Brief v1

Exploring the boundaries of the brief is fundamental to the project's success. So thought it might be interesting to have it on record where it all began, in order to compare how our own brief develops and changes....

"... working with artist Trish O'Shea, choreographer Simon Birch and dancers to formulate ideas and create designs for a transformable, changing space for performance that could incorporate film, sound, projection and include the presence of the audience in a variety of ways. You will work closely with the artists; observing, sharing ideas and making architectural responses to the moving figure. The artists will, in turn, respond to the work of the students and each will influence and affect the development of the work".

• developing a brief with the artists
• experimenting with use and form in the shape of 1:1 prototypes in collaboration with the artists and dancers
• developing and implementing strategies of creative engagement with members of the public
• exploring funding options for the longer-term implementation of the installation
• developing a strategy for the siting, use and operation of the installation

“Birch O’Shea envisage a close working relationship with the students… (forming a) proposal that can be submitted for funding at the end of the process… experience in interdisciplinary practice, creative community engagement, strategic planning… the evolution of a truly original artwork".

- from the MArch Handbook 08/09

So we have the live project brief (above), which is in turn defined and developed by the Birch O'Shea's brief – following our initial client meeting, we know that this is extremely open.
Next week we hope to begin pulling together the ideas we need to consider just how prescriptive our brief is, or alternatively, if that would even be appropriate.