom: St Mary in the Castleon Hastings seafront was chosenby the client team to be theirnew youth centre

2 I The bid for myplace in Hastings

The joinedupdesign formyplace team

The Sorrell Foundation assembled a bespoke team for the Hastings project towork alongside the original bid team. It consisted of a client team of local youngpeople, and a creative team individually selected by the Foundation and madeup of an architect, a branding expert and a creative adviser. An architecturalcompetition later led to a new architect being appointed.

Client teamThe Hastings client team consisted of 8 young people from the town's youthcouncil aged 14 — 19, appointed by the bid team.

Creative teamArchitecture: Guy Holloway, CTM Architects, and Dereir Rankin,Jonathan Dunn Architects (appointed by the bid team)CTM architects, based in Hythe, Kent, has a significant amount of experienceworking on listed buildings. Repeat clients include the South East EnglandDevelopment Agency, the Creative Foundation and the De Haan Charitable Trust.Jonathan Dunn Architects, based in Rye and London, has over 25 yearsexperience and a substantial portfolio of work in the South East and London.

Branding: Rob Andrews (assigned by the Sorrell Foundation)Rob Andrews co-founded the award-winning agency R&D& Co. Work includesa new identity for the Old Vic and branding for the London Design Festival. Hewas previously an Associate Director at Interbrand London.

Creative content advice: Elizabeth Lynch (assigned by the Sorrell Foundation)Elizabeth Lynch was Director of the Camden Roundhouse Studios from 2001 — 2008,where she developed an internationally acclaimed programme for youngpeople's participation in the arts. In 2002, she was awarded a Queen's Golden

Jubilee Award by the London Borough of Tower Hamlets for an 'exceptionalcontribution to youth and culture in the borough'. A" Fellow of the Royal Societyof Arts, she is also Chair of Trustees for The Arts Catalyst, a faculty member forThe School of Life and Associate Producer for TIMEWONTWAIT.

Building the creative teamsThe Sorrell Foundation formed15 creative teams for myplaceby drawing on its network ofworld-class design professionals.Each team consisted of anarchitectural practice, a brandingexpert and a creative adviser,and was supported by a SorrellFoundation project manager.The architects treated the youngpeople as professional clients,responding to their input andfeedback. In the same way, thebranding experts worked withthe young client teams to developa name and a visual identity foreach youth centre. The creativeadvisers, led by John Newbigin,guided the client teams throughdesign and content issues andhelped them expand their creativeunderstanding. The creativeteams received honorariums tocover expenses. In some cases,where an architect had alreadybeen appointed by the bid team,they were seconded to thecreative team.

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Big LotteryFund team

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Bid team Bid team Joinedupdesignfor myplace

project manager

Joinedupdesignior myplace teamclient coordinator

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Hastingsclient team

Hastingscreative team

The joinedupdesign for myplace team I 3

The processLed by the Sorrell Foundation, the young client

teams then began the Conversation — a series ofmeetings designed to help them develop a closeworking relationship with their creative team, whichenabled the young people's ideas and needs to

be incorporated into the designs. The Conversationincludes inspirational visits and a trip to Londonfor an intensive day of workshops. At the end of theprogramme, each client team takes ownership oftheir project by presenting the final design conceptsto their bid team, partners and stakeholders.

In December 2008, the Sorrell Foundation inviteddesigners and architects to an introductory seminarabout myplace in the Young Design Centre atSomerset House. Beverley Hughes MP, then Ministerof State for Children, Schools and Families, made thekeynote speech, and Lucy Parker, Chair of the Talent& Enterprise Taskforce, emphasised the benefits oflinking the UK's world-class creative industries to theyouth provision network. There was an overwhelmingexpression of interest from designers and architectsto engage in the programme.

In January 2009 the Sorrell Foundation workedwith the DCSF and BIG to identify 15 projects tosupport. In the spring, the Foundation met the 15 bidteams, and asked them to appoint young clients.The Foundation then assigned a creative team toeach project.

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Creating the teams First meeting

At the Hastings Trust offices inApril, the Sorrell Foundationintroduced the client team tothe Foundation's work and thebackground of the myplaceproject before explaining whatdesign is, what it could do forthem, and how to work as clients.The client team began to talkabout what they wanted fortheir youth centre, suggestingthe existing site be made morewelcoming and will havestate-of-the-art music equipment.

Briefing

The client team developed theirbrief in discussion with the SorrellFoundation and their creativeteam. Much of their thinkingfocused around the existinghistoric auditorium — they wantedto improve the acoustics andmake it less 'staid'. They alsoasked for the crypts below to beconverted into music studios andrehearsal rooms electronicallyconnected to the performancespace, with a green room thatcould double as a chill-out space.The team wanted the seafrontcafe to feature larger windowsand a small stage for open­mic nights.

London visit

In May 2009, the client teamvisited the Sorrell FoundationYoung Design Centre at SomersetHouse, where they met clientteams from the otherjoinedupdesign for myplaceprojects. Creative professionalDidi Hopkins worked with themon the various spaces in theirproposed youth centre, and theyspent the afternoon thinkingabout the centre's identity withbrand expert Rob Andrews. Theteam went on an inspirationalvisit to the Roundhouse inCamden, which also featuresa circular auditorium and cryptswhich are used as sound studios.

The Sorrell Foundation wasinterested in the Hastings bidbecause of its focus onperformance and creative arts,and the complexity of the site.The Foundation assignedEldridge Smerin as architects but,after a competition, the HastingsTrust later appointed CTM andJonathan Dunn Architects. TheFoundation also assignedbranding expert Rob Andrewsand creative content adviserElizabeth Lynch to support theclient team. The Foundation wasadvised that some local peoplewere not happy about the historicchurch being converted into ayouth centre.

4 I The process

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Developing ideas

In early June, an openarchitectural competition washeld by Hastings Trust, and twomembers of the client team wereinvited to sit on the judging panel.A partnership of CTM andJonathan Dunn Architects wasappointed. The whole client teamwas then introduced to DerekRankin and Guy Holloway fromthe two practices, and theycontinued to develop the briefwith them. Branding ideas grewaround the name The Point,with one of the client team,a design student, working withRob Andrews to develop herown design.

Design concepts

CTM and Jonathan Dunn's conceptfor The Point directly responds tothe clients' request for a welcoming,vibrant environment. An invitingrestaurant and cafe leads to thecrypt space, which containsspecially constructed sound boothsfor recording and rehearsals, andis physically and electronicallylinked to a world-class auditoriumabove. For the logo, the clientteam selected Rob Andrews'development of the designstudent's ideas — a full stop, orpoint, being hugged by invertedcommas. Executions includedsignage on the fagade, a T-shirt,a mobile-phone screen-saver,and street advertising for gigs.

Presenting in Hastings

The client team made twopresentations in August, to allowmore people from the communityto attend the event. They talkedthrough the process anddescribed the designs in detailto a round of applause and aquestion and answer session.Around 40 people attended thefirst session, and 28 the second.The mood was positive, and itbecame clear that many peoplehad been won over to the ideaof young people taking over thehistoric building by theprofessionalism of theirpresentation.

Looking forward

The client team continues towork with CTM and JonathanDunn Architects who have beenappointed to continue withtheir work up to the planningpermission stage. The designstudent client has completeda day of work experience withRob Andrews to develop her logoconcept and has been offereda job at The Point when it opens.

The process I 5

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The story of the projectThe proposal to turn a historic church on the Hastings seafrontinto a youth centre caused considerable debate among thetown's older generation, but the intelligence and energy of theyoung client team worked to i mprove perceptions. The teamwas determined to make the new youth facility something thateverybody in Hastings could be proud of.

"They think we' re yobos,but we have amazingcreative imagination"

The Sorrell Foundation was interestedPlanning and preparation

on working on the Hastings projectbecause of the bid's emphasis onperformance and creativity, andbecause of the intelligent architecturalsolution necessary for such a sensitivesite. In spring 2009 the SorrellFoundation offered to support theHastings bid by selecting a bespoke,world-class creative team. The SorrellFoundation assigned Eldridge Smerinas architects because of their work onCamden's Roundhouse, which hassimilar features to the proposed site forthe new youth centre, St Mary in theCastle. They also had had previousexperience working for a youngclient team during the Foundation'sjoinedupdesignforschools programme.The Foundation appointed Rob

Andrews as branding expert becauseof his excellent professional recordand his experience of working withyoung people. The Sorrell Foundationprovided full support to a client teamof eight young people, assigningElizabeth Lynch, former' director of theRoundhouse, as their creative adviser.The Sorrell Foundation was warnedthat some of the local community didnot like the idea of young peoplehaving such an important buildinggiven over to them.

The ConversationThe teams meet

The first meeting was held at theHastings Trust offices in April, wherethe young client team met the SorrellFoundation project manager and MelBonney-Kane, the executive director ofHastings Trust. The clients wereintroduced to the Foundation's work

and the background to the myplaceproject before being shown how gooddesign could improve their lives andenvironment, and discussing in detailhow to be a good client. The team thenthought about youth provision inHastings and said that 'young peoplehave nowhere to mingle with eachother'. They complained that there areno jobs available, and that the currentyouth facilities were inadequate: 'thesame people go every week, theactivities don't change and so theybecome boring, static, and we loseinterest quite quickly,' said one client.

The clients' first briefThe initial meeting gave the clientteam an opportunity to discuss whatthey wanted for their new youth centre,and their ideas were fed back to othergroups of young people at youthcouncil meetings. They want the centreto make a' good first impression, andwere adamant that the branding designshould fit in with the local architecture.The Georgian church front should bemade more welcoming the group said,and 'the entrance should be larger, notthe tiny doorway there is now'. Facilitiesat the centre could include a musicstudio 'with a proper set-up, and peoplewho can help you', as well as creativemedia suites with Apple Macs for art,and a gallery to display their work. Theteam also suggested a dance space'with mirrors, barres, everything', and'a chill-out zone so young people could

just drop-in, relax and get some advice'.

Looinng at St Mary' sA site meeting with architects NickEldridge and Piers Smerin gave theclients an opportunity to begin thinking

Opposite: Clients study a scalemodel of the auditorium audcrypt space at the architects'studios

The story of the project I 7

The Hastings team spent time withgraffiti artist Luke Warburton and theircreative adviser, Elizabeth Lynch,former director of the CamdenRoundhouse Studios. The clients visitedthe Roundhouse in the afternoon, andsaw that, as with St Mary, it is a listedbuilding with a circular auditorium andcrypts, and has been converted intomusic and arts facilities for local youth.The visit opened the clients' eyes tothe possibilities for their youth centreand gave them new enthusiasmand energy.

"We want it to be a pla<

where every youngperson can go and fe~safe and comfort< '

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about how they want to use the spacein the church. The clients told thearchitects that they wanted the circularauditorium to have a less formal, staidfeel; that it should be a flexible space,used for both relaxation andperformance. They suggested doingsomething creative with colour andlighting — particularly on the columns.The team wanted to look into theacoustics, as the auditorium wasacoustically good for 'unplugged'performances, but not so good foramplification. Recommendations forthe cafe included creating a sushi-stylebar serving healthy food and installinglots of windows to let in more light. Themeeting revealed that the HastingsTrust procurement procedure requiredarchitects to competitively tender forthe job, and that the winners wouldwork for the client team. EldridgeSmerin was invited to submit anexpression of interest.

An inspirational visitDiscussing facilitiesAt the end of May 2009, the client teamcame to the Sorrell Foundation YoungDesign Centre at Somerset House inLondon, where they met client teamsfrom the other joinedupdesign formyplace projects, and creativeprofessional Didi Hopkins. Didi talkedfirst about the enterprise space — theareas that could provide revenue suchas the cafe, performance and multi­media facilities. The clients stressedthat the performance space should bea place where 'talent gets spotted, aplace where everyone sees what wecan do and how creative we are', andsuggested it be linked electronically tothe proposed music recording studio.The clients also called for musicians torun courses and workshops and askedfor a radio station presented and run byyoung people to broadcast throughoutthe centre, including the cafe.

New people and placesDuring the London visit, the client teamwas introduced to professionals froma range of creative industries, includingexperts in film, music, fashion, curation,performance and event management,fundraising and social enterprise.

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Branding workshopA session with branding designer RobAndrews got the young clients thinkingabout a name for the centre. Rob askedthe team to think about the meaning oftheir favourite bands, brands andshops, before going on to identify whatmade Hastings and the site so special.The client teams came back withdescriptions like 'the cliffs', 'the vault','amazing pillars' and 'regalappearance', and this developed intoa word-play game about the site thatgenerated possible names: Unite,Eureka, Bounce, The Place, and SMIC(St Mary In the Castle).

New architectsAn open architectural competition washeld by the Hastings Trust in June, andtwo client team members were invitedto sit on the judging panel. Thepartnership of CTM and Jonathan DunnArchitects was appointed and theSorrell Foundation invited them toSomerset House for a briefing on thejoinedupdesign for myplace processand how to work with the creative andclient teams. The client team met their

Right: The client team visitingthe Roundhouse in Camden

OppositeTop: Rob Andrews leads abranding session at the SorrellFoundation Young Design Centreat Somerset HouseBottom: The client team lochat a display charting the historyand refurbishment of theRoundhouse

8 I The story of the project

The story of the protect I 9

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"Chill-out spaces shoul

be a quiet place torelax — a place to getaway from bright lightsand loud noises"

new architects, Derek Rankin andGuy Holloway at St Mary in the Castle,and took part in an exercise to identifylayouts and themes for the main spacesusing technical drawings.

Brainstorming the box officeDuring the site visit, the group splitinto two, with one discussing the cafband crypt space with Derek, and theother addressing the auditorium withGuy. In the first group, Derek suggestedcalling the reception the 'box office'to reference the centre's performancespace. The clients were keen to openup the reception by removing thepillars in the cafe, and respondedpositively to Derek's suggestion ofintroducing a large skylight. 'We wantit to be really bright and colourful,'they saicL The clients also suggestedhaving a platform towards the backto act as an informal stage for open­mic nights.

"This centre is about

turning our negativ ­

image back int<positive i ma

OppositeTop: Clients stand on thelighting rig above theQuarterhouse performance

Bottom: Architect Guy Hollowayexplains the details of one hisprevious schemes

Middle right: The clients usethe floor to assemble a possibleprogramme of events for theiryouth centreTop right: The pinh carpetat the Quarterhouse capturesthe attention of a Hastings client

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Ideas for the auditoriumThe team decided that the auditoriumshould be a flexible space whose sizecould be reduced and increased asneeded. Guy suggested glassingoff a section near the entrance to createsound separation to the 'box office'and room for a bar. The space shouldfeature a larger stage, and a liftconnecting to the music facilities in thecrypt, and the client team also liked theidea of having a green room for chillingout, that could double as a rehearsalroom, complete with instruments onwhich you could 'have a go'. The team

made a specific request for sound­proofing, learning a lesson fromCamden's Roundhouse, where thecrypt space cannot be used if there isa performance taking place on theupper level.

Thinlring about colourA trip to the Quarterhouseentertainment venue in Folkestonehelped the client team improve on theirdesign knowledge and vocabulary andbegin a discussion about colour. Theyhad previously agreed that colourshould 'lead' people around thebuilding, and now thought about howthe outside should look. The creativeteam asked them to consider theclassical architecture of their building,which is a very neutral colour, andtold them that even the Parthenon inGreece was once painted in brightcolours. The client team agreed thatthey couldn't do that to their buildingbecause 'Hastings would kill us!'

Finding a brandThe journey to find a brand for theircentre took the pupil clients to CTM'sstudio in Hythe and to the F-ish galleryin Hastings. They talked to RobAndrews about conservation andidentity, and Rob stressed that the logohad to support the architecture and thecentre as a whole, presenting themwith examples of brands that reflectheritage, such as the Old Vic and theBritish Museum. He explained theimportance of having a vision beforecreating a brand, and together theyconsidered words and phrases relatingto the past, present and future of the siteand young people in Hastings. Thesession generated The Castle, Volt, ThePoint, The Place, Encounter, The Vibeand The Deck as possible names for thecentre, and The Point was chosen asthe favourite. The session worked torefocus the team, giving them thevocabulary they needed to talk aboutthe project to the community. Onemember of the client team was a

space

The story of the project I I I

design student and was inspired towork on her own logo design, whichshe submitted to Rob. A few days later,having developed the student's idea,he presented it back to the grouptogether with some of his own. Theclients favoured the student's conceptbut decided to consult with the Hastingscommunity through over 400 streetinterviews. The student's idea was themost popular.

What the young clientsasked for• Somewhere that feels safe and

welcoming for everyone• A buzzing conveyor belt-style cafe,

full of natural light• An auditorium that provides a 'talent

showcase' for the centre• Music and recording studios in the

crypt, connected to the auditoriumvia lifts

• Rehearsal rooms for dance and music• A green room, chill-out spaces and

social spaces• IT and media rooms

The bid team decided to host two

• Opportunities to learn new things,including office space for healthand support

Final presentation

identical presentations in August toallow as many people from thecommunity as possible to witnessthe proposals. Mel Bonney-Kaneintroduced each event with a shortspeech about the myplace bid beforehanding over to the Sorrell Foundationand then the client team. The clientstalked through the journey they hadbeen on and described the designin detail to a round of applause, beforeengaging the audience in a questionand answer session. The mood waspositive, and it was clear that manypeople were won round to the idea ofyoung people taking over the historicchurch building by the professionalismof their presentation.

Opposite and above: Clientsconfidently present the designconcepts to two packed meetingsin Hastings Town Hall

12 I The story of the project

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Branding conceptsBranding is an essential component for the new youth centres that is oftenoverlooked. A strong brand can draw young people to the centre and it can beuseful for marketing and fundraising activities. The centre's reputation within thelocal community will be enhanced by a brand that sums up its positive purpose

The client team wanted 'The Point' as a name 'because it's short and snappy,and because the centre is a point itself — a conversation point, a meeting point,a viewpoint. If people ask, "what's the pointF' you can say, "well, the point is...".'

One client, a design student, created a logo concept based on the idea ofa 'hug' wrapped around a 'point' and Rob Andrews developed it into a finished

proposal, which he presented alongside his own — a typographical solutionrepresenting The Point as an arrowhead. In the end, and after furtherconsultation, the client team preferred the design student's idea, but introducedboth at the final presentation.

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14 I Branding concepts

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The opportunity has been given to usto put that spirit back into the building,and to bring it to life again.We are creating a brighter future forourselves, for our community and forHastings, and we' re doing it our way.A visualisation at street level

shows the cafd and outdoorseating against the backdropof the Georgian facade andchurch. and the proposedbranding concept

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Architecture concepts

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"St Mary'sin the Castlis one of Hastings'> "easures — radical,=reative and unique

when it was buil t. Thiopportunity has beengiven to us to put tha'spirit backinto thebuilding, and to brin<it to life again. We ar i

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The Vision

CTM and Jonathan Dunn's conceptfor The Point directly responds to theclients' request for a welcoming,vibrant environment that feelsinclusive, functional, arid has asustainable future.

opened up with an expanse of glazingto reveal an inviting restaurant andcafe, and box office space for theauditorium upstairs. The public areaslead through a dramatic tunnel on tothe more youth-focused crypt space,which contains specially constructedsound booths for recording andrehearsals, and an accompanyingmedia suite.

to update the auditorium and give ita more modern feel. During itstransformation into a world-class

The building's facade has been

venue, it will be carefully refurbishedand enhanced with the latest lightingand sound equipment, and has amaximum capacity of 900.

A neighbouring building will berefurbished to provide further rehearsaland dressing/green room space for theauditorium, and offices and meetingspaces for the Youth Council.

The clients asked the architects

16 I Architecture concepts

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Architecture concepts I 17

The clients ashed for a 'buzzing'cafh full of natural light, and ahitchen where young people canlearn to prepare food. A tunnel,to the left, draws people throughto the crypt and auditorium.

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18 I Architecture concepts

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The clients wanted a flexible,modern auditorium. The spacehas been brightened up andadjusted to accommodate 900

seats while remaining flexibleenough to host fashion shows.gigs and even weddings.The portico has been converted

into a bar area for theauditorium. A glass wall createsa new social space, allowingvisitors to look out over a viewof the English Channel.

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The crypt makes use of theexisting architecture to createacoustic booths in the musicstudios

Architecture concepts I 19

OutcomesThe Sorrell Foundation's joinedupdesign for myplace process in Hastings hasproduced many positive outcomes:

• The process led to creation of a client team• It brought together young people from different backgrounds to provide input for

myplace• The team become authorities on the design of their youth centre, making them

an important asset for the ongoing project• It changed the level of young people's participation from consultation, to

• The social and potentially vocational skills of the client team members wereimproved, including their team-working, problem-solving, communication andnegotiation skills, and their confidence and citizenship

• The programme gave them pride in their work and ownership of their newyouth centre

• It generated a strong brand, name and identity for the youth centre, where mostyouth centres treat branding as an afterthought

• A good relationship was formed between the architects and the client team,which meant that the architects' concept responded fully to the views and needsof the young people

• One of the clients completed a day of work experience with graphic designerRob Andrews, adding to her portfolio

• One of the clients has become a champion of the brand and identity, and hasbeen offered a job at the centre when it opens

"It's now our responsibil i ty

to show that Hastings isnot what it's perceived'~ be. To show i 1's better

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Client

conversation

Next StepsThe standard track myplace projects will know if their capital and business planshave been approved by theend of 2009.

The Sorrell Foundation is producing reports for each of its 15 myplaceprojects. Findings will be presented to the DCSF and BIG on 7 October 2009 at the­Sorrell Foundation Young Design Centre in Somerset House, and lessons learnedwill inform the next round of the myplace bids. They may also be used by BIG tohelp assess bids.

The Foundation will produce an overarching report outlining findings from itsinvolvement in the programme, to inform the future building of youth centres andthe operation of similar capital programmes.

In Hastings, the partnership ofCTM and Jonathan Dunn Architects has been appointed to continue with theproject, and will continue to work with the client team.

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jeremy Birch, LocalLabour leader

20 I Outcomes and next steps

ThanksThe Sorrell Foundation would like to thank everyoneinvolved with joinedupdesign for myplace in Hastings

Hastings client teamOli Fawcett, Jennie Kite, Fenton Mann, Amethyst Reardon, Dan Robinson,Elissa Sedden and Billy Thomas.

Hastings bid team, partners and stakeholdersMel Bonney-Kane, Chief Executive, Hastings Trust; Carol Biggs, Assistant Director,Hastings Trust; Alan Privett, Chair, Hastings Trust and Jodie Taylor, YouthEngagement Officer, Hastings Trust.

Hastings creative teamGuy Holloway, CTM Architects; Derek Rankin, Jonathan Dunn Architects; RobAndrews and Elizabeth Lynch.

Creative content teamJohn Newbigin, Chair; Steve Clutton; Anne Engel; Joe Hunter, Elizabeth Lynchand William Warren.

Industry professionals who gave their time and expertiseat the myplace London workshops

Mary Abiola, The 0,, live events; Anne Engel, fundraising for social enterprise;Joe Hunter, Vexed, fashion; Rob Khan, BBC music, radio; Elizabeth Lynch,performing arts; Arthur Potts Dawson, Acorn House restaurant, restaurants andsocial enterprise; John Newbigin, film and digital content; Niru Ratnam, STOREgallery, gallery spaces; Raf Rundell, 1965 records, music production; LukeWarburton, VOP, graffiti; and William Warren, 3D design.

Special thanksFor kindly speaking at our joinedupdesign for myplace introductory seminar:Beverley Hughes MP, former Minister of State for Children, Schools and Families;Lucy Parker, Chair of the Talent & Enterprise Taskforce and Alex Mowat, UrbanSalon; to Arup and Leon Renwick for project management support; for hostingclient team visits: Roundhouse, London; the Quarterhouse, Folkestones; CTMArchitects' studios, Hythe and the F-ish Gallery, Hastings; photographers GrahamCarlow and Olivia Grabowski-West; writer Nick Skeens; designer Fay Cuthbertsonand filmmaker Russell Reed.

Thanks 121

Standing in front of The Point.client team members show off theirSorrell Foundation joinedupdesignfor myplace certificate

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