Great Fire of London Commemoration Eventdemocracy.cityoflondon.gov.uk/documents/s41564/Great Fire...transatlantic tunnel and a pair of extraordinary devices that allowed people on

ART ICHOKE July 2014

Great Fire of London Commemoration Event Proposal for Feasibility Study

Photo: Hilden and Diaz, City on Fire

Proposal July 2014

Artichoke Trust Ltd Toynbee Studios 28 Commercial Street London E1 6AB Company Registration 5429030 Charity No 1112716 VAT 884 2682 85

Great Fire of London, City of London - Proposal 2

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Contents Pages

1. Brief 4 2. Approach & Experience 4 3. Methodology 6 Appendices A: Biographies 10 B: Relevant Work 12 C: Artichoke Event Statistics 20 D: Client List 21 E: References 22 F: Statutory Information 23 G: Tasks, Timetable and Fees 24


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1. Brief The City of London wishes to commemorate the 350th anniversary of The Great Fire of London, with a spectacular public event. Its aim in commissioning a high profile contemporary cultural event is to commemorate the Great Fire and its lasting impact on the architecture and infrastructure of the City of London, whilst simultaneously encouraging residents and visitors to explore and view the City in a new light. Artichoke has been invited to present its ideas for the creation of a large-scale public event, exclusive to the City that will take place over a weekend in September 2016. The event will:

• Animate the public spaces of the City of London with a dazzling programme of artworks from leading national and international artists responding to the events of 1666 that shaped the City as we know it.

• Bring together businesses, and the immediate and strategically important

neighbouring communities in Hackney, Islington and Tower Hamlets to the east of the City in preparation for the event.

• Be delivered in partnership with the City’s leading cultural institutions, building on

the foundations of joint working currently being developed for the 2016 Shakespeare anniversary and the Queen’s 90th birthday celebrations

• Be free of charge, inviting communities and visitors to explore the City without

economic barriers to attendance, providing an opportunity to come together in shared discovery of new and familiar landscapes temporarily transformed through the imagination of artists.

• Draw the attention of the world’s visitors and media to of the City of London,

demonstrating the City’s ability to host and deliver high impact cultural entertainment.

• Generate iconic images of the temporary transformation of the City including its historic monuments and business locations as the backdrop to this popular event, challenging national and international perceptions of the role of the City in 21st Century London.

• Promote the role of the City as the guardian of London’s memory and act as the

catalyst for a specially created education project linking the contemporary event to the historical events of the Great Fire to be delivered by the London Metropolitan Archives and the Museum of London.


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• Incorporate moments for high profile entertainment to further promote the role of culture within the City, against the backdrop of the event.

The event will be designed to have maximum public impact. This feasibility study will demonstrate ways in which the event will meet the strategic priorities of the City of London Corporate Plan and the City Together strategy, addressing these particular aims:

• To enable the City to continue to flourish and to see the benefits of its success spread

across London, the UK and internationally; • To enable City and City fringe residents to have the opportunity to make a success of

their lives for themselves, their families and their communities by extending opportunities for education, life long learning, skills training and work;

• To enhance services and outcomes for children and young people, including support for vulnerable children and their families;

• Support and promote the City as a cultural asset and to encourage greater vibrancy and diversity in cultural and leisure activities;

2. Approach & Experience 2.1 Artichoke was founded in 2005 by co-Directors Nicky Webb and Helen Marriage after 20 years of collaboration on outdoor and site-specific arts and cultural events. The company has developed an unrivalled reputation for producing events that create real benefits for communities and at the same time bring surprise, delight and a little bit of magic to streets and public places, transforming them briefly into playgrounds. The company specialises in taking art out from behind the closed doors of theatres or art galleries and producing and providing consultation on shows and events in unusual places: in the streets, public spaces or in the countryside. We have expertise in building the strategy, financial management, partnerships and public and private sector relationships necessary for this work to take place. We work closely with principal stakeholders, co-producers, regulatory authorities, planning departments, local communities, and local funders as well as those involved with the programming, commissioning, communications, audience development and delivery side of the event. 2.2 Our core business is producing ambitious arts events in the public realm. We have created city-wide festivals and site-specific events; commissioned artists and arts organisations and built partnerships with local, regional and national stakeholders. We’re experienced in delivering against multiple social and political agendas, engaging local communities and embedding them and their experiences in the development of local projects. Artichoke offers both practical, professional experience of project delivery as well as experience of undertaking consultancy and research for other clients. We rigorously analyse and test proposed concepts, visions, aims and objectives of clients and wider stakeholder


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groups and are thorough in both our quantitative and qualitative research methods. Alongside project management, our methodology includes undertaking feasibility studies, market research and analysis, and conducting options appraisals. Much of our previous and current work is based in London, and the company has excellent knowledge of policy and legalisation relating to London’s outdoor spaces. Our most recent large-scale events include:

• LUMIERE, two four-day festivals celebrating the power of light in the historic cities of

Durham and Derry -Londonderry in which more than 50 artists in each city created a breathtaking series of installations, illuminations and performances, transforming stunning buildings, streets, bridges and riverbanks;

• Antony Gormley!s marathon event, One & Other, which put ordinary men and women in a position usually reserved for long-dead military heroes, the empty Fourth Plinth in Trafalgar Square, London;

• Royal de Luxe’s The Sultan’s Elephant - the biggest piece of free theatre ever seen in the UK;

• Paul St George!s Telectroscope which joined London and New York by means of a transatlantic tunnel and a pair of extraordinary devices that allowed people on both sides of the Atlantic to catch a glimpse of life across the pond;

• La Machine's 50-foot high mechanical spider, the flagship event for Liverpool's Capital of Culture celebrations.

Key relevant consultancy projects include:

• Feasibility study for the Mayor’s Office exploring the potential for the creation of a

floating Lido for the Thames, along the lines of the iconic pools of other world cities; • Feasibility study for Heart of London Business Improvement District into the

opportunities to produce a winter light festival for the Mayfair and Piccadilly areas of London;

• Consultancy for LOCOG on the cultural provision at the Olympic Park, including comprehensive proposals for a range of costed cultural activities and events, projected attendances, audience/visitor needs, performance facilities, needs and technical requirements, support services, management and delivery mechanisms;

• Study for LOCOG on the feasibility of a ‘Creation Centre’ as a potential legacy project of the London 2012 Games;

• Providing key expertise and input into the overall vision for the Victoria Embankment, potential activities and events that could take place including public art, models, programming, technical and licensing issues, management structures and delivery mechanisms;

• Cultural Policy and Management Strategy for Jubilee Gardens for South Bank Employers’ Group.

2.8 From our considerable range of projects, we have retained extensive knowledge and expertise that we are able to use for the benefit of clients. We offer creative ideas and visions; a thoughtful approach to understanding the views and issues of clients and stakeholders; and a disciplined approach to undertaking research, testing and analysis.


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3. Methodology 3.1 Artichoke proposes the following methodology:

Briefing:

October 2014

Consultation

Partnership Brokering

Desk Research

Feasibility study to include: Draft programme Costs Timing & delivery milestones Partnerships required for delivery Legal and licensing requirements Proposed sites Outline traffic and crowd management plans Communications strategy Legacy plan


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Briefing 3.3 First steps in the project are to review and confirm the brief, discuss client / stakeholder aspirations and input, key issues and outputs of the project. 3.4 Artichoke would expect feedback on the proposed methodology, reporting dates and likely participants in the process, and would want to work with the City of London in identifying relationships with known stakeholders that will inform all aspects of the consultation. 3.5 Artichoke would anticipate that the City of London would provide all relevant background material, reports, research and contact details for those already engaged with the project, as well as access to key staff within the City of London whose work would have a direct bearing on its execution. Desk based research 3.6 The desk-based research will cover the following elements of the study:

• Research potential programme, including new commissions, through talking to

international artists and local world-class arts organisations • Assessment of key dates/times/duration of the proposed Great Fire of London

event to complement the existing activity pattern of the City of London • Audit and review suitability of potential sites within the City of London including

jurisdiction, current events/activities, limitations, existing and potential visitor facilities and services, recreational activities and services, access and transport; traffic patterns

• Identify building owners/tenants/land owners in order to begin to consult when the programme is given the go-ahead

• Consult with key individuals representing the business community • Map local artistic/cultural stakeholders • Map local communities including strategically important neighbouring

communities including demographics, local groups, societies • Identify appropriate opportunities for local community participation • Identify key world class arts organisations / artists and potential projects; • Research potential partners, both artistic and financial. • Identify key organisations as potential founder partners for the commemorative

event • Research potential additional funding sources; • Review the Mayor’s Cultural Strategy and liaise with the Mayor’s office to ensure

full political support for the project • Review the City of London’s strategic and cultural policies and liaise with key

individuals in the City of London to ensure full political support for the project • Identify existing planned events taking place in and around proposed sites to

ensure smooth collaboration and no duplication of effort • Consider event management implications and outline crowd and traffic

management plans


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Consultation 3.7 Artichoke will consult with key personnel to include:

• The City of London and its tenants – both business and residential • Independent freeholders within the City • Key individuals in the neighbouring boroughs with whom the City has strategic

partnerships • World-class arts organisations and artists who could contribute to the

programme; • City of London and East London artistic / cultural stakeholders; • City of London – events; culture; planning; licensing • GLA Culture Team • Embassies and international cultural programmes • Private land- and real-estate owners; • Local community organisations within the city and neighbouring East London

boroughs as appropriate; • Potential funders as appropriate to include Arts Council England, Heritage Lottery

Fund and City of London based trusts and foundations. 3.8 The products of this research will be:

• An understanding of the strategic priorities of stakeholders / cultural institutions; • Links to other key cultural institutions • Identification of any restrictions or limitations on sites • Understanding of planning or operational constraints • Identification and engagement of committed partners • Links to key community organisations

Outputs 3.9 Based on the results of research and consultation findings. Artichoke will present a

proposal for a spectacular public event to commemorate the 350th anniversary of the Great Fire of London in the City of London. The proposal will include:

Programme and Content

• Identification of suitable elements for inclusion in the programme • Scalable vision for the programme of installations and events, including the

potential partnerships with the City of London’s key cultural organisations; Outline example programme / calendar of events and activities;

• Identification of suitable locations for installations; • Outline, scalable budget for proposed programme; • Opportunities for community engagement and participation; • Opportunities for training or short term placements;


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Operational considerations • Delivery model(s) and timescale, key tasks, milestones and outline budgets; • List of partners indentified and engaged and in principal agreements for

partnerships; • Suggested dates for event and timetable for delivery • Comprehensive understanding of legal considerations, permissions and licenses

required for event • Outline event management structure including audience management.

Communications and fundraising

• Outline promotional and communications campaign including key aims/targets; • Fundraising strategy including deadlines as appropriate; • Outline legacy plan for the event.

Implementation of the research outputs:

3.10 Following the delivery and acceptance of the proposed programme for the Great Fire event as detailed in the feasibility study, Artichoke would work with the City of London to deliver the proposed programme within an agreed timetable

3.11 The implementation and delivery of the proposed programme will be subject to a

separate agreement between the City of London and Artichoke. Tasks, Timetable and Fees: 3.12 An indicative list of tasks, timetable and fees is presented for further

discussion/amendment with the client as required. This is included as a separate document as Appendix G

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Appendices A: BIOGRAPHIES

HELEN MARRIAGE Director Helen Marriage is the director of Artichoke. Artichoke is one of the country’s leading independent production companies. Its recent projects include the Lumiere festivals in Durham and Derry in 2013, and Deborah Warner’s Peace Camp, as a celebration of peace for the Olympic Festival 2012. In London the company produced Antony Gormley’s 100-day One & Other Fourth Plinth project in Trafalgar Square, Paul St George’s transatlantic project The Telectroscope and was responsible for the groundbreaking presentation of Royal de Luxe’s The Sultan’s Elephant on the streets of central London in 2006. Previous work has included a seven-year period as Director of the Salisbury Festival, which she transformed from a local affair to what The Times described as a ‘miracle of modern British culture’. Helen went to Salisbury after creating the first Arts & Events programme for the developers of Canary Wharf in London. Prior to that she was an Associate Director of the London International Festival of Theatre. She began her working life with Artsadmin where she managed a variety of independent artists in the early 1980s. Helen also played a crucial role as fundraiser for Artsadmin’s refurbishment of Toynbee Studios, raising £6M for the project. In 2012 Helen was awarded a Loeb Fellowship at the Graduate School of Design at Harvard University. SARAH COOP Development Director Sarah has been raising money for the arts since 1984 when she worked for the Festival of Sydney.

She spent the next 12 years working for some of the best international orchestras, setting up sponsorship departments for the Academy of St Martin-in-the-Fields and the Philharmonia, securing the Philharmonia’s residency at Le Chatelet with a £500,000 sponsorship from Rover Cars. Sarah helped to put the Royal Philharmonic Orchestra back on the map with a £1m sponsorship deal for their residency at the Royal Albert Hall. She also initiated the capital campaign at the Roundhouse and was responsible for raising the first £10 million. She spent five years fundraising at the Hampstead Theatre before joining Artichoke in 2008


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JENNIFER CROOK General Manager (Maternity Cover)

Jennifer has been engaged in arts production for over 10 years, working in key management roles at major performing arts festivals including Glastonbury Festival, WOMAD, Paradise Gardens, Ashton Court Festival and the Bristol Harbour Festival. She was one of the founders of the critically acclaimed End Of The Road Festival and has produced international touring works for artists including Luke Jerram and Jeremy Deller. Prior to joining Artichoke, Jennifer was a Producer for the London 2012 Festival, bringing together leading artists from all over the world for the UKs biggest ever festival. The 12 week, nationwide programme engaged more than 19.5 million people in celebration of the London 2012 Olympic and Paralympic Games. Whilst in the role, Jennifer managed and developed a large and complex portfolio of over 30 national and international arts projects, with budgets of up to £2 million. Jennifer was awarded the Arts Council commission to produce the ‘London Events Toolkit’, an online events planning toolkit for use by all 33 London Boroughs, the first of its kind in the capital. She recently published a guide for the Mayor’s Office on the role that culture can play in town centre regeneration, ‘Culture on the High Street’, which has been distributed to all London Boroughs and throughout the UK network of Town Centre Managers. KATE HARVEY Associate Producer Kate joined Artichoke as Associate Producer in 2007. Producing for other companies includes Robert Wilson’s Walking for Norfolk and Norwich Festival as part of the Olympic Cultural Festival and work for independent artists including performance artist Mem Morrison and poet and broadcaster Luke Wright. In addition to her consultancy work with Artichoke, Kate regularly works with Bonnar Keenlyside, where studies have included business planning for Alexandra Palace Theatre, Theatre Royal Newcastle, Theatre Royal Margate and options appraisals for the Arts Council of Wales and Hornsey Town Hall. Previous experience includes four years as theatre officer for Arts Council England and four years at Chichester Festival Theatre, producing work for and with young people and creating the Education programme. Kate also worked as a director and assistant director with particular experience on large-scale participatory work, including community operas for ROH and English Touring Opera. 200 ANNA VINEGRAD? 7. She joined Artichoke in 2008.


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B: Relevant Work LUMIERE

DURHAM (2009, 2011, 2013)

DERRY-LONDONDERRY (2013)

‘ I cannot remember the last time I was in a British city so full of cheerful, excited people, and of every generation. … The throng was charmed and amazed, and it kept saying so, sometimes in reverent whispers, and sometimes with a joyful shout.’

Rachel Cooke, The Observer

Artichoke has developed a highly successful light festival, LUMIERE, for the beautiful medieval city of Durham. The company has produced three editions in Durham, in 2009, 2011, and 2013 and a single Lumiere Festival in Derry-Londonderry as the closing event of the 2013 City of Culture celebrations. The success of the LUMIERE festivals is detailed below:

Over the four editions of Lumiere from the first festival in 2009 to the two festivals in Durham and Derry-Londonderry in 2013, Lumiere been enjoyed by a total of 580,000 visitors filling the streets to capacity over the four-night events. Independent evaluations commissioned on the festivals indicate that the events delivered a combined total of £11.7 million and widespread media coverage, and significant numbers of overnight visitors from outside the cities who came specifically to experience Lumiere.


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The 2013 Durham Lumiere consisted of 27 installations situated across Durham. There were large-scale installations, including Ross Ashton’s 120m long projection on Durham Cathedral Crown of Light, Catherine Garret’s Elephantastic and Atsara’s mesmerising installation Mondes. As well as these large-scale pieces, the Festival included a range of smaller works, including neons, projections and a single installation in the Galilee Chapel created though a series of workshops with artists working with prisoners in County Durham’s four prisons.

The Durham event was produced by Artichoke and commissioned by Durham County Council, with significant support from Arts Council England, and a panoply of other statutory funders, trusts, business sponsors and donors. The total cost of the event was around £1,000,000, or £1.5m if in-kind costs are included. Of this, £400,000 came from Durham County Council.

The event proved a draw to visitors, 2%, with 3% of total survey respondents coming from outside the UK (up from 2% in 2009). Of the UK audience, 20% came from outside the North East (up from 17% in 2009). Given the numbers, this means that Lumiere was a significant attractor for visitors, as evidenced by the full hotels. However of course the event was also well supported by people from the wider region and from the local area, with 51% of UK visitors coming from County Durham and a further29% from the rest of the North East.

In Derry-Londonderry, the festival was commissioned as the final event of the City of Culture celebrations and comprised of 17 installations. The programme included several pieces made with participation from both faith communities in the city, including Krysztof Wodiczko’s public projection created with individuals from both sides of the conflict broadcasting fragments of text and speech of onto buildings in the city and Ocubo’s projection Twice Upon a time, created with participation from over 120 children from 8 primary schools.

The 2011 and 2013 Durham and Derry festivals provided significant opportunities for involvement of local artists, emerging producers and volunteers. The Brilliant scheme offered commissions for artists based in the North East, and Northern Ireland, with 13 new lightworks receiving full commissions. Individuals committed to developing a career as a producer of outdoor work were offered opportunities for short term paid project apprenticeships on the festivals, where the learning from working on the festivals was supplemented by a series of talks with Artichoke’s directors and senior staff.

Over 350 local volunteers have been involved in the delivery of the festival from 2009-2013. Volunteers gain experience in working with the public, guiding people around their city and explaining more about the artworks on display.


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ANTONY GORMLEY’S ONE & OTHER JULY – OCTOBER 2009 TRAFALGAR SQUARE, LONDON

Antony Gormley’s marathon project One & Other was a rare thing: a piece of public art that became a news story in its own right, attracting press coverage all over the world, and virtual audiences who followed the live event in Trafalgar Square from all four corners of the globe. The idea was a simple one: to invite ordinary people from across the UK to take their place on the empty plinth for an hour each, for 100 days and nights – 2,400 individuals each occupying the space for an hour each, and free to do or say whatever they liked during that time, Trafalgar Square is one of the most symbolic places in the country. By taking their place amongst military figures the ‘plinthers’ came to represent humanity itself.

Every hour, 24 hours a day, for 100 days, 2400 people sang, campaigned, performed, undressed or simply stood on the plinth. Thousands watched them from the Square, many making a daily pilgrimage to see what was happening. Even more tuned in to watch the live stream on the project website, provided by our partners Sky Arts – the longest outside broadcast in history. Of course in reality the project was highly complex and ambitious, requiring a team of staff and technicians to look after every one of the participants onsite, 24 hours a day, for three and a half months. Each participant was photographed and interviewed about their experience, with the Wellcome Trust conducting a detailed research study. The recruitment of the 2,400 participants itself presented a challenge, requiring a randomised selection of ‘winners’ from among the 35,000 applicants, based on a proportional geographical spread and equal gender split. The project website received almost 10 million hits, by 840,000 individuals, and 33,000 comments were posted online. The British Library archived the website for perpetuity. www.oneandother.co.uk


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PAUL ST GEORGE THE TELECTROSCOPE LONDON-BROOKLYN, 2008

“…the Telectroscope, an utterly zany but quite brilliant installation … Planted in the ground next to what is now the Boris Schloss, it is a Jules Verne-styled tube in faux-brass and faux-iron apparently plunging into the ground. Glass at one end reveals it to be a kind of telescope. Its twin is by the Brooklyn Bridge in New York. Look through the glass and you appear to be staring down a 3,400-mile transatlantic tube. New Yorkers and Londoners stare at each other, wave, hold up signs and, above all, dance. Everybody, me included, dances in front of the glass; it seems, somehow, to be the right protocol. What is truly brilliant is that what it does is, in fact, nothing special. We can all “video conference” through our laptops from Starbucks. … Yet what St George brings to the party is the power of metaphor and the restoration of wonder. The undersea tube is a metaphor for our new connectivity, and the Victorian styling – deliberately clunky – evokes a time when technology was wondrous and physically heavy, a muscular rather than merely a mental effort.” Sunday Times, June 2008


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The Telectroscope was the brainchild of British artist Paul St. George, who approached us with an idea which immediately appealed to us. He described a huge telescope, to be situated in two different cities, through which people would communicate silently, by means of an extremely fast broadband connection.

We worked with Paul to amplify the original idea, creating a playful back-story in which Paul’s (fictitious) ancestor had constructed a tunnel beneath the Atlantic Ocean; in the story Paul had completed the tunnel and installed a ‘Telectroscope’ at either end. The quirky pseudo-Victorian installation took place simultaneously in London and New York, and remained open 24 hours a day, for almost a month. We commissioned an illustrator, Felix Bennett, to produce a series of beautiful maps and drawings purporting to be the work of Paul St George’s engineer ancestor. Thousands of people invested in the illusion that they were looking through a tunnel at the other side of the world. The Telectroscope remained open 24 hours a day for almost a month, during which it received around 50,000 visitors.

This strange contraption and alternative reality captured the imaginations of audiences on both sides of the Atlantic. Some people made new friends, some connected with old ones. One woman, on a business trip in the USA, was able to see her daughter on her birthday thanks to the Telectroscope; a family from South London ‘met’ no fewer than 18 family members from Brooklyn for the first time, and one man proposed marriage to his partner (and was accepted!).

Technically, the project was a challenge, which was solved thanks to Artichoke’s sponsorship agreement with Tiscali. Despite the distance involved, and the complexities of providing uncontended and super-fast internet connections from a wooden pier in Brooklyn to the heart of London, there was virtually no visible delay between the time zones, and virtually breaks in service to damage the magical illusion: a major achievement considering the scale of the project.

www.talktalk.co.uk/telectroscope


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ROYAL DE LUXE THE SULTAN’S ELEPHANT CENTRAL LONDON, MAY 2006

“If art is about transformations, there is no more transforming experience than The Sultan's Elephant, a large-scale outdoor free spectacle produced by French company Royal de Luxe. This is a show that disrupts the spectacle of everyday life and transforms the city from an impersonal place of work and business into a place of play and community. It does something very simple and important: it makes you feel incredibly happy and it gives you permission to let your imagination take flight. It turns us all into beautiful dreamers with silly grins on our faces.” ***** Lyn Gardner, The Guardian


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The Sultan’s Elephant is the biggest piece of free theatre ever seen in London, attracting an audience reported to be a million people strong over four days. Set against the city’s magnificent landmarks, the magical story featured a vast, time-travelling mechanical elephant, taller than Admiralty Arch and 42 tonnes in weight, and a giant girl, twenty feet high.

Tens of thousands packed the streets of central London, as the elephant and the girl visited the city’s landmarks, frolicking in Piccadilly and sunbathing in St James’s Park, rubbing shoulders with the Guards and entertaining ministers in Trafalgar Square. For four days the pair enthralled their audience, delighting everyone who crossed their path, and reminding everyone who saw it what it means to be a child.

The show was the work of an extraordinary European street theatre company, renowned on three continents but hardly known in Britain. French theatrical magicians Royal de Luxe had performed all over the world, and had created a series of spectacular shows involving giant figures as big as 11 or 12 metres high, but had never before performed in the UK.

Closing central London is no straightforward matter, and it took five years of negotiation, persuasion, planning and fundraising to make the show a reality. The event was made possible thanks to the collaboration of many different agencies, including Westminster City Council, the Metropolitan Police, Transport for London, the London Fire Service and even Buckingham Palace. The Sultan’s Elephant transformed the city, and also many of the authorities’ attitudes towards what kind of events are possible, or desirable.


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Cultural events on Olympic sites during Games time and London Creation Centre as a legacy project Artichoke and leading arts consultancy Bonnar Keenlyside were appointed by Bill Morris, Culture, Ceremonies and Education Director at the London Organising Committee of the Olympic Games and Paralympic Games (LOCOG), to undertake a feasibility study for “Creation Space” as a potential cultural legacy project based in the Olympic Park. It was proposed that such a facility would offer flexible, low cost, working space (both indoor and outdoor) for the growing creative industries in the areas of street theatre, festivals, contemporary circus, carnival skills and associated public art. Companies working in the space would use other areas of the park as rehearsal and public performance spaces offering a cultural and entertainment character to the park and would further be supported by a vocational educational and training facility, resulting in a national centre of excellence in these sectors. The work of Artichoke and Bonnar Keenlyside established a clear demand for such a facility not only from the outdoor performance sector, but also key cultural institutions such as the Royal Opera House, South Bank Centre, Roundhouse and major West End theatre producers. In tandem Artichoke and Bonnar Keenlyside investigated the potential of the outdoor performance sector to deliver major cultural activities and events pre, during and post-2012. Artichoke and Bonnar Keenlyside went on to work up more detailed plans for the Creation Centre and how to develop the UK outdoor performance sector in addition to identifying audience and performance requirements of the Olympic Park.


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C: Artichoke Event Statistics Sultan's Elephant Live Audience 1,000,000 BBC estimate Total project cost £1,195,374 Website hits 2 million Direct spend by audience £28.7 million The Telectroscope Live Audience 50,000+ Total project cost £396,308 Website hits 2.2 million Press coverage International coverage from

Mexico to Brazil, Ukraine to China

La Machine Live Audience 250,000 Total project cost £1,956,068 Website hits 920,000 Increased footfall in retail street 615% Direct spend by audience £340,000 PR value £3 million AVE One & Other Participants 2,400 from across the UK Number of Applicants 35,000 Live audience Approx 10 million Total cost of project £1,345,829 Website hits 9 million Messages posted on website 33,000 Tweets 160,270 PR value £2.7 million AVE Peace Camp Audience 12,052 PR value (AVE) £2,362,496 Total cost of project £1,287,730 Economic impact £3,606,329 Lumiere Durham 2009/11/13

Total Live Audience 400,000

Total number of installations 84 Overall cost of three festivals £3.5m Total PR Value £6,108,016 AVE Accumulated Economic Impact £11,698,797.91 Total Unique Visits to Website 340,425* Views of Lumiere 2013 trailer

on youtube 34,293

Lumiere Derry 2013 Audiences 180000 Total cost £1.4m PR value £701,874 AVE


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D: Client Lists

• Accenture • Academy of St Martin in the Fields • Accidental Festival • Aldeburgh Festival • Architecture Foundation • Artsadmin • Arts Council England • Arts Council Wales • Artsdepot • Bonnar Keenlyside • City Arts Nottingham • Cultural Leadership • Culture Liverpool, Liverpool City Council • Dartington College of Art • Durham County Council • Everybody Counts • Festival of Sydney • Grierson Awards 2004 – the British Documentary Awards • Hampstead Theatre • Henry Wood Hall • Heart of London • Kate Tyndall Associates • Jubilee Gardens Steering Group • London Arts • LIFT • Live Literature Consortium • LOCOG (London Organising Committee of the Olympic Games) • Mayor’s Office • Monteverdi Choir & Orchestra • NALGOA • National Trust • Northamptonshire County Council • Olympic Delivery Authority • Oxford Inspires • Royal Liverpool Philharmonic Orchestra • Royal Philharmonic Orchestra • Sadler’s Wells Theatre • Salisbury Festival • Salisbury Playhouse • Situations • South Bank Centre • South Bank Employers’ Group • The Stables (Milton Keynes International Festival) • Turner Contemporary • The Philharmonia • The Roundhouse


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E: References MUNIRA MIRZA DEPUTY MAYOR FOR EDUCATION AND CULTURE City Hall London T: 0207 983 4025 E: [email protected] GEORGE GARLICK CEO Durham County Council T: 0300 026 8820 E: [email protected]


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F: Statutory Information Company Registration Number: Registered in England 5429030 VAT Registration Number: 884 2682 85

Documents

Great Fire of London Commemoration Eventdemocracy.cityoflondon.gov.uk/documents/s41564/Great Fire...transatlantic tunnel and a pair of extraordinary devices that allowed people on