Battersea Power Station: da icona rock a speculazione

In questi giorni Battersea Power Station andrà in giro per il mondo a vendersi. Un tour pubblicitario globale per lanciare, probabilmente, il più grande progetto di sviluppo immobiliare del momento a Londra e, certamente, tra i più controversi. La pubblicità è iniziata con un articolo di Enrico Francechini su Repubblica, che presenta il megaprogetto per i suoi aspetti avveniristici. Tuttavia non coglie gli aspetti critici della speculazione edilizia, il contesto di housing crisis e il rischio di cancellare l’icona del passato industriale Londinese (in bello stile art deco) lungamente denunciato dal Battersea Power Station Community Group. Un recente articolo del Financial Times, dando spazio al World Monument Fund e alle sue preoccupazioni, ci sembra che tenti di contestualizzare il lavoro dell’impresa immobiliare (Battersea Power Station Development Company).

Il brand usato dalla Battersea Power Station Developing Company

Il brand usato dalla Battersea Power Station Development Company

Probabilmente per un italiano medio Battersea Power Station non significa granché, ma se aggiungi la copertina di Animals dei Pink Floyd allora dalla memoria qualcosa affiora.

Copertina del celebre album  Animals dei Pink Floyd

Copertina del celebre album
Animals dei Pink Floyd

Per i londinesi Battersea Power Station rappresenta molto di più: un’icona del passato industriale e un punto interrogativo sul futuro dello sviluppo immobiliare della capitale britannica. Costruita a partire dagli anni ’30, questa cattedrale industriale fino all’inizio degli anni ’80 ha fornito elettricità alla metropoli, calore nelle sue case e ha dato un decisivo contributo alle affascinanti e nebbiose atmosfere stile “fumo di londra”.

Contributo della Battersea Power Station all'inquinamento di Londra e alle sue atmosfere fumose (getty images)

Contributo della Battersea Power Station all’inquinamento di Londra e alle sue atmosfere fumose (getty images)

Battersea Power Station fa parte dell’immaginario di milioni di frequentatori della capitale, stagliandosi nei finestrini dei pendolari che ogni giorno transitano dalle stazioni ferroviarie di Vauxall, Clapham e Victoria Station.  La bellezza dell’edificio e delle enormi ciminiere bianche, il condensato di storia industriale che incarnano hanno fatto sì che la Battersea Power Station entrasse già nel 1980 nella lista degli edifici storici.  A partire dal 2004 il prestigioso World Monument Fund ha incluso Battersea Power Station e le sue ciminiere nella lunga lista di edifici patrimonio dell’umanità che necessitano di essere protetti per i posteri. Ma da cosa bisogna proteggere Battersea Power Station?

Chiusi i battenti, l’enorme area industriale attorno alla centrale elettrica e lo stesso edificio sono a lungo rimasti abbandonati a se stessi, passando di mano in mano tra diversi investitori che hanno tentato di proporre i più disparati progetti di sviluppo, mai andati oltre annunci o parziali demolizioni dell’esistente (come il tetto, per esempio, da parte di precedenti proprietari)

STORIA DELLA BATTERSEA POWER STATION

Primi Piani: 1980-90

Nuovi Piani: 1993

GIORNI NOSTRI

Ma questa volta la Battersea Power Station Development Company, braccio operativo di una cordata di società e istituti finanziari della Malesia, sembra fare sul serio: archistars (Frank Gehry, Norman Foster, Rafael Vinoly), budget faraonico (8 miliardi di sterline, circa 10 miliardi di euro) e la benedizione di sindaco e primi ministri dovrebbero permettere di creare, la’ dove ora c’e’ una cadente centrale elettrica, il centro di una nuova città nella città.

Da sinistra: il sindaco di Londra (Boris Johnson) il primo ministro inglese (David Cameron) e il primo ministro della Malesia Datuk Seri Najib Razak alla cerimonia d'inizio lavori alla Battersea Power Station (4 luglio 2013). Source: Daily Telegraph

Da sinistra: il sindaco di Londra (Boris Johnson) il primo ministro inglese (David Cameron) e il primo ministro della Malesia (Datuk Seri Najib Razak) alla cerimonia d’inizio lavori alla Battersea Power Station (4 luglio 2013). Source: Daily Telegraph

In questi giorni la Battersea Power Station Development Company porta in un tour globale i suoi progetti, in cerca di investitori stranieri pronti ad acquistare un posto nel nuovo nel centro che hanno intenzine di costruire. Anche gli Italiani avranno modo di esserne parte: la campagna pubblicitaria passerà da Milano dal 5 al 9 novembre. Per chi si fosse perso la notizia, il lancio del tour, almeno per il pubblico italiano, è avvenuto grazie a un lungo articolo di Repubblica che porta la prestigiosa firma di Enrico Franceschini, suo inviato a Londra.

Invitato dalla Battersea Power Station Development Company a “dare un’occhiata da vicino e a fare due chiacchiere”, l’inviato restituisce un entusiastico affresco delle infinite capacità di una città capace di guardare al futuro per reinventarsi attraverso progetti da sogno. Tra le righe Franceschini sembra quasi suggerire di prendere esempio e evidenziare ciò che manca a noi poveri italiani, impelagati nel presente e appesantiti da un passato di cui non sappiamo bene cosa fare. Chi si prenderebbe la briga di reinventare quartieri interi, investire miliardi per il futuro di Roma o Milano?
A Londra invece si può e la Battersea Power Station Development Company pensa a tutto: giardini d’inverno sul tetto della centrale, negozi e spazi espositivi, oltre che spazi abitativi per 100.000 persone e una deviazione della metro fino nel cuore del nuovo e straordinario “villaggio”.

Allora benvenuto sviluppo e capacita’ di fare: benvenuta “Città Futura!”

Veduta aerea del progetto come dovrà essere a conclusione lavori. In mezzo ai grattacieli si intravede la centrale elettrica.

Veduta aerea del progetto come dovrà essere a conclusione lavori. In mezzo ai grattacieli si intravede la centrale elettrica.

Peccato che dal simpatico affresco del nostro caro Franceschini manchino un po’ di fatti e alcuni altri vengono presentati in maniera tanto semplicistica da apparirci sbagliati, o perlomeno fuorvianti. Per chi non abbia ancora avuto la possibilità di saperne di più, ecco i principali.

Londra è probabilmente al picco del suo mercato immobiliare e, contemporaneamente, della sua capacità di attrarre migranti d’ogni sorta dal resto del mondo. Con il venir meno di piani e finanziamenti per abitazioni sociali e un mercato pompato da enormi liquidità provenienti dai gruppi finanziari e magnati di mezzo mondo, la gente “normale” si trova coinvolta in una paurosa crisi abitativa. Il fenomeno va avanti da almeno trent’anni ma gli effetti, in un contesto di crisi, austerità e con un mercato degli affitti alle stelle, sono devastanti e raggiungono fasce sempre più ampie della popolazione. Mentre si investono miliardi in edifici avveniristici, a Londra non ci sono nuovi appartamenti, non dico per i poveracci immigrati da mezzo mondo, ma nemmeno per la middle class locale.

Il Financial Times, invitato a scrivere sul progetto più o meno come Repubblica, riporta l’opinione di Peter Rees, un famoso urbanista, esperto di pianificazione e docente al prestigioso University College London.

“Peter Rees  […] has described the proliferation of new, largely residential, towers along the south bank between Battersea and London Bridge as “a disaster” that is “ruining London”.”

Questo parere tombale introduce un rapido excursus dei problemi relazionati al mercato immobiliare londinese e ai megaprogetti di sviluppo, come quello di Battersea. Non che il Financial Times sia la bibbia, o che le preoccupazioni del pubblico britannico siano le stesse di quello italiano, ma forse contestualizzare un po’ questo progetto sarebbe stato interessante anche per i lettori di Repubblica. Soprattutto coloro che si apprestano a valutare da vicino, come suggerito dall’articolo, la possibilità di acquistare un appartamento nel complesso della Battersea Power Station.

Per Franceschini a Battersea “…se c’è un difetto è quello che la Città Futura sulla riva sud del Tamigi sembra un set cinematografico […] Ma lo stesso si può dire di Canary Wharf, la nuova City degli affari più a est sempre affacciata al fiume, o dell’Olympic Park, il quartiere dell’East Side rigenerato dalle Olimpiadi del 2012. Con un po’ d’immaginazione si può intravedere come sarà la Londra del 2020 o del 2030, un po’ New York, un po’ Las Vegas, un po’ Old London, un po’ Luna Park.”

Secondo noi di difetti (e rischi) ce ne sono, e sono ben altri.

Ciò che ha reso Battersea Power Station l’icona gotico industriale che attualmente rappresenta sono le ciminiere bianche. In passato Spectacle ha supportato e documentato su questo blog le campagne in difesa della centrale e, in particolare, delle sue ciminiere. La proprietà sostiene che le ciminiere siano un pericolo, in quanto danneggiate dal tempo e rese pericolanti dalla mancanza di manutenzione degli ultimi 30 anni almeno. A tale scopo Battersea Power Station Development Company ha in mente di demolirle per sostituirle con copie nuove di zecca che ne garantiscano la solidità per gli anni a venire.
Franceschini affronta l’argomento con un simpatico, quanto sibillino, inciso che potrebbe apparire di poco conto:

“Non c’è pericolo che i comignoli bianchi cadano in testa ai nuovi inquilini: quelli verranno abbattuti delicatamente e rifatti uguali ai vecchi ma nuovi, per ragioni di sicurezza, mentre il resto dell’antica struttura, ben rinforzato, rimarrà dov’è.”

In realtà questa è precisamente la posizione dell’impresa, il cui CEO è arrivato a paventare rischi imminenti di crolli, anche in caso di folate di vento più forti del solito.
Diversi elementi fanno dubitare sul fatto che le ciminiere rappresentino un pericolo concreto. Se le nostre inchieste e le interviste realizzate con i membri del Battersea Power Station Community Group, promotori delle campagne di difesa della centrale da speculazioni e distruzioni, possono sembrare parziali, torniamo al Financial Times e a come affronta lo stesso argomento.
La scelta, in questo caso, è stata quella di affidare al World Monument Fund uno spazio in calce all’articolo per presentare la propria posizione nei confronti del progetto. Dalle righe a firma Jonathan Foyle, chief executive del World Monuments Fund Britain, si scopre che questa pericolosità è contestata da tre autorevoli studi:

“In 2005, three engineers concluded the existing chimneys could be repaired in-situ. Instead, they are to be razed and rebuilt as smoke stacks that never smoked, reducing long-term maintenance.”

Fatto sta che le ciminiere stanno venendo giù, e anche rapidamente, in barba a tutti i tentativi operati dagli attivisti del Battersea Power Station Community Group di far valutare a impresa e municipio piani alternativi di restauro. Inoltre le garanzie predisposte affinché l’impresa effettivamente proceda alla ricostruzione delle ciminiere sembrano essere state aggirate. Se in un primo momento il municipio aveva imposto alla compagnia di procedere alla demolizione e immediata ricostruzione di una ciminiera per volta, nuovi accordi hanno stabilito che dopo aver abbattuto e cominciato a ricostruire la prima ciminiera, le altre tre potranno essere smantellate tutte insieme.

Inoltre è stato chiesto all’impresa di depositare in un conto vincolato fondi sufficienti a garantire la ricostruzione, anche in caso di fallimento improvviso o vendita a terzi del progetto (le dinamiche del passato fanno credere che non siano ipotesi tanto remote…). Il fondo depositato è di 11 milioni di sterline (14 milioni in euro, un po’ pochino a detta di un ingegnere della stessa Battersea Power Station Development Company) e il deposito è stato effettuato in una banca malese. Secondo gli attivisti in caso di effettivo fallimento della Battersea Power Station Development Company, sarebbe quasi impossibile riscuotere i soldi di garanzia.

Battersea Power Station è solo uno dei centinaia di progetti di development finanziati da gruppi immobiliari a capitale britannico o internazionale, tutti extralusso. Questi progetti spesso creano bellissimi e avveniristici quartieri, ma spettrali: i primi acquirenti sono, normalmente, gruppi immobiliari e affaristi di mezzo mondo che comprano e vendono appartamenti come titoli azionari. Questi proprietari, che Battersea Power Station Development Company apparentemente sta cercando di raggiungere nel suo tour globale, sono normalmente in cerca di curve di mercato che garantiscano utili, più che di esperienze urbanistiche e vedute mozzafiato. Lo scarso interesse verso la reale esperienza abitativa degli investitori rende più che sospettosi circa l’attenzione che la Battersea Power Station Development Company riporrà nella salvaguardia architettonica del sito.

 

Click Battersea Power Station for more blogs
See our Battersea Power Station project pages for more information and videos.
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Local artist Maggi Hambling condemns Lambeth Council’s ‘Jack the Ripper policy’ towards urban development

Maggi Hambling deplores Lambeth’s destruction of housing co-ops in an interview from her Clapham studio

Painter, sculptor and Clapham resident, Maggi Hambling, told Spectacle that ‘Lambeth Council, rather like Jack the Ripper, seems to be ripping its way through the whole feel and importance of this area’ through its short-termist policy of selling off cooperative housing, such as that of Rectory Gardens, just round the corner from Maggi’s sunlit studio.

‘What I think is most extraordinary is that Lambeth calls itself the ‘Cooperative Council‘ when it has destroyed and is still destroying every cooperative around me. It’s terrible, to put it mildly’, she says. In an interview for Spectacle’s documentary about the breaking up of Rectory Gardens Housing Co-op, Maggi describes Lambeth’s ‘money-grabbing, short-sighted, and morally criminal’ behaviour towards Co-ops in the borough. In nearby Lillieshall Road, only two of 15 houses remain, while residents of Rectory Gardens are currently in the process of being evicted.

‘The creative community, as I have known it over all these years, has changed from an enormous mix of different people living together and caring about each other into this gentrified place where money, money, money, rather than any kind of feel for the community, rules. Every bit of creative spirit is being exterminated with a very heavy hand. Nothing but destruction is coming from above.’

Maggi moved to the area in the 1960s and remembers the wide variety of people who once made this their home, including artists and craftspeople. The systematic eradication of co-ops, she fears, is the product of a policy of greed that will ultimately destroy what makes this place special to live in.

‘Clapham and places around here will just become dormitories for people in the city who can afford the extortionate amounts of money they’re paying for their little bit of castle. This area is trying to turn itself into Mayfair. Something that the totally un-cooperative Council is probably very happy about to the detriment of healthy communities and anything that breathes any life.’

‘Rectory Gardens is the last bastion of the cooperatives and is hanging on by its teeth. Whatever anyone can do to save it must be done now. I would ask the Council to look at their own greed and lack of foresight and vision. Otherwise, this sort of Jack the Ripper policy is going to amount to a London that is extremely boring, to say the least.’

Despite anger, Maggi optimistically concludes that ‘it is possible to win these battles. The so-called Cooperative Council should be emphatically made to see how blind they are being and how cruel.’

But, she wonders, as many might, ‘why does everything have to be a battle?’

What you can do:

Sign the petition at Change.org: http://www.change.org/p/lambeth-the-cooperative-sic-council-stop-the-co-op-housing-evictions

Visit Lambeth United Housing Co-operative’s website: http://www.lambethunitedhousingco-op.org.uk/

Write to the Council to support the ‘Super Co-op’ solution: http://www.lambethunitedhousingco-op.org.uk/?page_id=157

Tweet, Facebook, and disseminate this and related blogs and news articles to your contacts.

Start ups, SMEs, Social Enterprises: use video to boost business

Book here

Video can transform your website, it is accessible, engaging and often more convincing than text. Once you have mastered digital video production for the web you can make pitch videos, explanatory videos and promotional videos to boost your business and brand.

Training existing staff to produce high quality digital video content for your website is far more cost effective than hiring an external film crew and can produce the same excellent returns. In addition to being more affordable, we believe that existing staff have the potential to advertise, demonstrate and spread the word about products and services that they thoroughly understand more effectively than outsiders.

Spectacle offers a three day course specifically designed to meet the needs of small businesses, start ups, social enterprises and charities, on set dates at our premises in London, or at a time convenient to you in your office or ours if you are booking for a group.

If you need additional or different training, we can design and run a training course specifically for you.

Seven reasons why you should make videos for your website

  1. Using video on your website could improve your brand. Research by Axonn Media suggests that seven in ten people view brands more positively after watching video content about them.
  2. Hub TV suggest that embedding video on your homepage could increase your click through rate by 30%.
  3. According to research by Invodo, people will stay on a website longer if it has a video. Three out of five consumers will invest two minutes in a video that explains a product they are thinking of purchasing whilst 37% will watch over three minutes.
  4.  Videos can boost SEO. According to research by Forrester, an indexed video may have up to 50 times more chance of ranking on the first page of a google search than a page of text.
  5. Video better suits smartphone viewing – research shows that on mobile devices people spend less time on average browsing a website, video can be quicker to absorb than text.
  6.  According to eMarketer more than 50% of marketing professionals say that video content has the best return on investment (ROI).
  7.  Videos are easy to share on social mediaThis means they can go viral.

For more information email training@spectacle.co.uk or go to http://www.spectacle.co.uk/projects_page.php?id=500 for information on other Spectacle training courses

Or contact training@spectacle.co.uk

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JOURNALISTS, learn film

Many postgraduate journalism courses now include modules in documentary filmmaking as part of the syllabus. Students often have the option of producing a short film as a final piece. This is indicative of the increasing demand for and relevance of multimedia skills in a competitive and necessarily evolving media industry – publications like the Guardian and the Telegraph now produce video content for their websites, following the example of innovative, comparatively new media outlets such as VICE.

However MA Journalism courses aren’t something everyone can afford to do, costing up to £14,000 and requiring a year of full time work. Spectacle offers a short, sharp, affordable (starting at £240/£120 concessions) alternative with our two and four day courses in digital video production and editing.

We aren’t rubbishing postgraduate degrees or suggesting that we offer the equivalent of a terms hard work; we can’t teach you what to make a film about (although we can help you get started) or how to structure your ideas, but if you are a self-starter with some experience of journalism or a natural talent for it you are probably full of ideas about stories and how to structure them anyway. Our concise courses can equip you with the practical knowledge necessary to unlock this.

In four days we aim to give participants a complete introductory set of practical skills that they can build on in their own time. We do this by taking them through a ‘real life’ project (don’t worry, everyone involved knows it’s a training exercise, so you’re allowed to mess up!) – from brief to production to post production to uploading a finished clip online or burning it on to DVD.

In our weekend courses we teach comprehensive video production skills and we offer the option of progressing on to further post production training at a 15% discount.

Mark’s decades of experience means we receive impeccable feedback from almost all participants and have never had anyone leave unsatisfied or without promises to recommend us to their friends.

Train with us and take advantage of a new career space that has opened up between journalism and filmmaking. For dates and prices go to www.spectacle.co.uk/training or email training@spectacle.co.uk

If you are interested in booking the course visit the How to Book page.

For information on other Spectacle training courses

Or contact training@spectacle.co.uk

If you would like more information on future training opportunities at Spectacle sign up for the Training Newsletter – tick the box if you would also like Spectacle’s general newsletter.




 


 

Peckham Rye Station neglected by Network Rail

Network Rail’s redevelopment plans for Peckham Rye Station are more about profit and less about what they actually should be: renovation. The pictures linked below, of the bad condition of Peckham Rye, are a clear example of how Network Rail do not take care of buildings and facilities they own and their customers that use them. These puddles, and sometimes floodings are the direct result of the lack of maintenance, bad drainage and no roof to protect commuters from the rain. Network Rail has decided, in the name of profit, to bring big chains to the area and by doing so, kick out local businesses and communities, rather than simply tidy and refurbish their property, as the Peckham locals have requested.

Watch the trailer of our short film on Network Rail’s development plans, “Bleacher on the Rye”

20140826_10462520140826_104435

Visit our Peckham page for more blogs and information
Click Bleacher on the Rye to purchase our short movie on Network Rail’s redevelopment plans

World Monuments Fund “Watch Day” Walk Battersea Power Station

Picture 2-4

NINE ELMS: ARCHITECTURAL WALK
COVENT GARDEN FLOWER MARKET – RIVERLIGHT SHOW FLAT – TIDEWAY VILLAGE HOUSEBOATS – BATTERSEA POWER STATION

Lead by Colin Thom of the Survey of London. With contributions from David Waterhouse, Stuart Tappin, Brian Barnes MBE and Keith Garner.
Saturday 27th September 2014. Meet 10.20 am Vauxhall bus garage (by No.87 bus stop) for 10.30 am departure.

To book or for further information contact Sarah Meaker at World Monuments Fund Britain: sarah@wmf.org.uk 020 7251 8142.
Suggested donation of £10 per attendee

Bring packed lunch and sensible shoes. Please advise World Monuments Fund Britain on 020 7251 8142 if you have particular access or mobility requirements.

Itinerary

10.20 Meet Vauxhall bus station. (No.87 bus stop.)

10.30 Depart and introductory talk by Colin Thom about the Vauxhall and Nine Elms area including the listed Brunswick House.

10.40 Covent Garden Flower Market (GMW 1974). Space frame structure using British Steel “Nodus” system.  The building was recently given certificate of immunity from listing by English Heritage. Shortly to be demolished, so the last chance to visit.

11.10 River walk to see the “Thames Hippo” and changing skyline of London.

11.50 Riverlight housing development (Rogers Stirk Harbour + Partners) to see show flat with views of river Thames and London skyline.

12.45 Tideway Village riverboat community to meet David Waterhouse owner of The Newark.
Tea & coffee will be served on the Newark and we will eat our packed lunches.

14.00 Battersea Power Station. (Gate 2 in Kirtling Street.)  Colin Thom will talk about the history of the building.  Stuart Tappin will discuss the demolition of the chimneys which has recently begun.
NB: we will not be entering Battersea Power Station but the building is visible from the road.

14.45 Battersea Dogs Home to see cattery designed by Clough Williams-Ellis. We can see the cattery from Battersea Park Road.

15.00 Gas holder site to see the collection of gas holders. These were also recently given certificate of immunity from listing and are being demolished. The “MAN” gas holder is a German design and is contemporary with Battersea Power Station. The MAN gas holder at Oberhausen in the Ruhr has been reused as an arts space.

15.30 Walk ends at Battersea Park railway station. Grade II listed Italianate station.

NB: times are approximate and may be subject to change. We do not have access to Battersea Power Station or the gas holders site.

Contributors

Colin Thom is an architectural historian working with the Survey of London, formerly at English Heritage and now with University College London. He was co-author of the recently published Battersea volumes of the Survey of London.

Stuart Tappin is an independent consulting engineer specialising in the conservation of historic buildings He is a founder of Stand Consulting Engineers. He is a member of the architectural advisory panel of World Monuments Fund Britain.

David Waterhouse has lived at Tideway Dock for 14 years and created the community now known as Tideway Village. He runs a houseboat business in London and has a small mountain hotel high in the Alps. His love of boats started when he worked for three years on Square Rig sailing ships. He spends his time between London and Switzerland.

Brian Barnes MBE is an artist and mural painted based in Battersea. He was a founder member of Battersea Power Station Community Group in 1983.

Keith Garner is an architect based in Battersea, working on the conservation of historic buildings and landscapes. He is also interested in making buildings more accessible.

 

Click Battersea Power Station for more blogs
See our Battersea Power Station project pages for more information and videos.
Or visit PlanA our general blog on urbanism, planning and architecture.

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Four day course receives excellent feedback, inspires new filmmakers

Trying to decide which course is best for you?

We asked former participants, Sophie Parker and Oscar Wilson, for some extra feedback including why they took the 4 day course and how it has benefited them.

oscarmarksophie

Right to left: Sophie Parker, tutor Mark Saunders and Oscar Wilson on site at the course project.

SOPHIE

Why did you choose the four day course?

I chose the four day course because I had been considering getting into documentary film making and wanted to do a course that was suitable for beginners.

What did you like most about the course?

“I liked that it was slightly longer than the weekend courses so [I] learnt more and got to do a mini project, I liked the size of the group which meant you really felt like you were getting one to one tuition and always had something to do, it also meant the group bonded and really helped each other out.

Since completing the course, have you had the opportunity to use the skills you learned?

I haven’t had the opportunity to use my skills yet but I have made arrangements to do some work experience at another production company where I hope to further hone the skills I have acquired and be able to go onto producing my own films.

Would you recommend the four day course to other people and if so, who?

I would definitely recommend the four day course to anyone that had a slight interest in film production whether as a career or as a hobby.

OSCAR

oscar2

Why did you choose the four day course?

I was asked whether I wanted to take part in the course as training for a future project.

What did you like most about the course?

What I liked most about the course was the indepth nature of it. The fact that I was taught the essentials so if I wanted to go out and film a documentary now I could – not to the standard of a seasoned professional, however I have the tools, I just need the seasoning!

What has stayed with you the most?

I don’t know what has stayed with me the most because I don’t feel like it has ended in a way, I’m still trying to hone in on all the learning that was done.

Since completing the course, have you had the opportunity to use the skills you learned?

Since completing the course I have begun to use various aspects of the course in order to continue working on a documentary project. First, essential organisation and creating a cooperative atmosphere with your subjects – this is something that I feel is not offered as part of your average course. Therefore if you want the gems in how to go about things – go to Spectacle.

What are your plans for the future?

My plans for the future are at the moment beginning with the raw: “GET A CAMERA” ASAP! Then there is not much to hold me back – maybe some sound equipment then I can tackle any subject I can get close enough to!

Spectacle interviews Tideway Village co-founder David Waterhouse

tideway

Tideway Village: now in a construction site

`We recently interviewed David Waterhouse, resident and co-founder of Tideway Village. Tideway is a small community of houseboats (which includes the award-winning Battersea Barge venue) moored in and around a disused colliers dock that once served Battersea Power Station. David established Tideway in 2001 with Rainer Cole, who applied for a mooring in the previously empty dock at the same time by sheer coincidence.

David’s boats and two others are moored at the end of Nine Elms Lane, which runs through an industrial area that is now being turned into real estate by the Berkeley Group as part of the vast Nine Elms development. Since 2008, when it first came to light that the area would become a residential development, Tideway Village has been under threat.

Although the Tideway boats all have 15 year mooring rights – renewable with the Port of London Authority (PLA) –  they need permission to access the boats too, from whoever owns the land which borders the dock. Tideway is ostensibly bordered by the Thames Path – public land, controlled by the council – however a three foot wall between the path and the river is owned by the Berkeley Group.

Initially, the developers tried to deny residents access to their homes, in order to remove the boats. They intended to put a floating garden in their place, which David said would have killed all the aquatic life underneath. Tideway residents were not consulted or even notified about this. When they found out they launched a campaign to save their homes, including holding an open day and protesting outside a Wandsworth Council and Berkeley Group meeting. An e-petition gained 2000 signatures, including many people who had performed at or attended the Battersea Barge venue. If this hadn’t worked, David would have tried to invoke residents’ right to use the historic slipway at Nine Elms Pier which the boats are currently moored beside – this  has never been officially closed up.

Thankfully it never got to this, by campaigning and by challenging the common misconception of houseboat communities as people who just turn up (Tideway residents pay council tax and have a license to be there), David was able to persuade the Berkeley group that the community is serious and responsible and negotiate continued access to the boats. As a result, he believes they will be able to stay – he said he is currently tentatively optimistic about the future.

Having convinced the Berkeley Group that his community can fit into their vision of the waterfront, David now has a ‘relationship of a sort’ and a ‘good understanding’ with the developers, but before establishing this he suffered a lot of stress. Tragically, Rainer committed suicide in 2012, David believes the uncertainty of their situation was a factor in this.

David also acknowledges that the character of Tideway Village will change dramatically now. At first it was ‘very much a backwater’, an extraordinary, forgotten area, given how central it is. Having the space to themselves allowed the Tideway community to throw parties and hold open days, which won’t be possible anymore with blocks of flats overhanging the boats. In addition to this, David currently lives with near constant construction noise and access to the boats is restricted by the building work, which has closed part of the Thames Path .

Although David is happy that Tideway has a future, he lamented the fact that the Port of London Authority has never positively incorporated houseboat owners and moorings into the way it coordinates the river. He explained that it is extremely difficult to get moorings in London and believes that other places in Europe have all done more with their waterfronts in this respect. For this reason, he described the PLA as having “presided over the death of the Thames”. It has become a feature of the river, he said, that boats are frequently removed.

However David believes houseboats can be successfully incorporated into communities and is excited that Tideway now has the opportunity to prove this. David thinks Tideway could become to the Thames what Little Venice is to Regents Canal – it is a very special space, he explained, central London’s last functioning tidal dock in a landscape that was once full of tidal docks.

Tideway Village will be a stop, and David a speaker, on a walking tour organised by the Battersea Power Station Community Group and sponsored by the World Monument Fund on the 27th September.

David has also agreed to participate in one of our 4 day training courses, so Tideway Village may serve as a ‘real life project’ for future Spectacle trainees.

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Spectacle will make a film about Rectory Gardens housing co-operative

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Spectacle has met several times with members of a housing co-operative based in Rectory Gardens, Clapham, to discuss making a film about the street and its community ahead of residents planned, impending eviction by Lambeth Council. We ran an extremely successful four day training course around the project. This served the dual purpose of giving participants the opportunity to experience working on a real commission and kick-starting filming.

We received excellent feedback from course attendees and an enthusiastic response from many Rectory Gardens residents. As a result, we have more training courses scheduled in for the Autumn and we hope to start production on the Rectory Gardens film for real in the near future. Eventually we aim to produce a short film that may help the campaign of residents who choose not to settle, and serve as a record of life on the street for those who have decided to reluctantly accept the Council’s offer of rehousing.

The Rectory Garden Housing Co-operative came into being in the 1970s, when houses on the street – an L-shaped mews attached to Rectory Grove – were compulsorily purchased by the Council and then left empty. People who moved into the empty buildings were allowed to stay on ‘short life’ tenancies – for almost 40 years in some cases. The residents made the houses habitable, tended the gardens and in many cases brought up families there. They also formed a housing co-operative, with a ‘self-help’ agenda – members exchanged skills and supported each other; they taught themselves and each other to maintain the houses – in (at least) one case learning to plaster ‘on the job’. The result is a vibrant and eclectic street, with an old bombsite for a garden and a small pack of cats to keep out the mice. In contrast to a sterile and ugly gated-community redevelopment in the mews next door the street is idyllic, a hub of community that contrasts the bleakness of many residential parts of London.

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However some residents say they have been unable to fully enjoy their homes, instead living with constant anxiety as Lambeth Council – which ironically self-describes as a ‘co-operative council’ – has sporadically put pressure on them to leave. This came to a head in 2011, when the Labour party began systematically targeting all ‘short life’ properties in the borough. Under immense pressure and facing dubious, underhand tactics – including the employment of property guardian company Camelot to help prise tenants out and stop new ones moving in – many residents have now settled and been rehoused, or are awaiting to be rehoused within the borough. Lambeth Council have offered Rectory Gardens residents priority in selectively applying for available council houses.

Many residents, however, persist in fighting to keep their homes, despite the risk of having to pay enormous legal fees if they lose.

L&Q Media Centre put spin on Silwood Under 5’s Playgroup

Meeting between community steering group members and L&Q staff, in which staff asked not to be filmed or photographed

Meeting between community steering group members and L&Q staff, chaired by Southwark Councillor Anood Al-Samerai (left). L&Q staff asked not to be filmed or photographed.

Major “Registered Social Landlord” of Silwood Estate (SE16), London & Quadrant’s ‘Media Centre’ have published a report on the re-launch of the Silwood Estate Under 5s playgroup, which omits many aspects of the story that we considered crucial to our report last week. L&Q’s alternative report portrays the company as having played a large part in saving the playgroup, neglecting to mention the eight month battle Silwood residents faced to secure the £11,500 of funding they have finally received, which is a one-off grant not expected to be renewed next year. Nor do L&Q mention that many believe the funding, and far more money, belong rightfully to the community, who were promised the Lewington Centre to replace their previous community building as a condition of the estates redevelopment, which began in the early 2000s.

At a meeting between L&Q staff and community steering group members last week, L&Q’s long-standing obligation to hand the building over to the community was reiterated by Southwark Councillor and leader of the Southwark Liberal Democrat group Anood Al-Samerai – who reminded those present that the centre should ultimately be run by a committee comprising predominantly local people working with a minority of L&Q representatives. Alarmingly, this was met with apparent confusion from L&Q staff, who, under their Section 106 obligations, are supposed to have been working towards this goal since the centre opened in 2009, if not before.

Among a slew of now-broken promises, Silwood residents were led to believe they would have at least priority access to the building, which in actuality was made unviable as a venue for many community events by apartments being built above the main hall. Large parts of the building are also regularly leased to a local college, making them unavailable to the community. As we reported, and L&Q failed to mention, money collected from the Lewington Centre flats each week was meant to be set aside for the community, to make up for the restrictions they impose on using the building. By the same logic, profit made on renting the space should be shared with the community, who are, after all, supposed to manage the building.

Instead of mentioning these things, L&Q appear to be trying to use the re-launch of the playgroup to promote themselves. They boast that, “Children and families in and around the Silwood Estate, Southwark, are celebrating the re-launch of their local playgroup thanks to the work of the Silwood Community Steering Group and an £11,500 grant from L&Q housing association.” They go on to describe themselves in favourable terms, as, “One of the largest housing associations in the capital,” owning “70,000 homes across London and the South East as well as being a leading residential developer of new and affordable homes.” The PR department seem oblivious to the fact that, given London property prices, £11,500 for a company that owns 70,000 houses doesn’t come across as an especially generous sum.

Karen Westbrook, Resident Services Manager for L&Q, concludes the ‘Media Centre’ article, saying, “Helping the Silwood Community Steering Group to re-launch a playgroup service was a great opportunity for us to step in and support the nearby community and L&Q residents of the Silwood estate.” This is an interesting take on what many would consider to be a story of community disempowerment, in which a resource has been effectively taken away from residents and then reluctantly lent back to them by L&Q after a long campaign and apparently in exchange for undeserved good PR.

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