Showing posts with label Sheffield. Show all posts
Showing posts with label Sheffield. Show all posts

Wednesday, 2 January 2013

Delia Derbyshire Day 2013 at Band on the Wall

With its futuristic bleeping, mysterious whooshing, ominous organ and chugging guitars gearing up to transport the viewer into a different world, the theme tune made for the Dr Who series in 1963 is one of the most distinctive, evocative and appropriate pieces of music ever created for television, and it still forms the basis of the theme tune used today. Long attributed solely to composer Ron Grainer, the contribution made by sound pioneer Delia Derbyshire, a member of the innovative BBC Radiophonic Workshop, has often been overlooked – but now a Manchester-based group, dubbing themselves 'Delia Darlings', are to celebrate her work and legacy with a mini-symposium at Band on the Wall, timed to coincide with the 50th birthday of the series. The Delia Darlings – contemporary classical composer Ailís Ní Ríain, experimental electronic producer and found sound manipulator Caro C, and gramophone glitching artist Naomi Kashiwagi – were inspired to put on the event because “we felt increasing the visibility of her amazing work as a pioneer in the UK was still of relevance today". 

Coventry-born Derbyshire was also behind many other sonic experiments and sound effects, which she termed 'psycho-acoustics', and the Delia Derbyshire Day seeks to reappraise her ongoing influence on electronic, experimental and popular music. As Caro C explains, “She is best known for her realisation of Ron Grainer's original Dr Who theme tune but she also came up with so much more interesting and curious creations." Naomi Kashiwagi added: "One of the things that drew me to Delia Derbyshire was the tactile, systematic and meticulous processes she used, cutting and splicing tape together to construct music. Manipulating sounds from everyday objects created something extraordinary and in many cases otherworldly and timeless."

An afternoon event will include a screening of award-winning film the Delian Mode, followed by a Q&A with director Kara Blake, and a panel discussion featuring experts on Derbyshire's intriguing life and work (3pm-6pm). This will be followed by performances of new commissions undertaken by the Delia Darlings, who have created new works based on their adventures in the Delia Derbyshire archive, accompanied by live visuals from Kara Blake (8-10.30pm). Caro C explains, “We felt it was rather exciting that her audio and other material archives happen to be held here in Manchester. So we thought why not make a day of it and with some true Delian experts on board and present."

Derbyshire's archive, which contains original tapes and other materials, is held by the University of Manchester at the John Rylands Library. David Butler, senior lecturer in screen studies at the University, who helped bring the archive to Manchester, said that the Delia Darlings were among the first to delve extensively into the archive, and he was delighted with the project's aims and potential impact: "It's always been our hope that Delia's tape and written archive would provide the inspiration for new works responding to Delia's life and extraordinary music,” he said.

Caro C enjoyed listening to the digitised tape archives and hearing pieces in construction, such as the spacey, reflective 'Blue Veils and Golden Sands'. "The craft and grace in this piece really moved me," she explains. "I was also particularly blown away by a synth pop piece she made in 1971 and the techno track that she made in the late 1960s. She really was ahead of her time and I love it when my concept of time being linear is challenged."

Among the most interesting artefacts were Derbyshire's school books, which Caro C says she found "really touching, maybe because I had not kept my own and they reminded me of all the care and learning we put into our school work (sometimes)". She said: "The Latin exercise books and English essays were really interesting for me – with hindsight you can see signs of her career there already."

Caro C's piece uses some of Derbyshire's school exercise books and sine tones, as well as her sampling or her own voice, for inspiration for lyrics and sounds. She explains that she was inspired by how visionary the music of sound pioneers like Delia Derbyshire was, and the “technical ingenuity, time and dedication required to do what they did”. In today's age of laptop software, which makes it easy to experiment with new sounds, she feels Derbyshire's efforts, as well as the work of other sound pioneers like Daphne Oram, are more worthy of respect than ever.

The film and performances will also appear at FACT in Liverpool (Wednesday 16 January), Queens Social Club, Sheffield (Friday 18 January, supporting Eccentronic Research Council) and Newcastle's Star and Shadow cinema (Sunday 20 January).

Delia Derbyshire Day takes place at Band on the Wall on Saturday January 12.

Full Day: £12. Afternoon event only: £6. Evening event only: £7.50

http://deliaderbyshireday.wordpress.com

The Delian Mode illustration by Brigitte Archambault 

Monday, 17 September 2012

The Shrieking Violet on A Wondrous Space

The Shrieking Violet has been asked to guest-curate a page called A Wondrous Space for a week as part of the Northern Spirit theatre project, which celebrates life in the north.

I am the third in a series of guest bloggers drawn from Sheffield, Manchester, Liverpool and Newcastle, and I have chosen to focus on my favourite northern food experiences; namely pie, peas, and more pie. I have contributed recipes for Eccles cakes and blackberry buns, together with a mini-celebration of Eccles the town.

My posts will appear this week, starting on Monday 17 September.

Read each curator's posts at http://northernspirit.org.uk/category/a-wondrous-space.

Find out more about the project on the Guardian blog The Northerner.

Saturday, 5 May 2012

'Alice in Apps Land' workshop: from zines to smartphones at Victoria Baths Fanzine Convention

Smartphones, history and lo-fi DIY culture might not obviously go hand in hand, but a creative duo who are passionate about both fanzines and smart technology will help visitors to the Victoria Baths Fanzine Convention make the most of their phones at the same time as exploring the environment around them.

The 'Alice in Apps Land' workshop is the brain child of Christopher Watson and Logan Holmes, who invite visitors to discover the local landscape through digital stories while learning more about apps and the functionality of their phones. Each attendee is invited to print out their own, personal map and Chris hopes the workshop will attract participants ready to share their memories of the building and the area. He said: “We'd love it if everyone came along with a memory.”

Chris and Logan are visual artists and lecturers at a Further Education college in Rotherham. Alongside their colleague Nigel Rogers, they are part of Shift Space, a collaborative collective with a studio space at Bloc in Sheffield. Both are passionate about new technology and its potential to take learning outside the classroom. Logan identifies “a generation that has been brought up being fed through the internet”, taking in information that is “digestible and fast-paced”. He feels the current rigid education system is inadequate.

He explained: “The existing mode of education doesn't really accommodate this kind of new learner and it's time we adapted. The teaching environment shouldn't be seen as a classroom and four walls. We need to be flexible and empower students by taking education outside and really contextualising it. We need to be able to collaborate with out students and make it more of a two way process. Students and educators don't know what's around the corner and what it's going to bring. We need to work together.”

Chris added: “You learn more by doing and going out on trips – learning the environment. We want a space where you are not constrained by things like ticking boxes. Education shouldn't be confined to 9-5 and set learning outcomes. It is good to get people out and doing things.

“We want to help people bring their environment to life through technology. We think we can give people confidence using and understanding technology and make it accessible. It's crossdisciplinary – it can take in literature, the arts and general knowledge. Technology is open to all and it's a wonderful way of breaking down these boundaries."

Technology is central to Shift Space's work, and they're keen to get other people involved. They explain: “We want to engage everyone, right from school-age to retired people. We want to explore how new technologies can facilitate art and help you express yourself through different media. Smartphones are simple notepads that can capture video and audio but they're underused. We have the technology to bring snippets of information together for people to enjoy.”

One of Chris's other projects uses the name Visual Think Map, and his work has included compiling creative maps that pinpoint creative activity and facilities in different cities. Chris has been devising an app called Little Gems, which he hopes will be a “hub to answer students' questions”. It is a project he sees as being particularly useful to people starting out in the creative industries. He explains: “I took on the thankless task of trying to map the UK's creativity, revealing hidden gems because I had no idea of the creative sector and things that were out and about when I was at university – it was all about craft and technique. I started making creative maps with the idea you could tell students how to set up their own practice. The maps help students know the creative landscape – including galleries and craft shops – and facilitate their independent creation of art.” The maps could also be a boon to tourists, incorporating a live feed, journey planner and the potential to share information with friends.

Logan visited the 2011 Victoria Baths Fanzine Convention and returned with a pile of fanzines. Along with Chris, he is an enthusiastic zine-maker. Chris explained: “Most of our work is digital but we still try to incorporate the tangible in some way. We like to make things by hand and realise things in print.” Logan added: “You've got to have a healthy balance of digital and print. Nobody likes to work solely with a computer screen. People can get frustrated with it. We like the smell of the printing press and the simplicity of fanzines.”

Logan describes the pair's approach to zine-making as “curating the things we collect”, and sees zines as “a way of pooling thoughts or prompting debate”. Chris has done a project based on obsolete library books called Stamps, Stains & Battle Scars which involved photocopying stamps of dates and stains left on the books. He has also made a series of 'paper portraits', which he describes as being a “branch between print and digital”, which involved interviewing the artists who did the etchings on bank notes and blowing up the notes to reveal the detail. He explains: “If you blow notes up on a photocopier you get beautiful, intricate drawings, but I had to contact the bank as there are very specific guidelines about photocopying money.”

Chris and Logan have also been working on a zine in the form of a collaborative sketchbook passed back and forwards between the two artists, and collaboration is key to the way they work. As Logan explains: It's easier to do things collectively than as an individual.”

www.shift-space.co.uk


To take part in 'Alice in Apps Land' come along to the former superintendent's flat at upstairs at Victoria Baths on Saturday May 19. Free, starts at 11am.

Tuesday, 1 November 2011

How many quarters make a city? Clue: it's not four

Birmingham has seven designated city quarters1, Sheffield eleven2. In Manchester, the well-known Northern Quarter (and slightly less well-known Green, Civic and Millennium Quarters) will soon be joined by a co-operative quarter (although the Co-op Group hopes the public will take to its official name, NOMA, speculated to be a reference to its geographical position just north of the city centre3) and another, a Medieval Quarter, is proposed. Add to that other well-defined areas of the city which are not officially designated quarters, but could be seen as such – Canal Street and surrounding Gay Village as a gay quarter, Chinatown as a Chinese quarter, a university quarter around Oxford Road – and there are a lot of slices that make up Manchester.

There is a bewildering away of terms for dividing up the city into convenient chunks: corridors (the area around the universities and university hospitals is packaged as the corridor, Manchester's “economic and knowledge powerhouse”4), gateways (Southern Gateway, a new residential and business district in an area which had suffered from "a lack of identity and economic purpose"5), an urban village (Ancoats), the UK's first Urban Heritage Park6 (Castlefield) and even a curry mile. The language and concepts used to describe quarters is similar to that applied to these other corridors, gateways and urban villages, and they share many of the same attributes and aims – rejuvenating an area through mixed-use developments that will attract business and investment to the city and help raise its profile beyond the city boundaries.

Quarters often reflect the aspirations of a place, and are used as a way of conveniently packaging and marketing the different types of activities that make up the diverse life of a town or city. If a town or city has a well-defined creative quarter, for example, a hub of cultural industries, it will not just attract creative people but will also catch the eye of tourists and shoppers eager for an alternative retail or leisure experience. This provides customers for other facilities such as hotels and transport, and therefore acts as an incentive for business investment. Likewise, a heritage or tourist quarter puts a city's attractions conveniently into one place for visitors – and attracts the sort of retail or dining experiences that go with it.






The use of quarters to define areas of a city is nothing new. Think of Paris's quartiers – meaning living quarters. Cities have long had designated areas based on ethnicity – Jewish Quarters being a widespread example – and Birmingham, to name just one city, still has Irish and Chinese Quarters. Other quarters grew up around shared characteristics uniting the people who lived or worked in an area, such as speaking a common language (Latin around the universities in Paris' famous Latin Quarter, during the Middle Ages, a name which struck). Other quarters were named after the industry that was prevalent in an area, for example Birmingham's renowned Jewellery Quarter, catchily marketed as 'Birmingham's Gem'7. Or they may simply be descriptive of what's there, like Altrincham's Market Quarter, or what goes on there, such as Leicester's Business Quarter. Others are defined in geographical terms, including Manchester's Northern Quarter, which also goes by the postcode N4, or based on obvious physical attributes, such as Stoke-on-Trent's Canal Quarter. Others reflect the type of people the area has come to attract, or wishes to attract, or tells members of a certain demographic they will find likeminded people there – for example Liverpool's Gay Quarter. They can also be a tool in conservation, if a number of noteworthy buildings are clustered in one area.

Manchester's Civic Quarter, outlined in 2009's Civic Quarter – Manchester Central Regeneration Framework, aims to use Manchester's heritage, including some of its key buildings – the town hall, central library, Manchester central and St Peter's Square – as well as its transport links and infrastructure, to attract business and institutions to Manchester in “a new meeting place in the city centre”. Its goal is to extend both the city centre and business district and: “Bring together the values of civic pride and civic leadership, with international trade and commerce, world class innovation and research, at the heart of an entrepreneurial community.”8It also acts as a link between the various other districts that comprise the city centre: Spinningfields, the corridor etc.

The proliferation of quarters all over the country today, some based on a logical connection with an area and some more tenuous, often coincides with redevelopment and regeneration. Manchester's Millennium Quarter (there are also Millennium Quarters/Villages in London) refers to the redevelopment that took place around Manchester Cathedral after the area was destroyed by an IRA bomb in 1996. Its name reflects that rebuilding took place in the lead-up to the Millennium as well as the fact it incorporated one of a number of national projects funded by the National Lottery through the Millennium Commission9.








Typically, quarters incorporate new or improved public space (Cathedral Gardens, check), retail (Selfridges, Harvey Nichols, the Triangle, check), leisure (the Printworks, check) and residential opportunities. Often, refurbishments of traditional buildings sit alongside eye-catching new builds. The Millennium Quarter acknowledges Manchester's past, containing some of its most historic buildings (the cathedral, Chetham's Library), but it also contains new flagship development such as Ian Simpson's Urbis building, which was conceived as a museum for the city.

Soon, the area could have another quarter, currently dubbed the Medieval Quarter10 by local media, that will straddle two city centres, linking to the Greengate development in Salford. Plans include a new cathedral square, as well as a redesign of Cathedral Gardens, new memorials to the anti-slavery movement, the suffragette movement and firefighters. A statue of Oliver Cromwell, currently in exile in the suburbs, could also be moved there.

Just down the road is NOMA – colloquially dubbed the Co-op Quarter to reflect the fact that the Manchester-based Co-operative Group is redeveloping a huge, 20 acre site11 near its new headquarters. The £1 billion plan, funded by the Co-operative Group with some investment from the Council, will see the makeup of the area fundamentally changed to attract new up-market shops, offices and cafes, potentially generating thousands of jobs. New public spaces will be created and the inner ring road will be moved. The Co-operative Group will be hoping that the quarter can be seen as a physical manifestation of its values, which include commitment to community and environment.









Quarters can create a sense of place. Put a name on it and people can feel an affinity with a place and identify with the characteristics associated with it. As people are increasingly encouraged to live in city centres as opposed to the suburbs, residing within a distinct quarter makes it a lot easier to see yourself as part of a neighbourhood. When asked where you're from you might no longer have an area such as 'Chorlton' or 'Withington' on the tip of your tongue, but being able to say you live in 'the Northern Quarter' or 'the Green Quarter' helps whoever you are talking to identify a more specific locale than the more general term 'city centre', which encompasses a wider geographical area.

The advantages of this for developers are clear: from 2004 onwards, the Green Quarter was created just outside of Manchester City Centre, referring to the largest ever housing development in the city. Developers Crosby Homes promised a “self-contained urban oasis, combining 10 cutting-edge apartment blocks, business accommodation, hotel, leisure and retail facilities set against the precious commodity of lush landscaped open green space”. Sold on its close proximity to Victoria Station, the MEN Arena, the Printworks and leisure and retail opportunities, the developers highlight “the convenience factor of a lifestyle on their doorstep”. They tempt: “Are you addicted to city living, yet yearn for more than a splash of greenery? Do you enjoy the buzz of the urban social whirl and the spark of metropolitan business, but would relish having a haven to escape to?”12The green part? It was envisaged that more than half of the area would be public open space with lawns, tree-lined walkways, water features and landscaping.

A common example of the adoption of quarters as a regeneration strategy can be seen in cathedral quarters, which are found in towns and cities around the country, including Sheffield. Blackburn's town centre strategy13 works with “the inherent and distinct uses of existing areas”, including the cathedral quarter, which has “one of the most established identities in the town centre”, to “encourage a unique sense of place”. Heritage quarters are being established in towns and cities including Gravesend and around the harbour in Sunderland. University quarters include Stoke-on-Trent's catchily-named UniQ, a partnership between local education providers that aims to raise aspiration and increase skills in the town.


One of the most prominent types of quarters is the creative, or cultural quarter, which can be found in towns and cities around the country including: Southampton, Brighton, Folkestone, Birmingham, Sheffield, Leicester, Oldham, Liverpool, Stoke-on-Trent, Doncaster, Boston, Colchester, Leamington Spa, Wolverhampton, Bedford, Bury and Warrington14. The Local Government (LG) Improvement and Development Group put together a guide to cultural quarters, which it defines as “an existing cluster of creative and cultural industries, or the desire to create a cluster of creative and cultural industries”15. Quarters give creative people the opportunity to “work, live and socialise in one environment”, and the LG foresees the associated networks and facilities growing up around them. In Folkestone, Kent, the Creative Quarter was initiated by a charitable Trust buying and refurbishing, then letting, empty properties to creative businesses and artists, supplemented by events such as a book festival and art triennial16.

Whilst there is debate over how desirable it is to set out to create a creative area, as opposed to letting it evolve naturally over time (and there are also concerns about the knock-on effects of 'gentrifying' an area, including pricing out its previous occupants), Manchester's Northern Quarter, which was one of the first cultural quarters in the country along with Sheffield's Creative Industries Quarter, is seen as a successful example of what a cultural quarter should be and do. As the LG site observes, “the most successful examples of cultural quarters usually had some longstanding cultural activity or venues”. The Northern Quarter became established as an alternative to mainstream shops such as the Arndale Centre, its lower rents attracting a mix of cafes, bars, vintage clothes shops, independent book shops, record shops and galleries. It also has a distinctive nightlife, with a reputation for alternative gigs and club nights. Its proximity to the city centre shops, as well as transport interchanges such as Shudehill and Piccadilly, means the Northern Quarter is described in the Northern Quarter Development Framework Report of 2003 as: “A key piece in the city centre jigsaw, an area different in character and function to any other part of the city centre and of great strategic importance to Manchester as a city of distinctive quarters.”17










Increased investment in and focus on the Northern Quarter as an area came about after Manchester City Council commissioned a Northern Quarter Regeneration Strategy in the mid-nineties. This set out a vision for a mixed-use area, including increased residential space, as the Northern Quarter's role shifted from housing traditional industries such as textile manufacture to incubating new creative industries. The Northern Quarter Association was formed, a voluntary body comprising residents, representatives of trade and users of the area, and various environmental changes were made such as commissioning public art to make clear the area's identity as a cultural hot-spot. Around a decade later, the Northern Quarter Development Framework Report observed: “The individuality of the N4 remains – it is not currently a ‘corporate’ location, a place for large firms or for retail or leisure chains. It is the place for the independent sector, where residents of Manchester and visitors can buy high quality, unusual products and soak up the atmosphere of a truly ‘working quarter’.”1

Councils are honing in on quarters and creating visions and plans for areas at postcode level, but quarters are part of a bigger strategy to put cities like Manchester on the world-map. Ensuring certain quarters cover specific functions ensures that Manchester is seen to possess everything you would expect to find in a world city. The Northern Quarter Development Framework Report explicitly states of the Northern Quarter: “This non mainstream offer is important for any ‘global’ city.”19








Cities change and evolve up over time. The name 'Northern Quarter' entered popular use because it referred to an area which already had a distinct identity and role in the city. Few people outside those who live in the Green Quarter refer to it as such (or would even have reason to think about it as a 'place'), and it remains to be seen whether the other quarters, or even the name NOMA, will enter popular conversation as place-markers.


Quarters have been at the back of my mind for a while as something I would like to know more about. Above is merely a collection of things I found interesting about them. If I had had more time and space I would have liked to have also thought about the creation of Spinningfields as a 'luxury shopping quarter', and thought more about other concepts such as urban villages and had a closer look at the overlap with quarters and the language that is used to define and sell them.

1 For a list of the seven city quarters outlined in Birmingham's Big City Plan see http://bigcityplan.birmingham.gov.uk/tag/seven-quarters/

2 For a list of Sheffield's eleven quarters see http://sccplugins.sheffield.gov.uk/urban_design/quarters_city_centre.htm

4 For more on Corridor Manchester visit http://www.corridormanchester.com/

9 For more on Millennium Projects, including Urbis, see http://www.millennium.gov.uk/cgi-site/awards.cgi?action=detail&id=87&t=2

11 See http://www.noma53.com/ for more information on what's proposed.

13 See http://www.blackburn.gov.uk/server.php?show=ConWebDoc.2472 for more information on the town centre strategy.

17 Northern Quarter Development Framework Report, 2003

18 Northern Quarter Development Framework Report, 2003

19 Northern Quarter Development Framework Report, 2003

There are some great videos on Glasgow School of Art's Vimeo channel, including a lecture on culture-led regeneration, which looks at creative or cultural quarters in Manchester/Salford, Sheffield, Newcastle/Gateshead and Glasgow:


There is also a good lecture on the idea of creative cities and creative classes, and the differing experiences of big cities and small/medium size cities:

Wednesday, 25 March 2009

The British Landscape, CUBE gallery

I've only recently started going to exhibitions at CUBE (Centre for the Urban Built Environment), following their really interesting Yellow Space show, and I really enjoyed their new exhibition of work by the photographer John Davies.

Taken between 1979 and 2005, John Davies' imposing black and white shots document a changing Britain. They trace the way both its natural landscape and urban centres have been changed forever by the processes of industrialisation and modernisation; the march of motorways across its hills and valleys, rebuilding of cities after the war and spread of 1960s office complexes and tower blocks, similar from town to town and city to city. This all seems to lead up to the exhibition's culminating photo, of the gleaming sprawl of the Trafford Centre and its million or so carparking spaces.

A grubby grey box of a building, once voted among the ugliest in the country, stands awkwardly between ornate nineteenth century buildings in Newcastle, and the layers of Birmingham's New Street Station are depicted as a tangle of concrete.

The way in which we influence our landscape is obvious, as is seen particularly in the shots of Welsh mines, but we’re left to reach our own conclusions about how the environment around us affects our lives. People are strangely absent from most of the photos, which either show the closed structures in which our lives are contained - the offices, multi-storey car parks and tower blocks where everyday events take place - or the traces left behind once these projects are abandoned and places exhausted.

Partly because they're aerial shots, the photos are static and eerily quiet - when humans appear, as in one image where insignificant figures pick blackberries by an abandoned railway line, they’re almost quaint.

From the toy town houses of Hulme, crisscrossed with roads like a town planner’s model, to a Stalybridge skyline dominated by mill towers and a hulking Stockport viaduct (accompanied by the necessary Engels quotes on urban deprivation), the built environment towers forebodingly, way above the level of human life.

In a 1982 photo, the players in a football game are tiny specks in comparison to the massive Agecroft power station in Salford; it's almost as if they're there by accident. Even a horse, incongruously small and lost in the foreground, seems to be staring at it in awe. Four huge monolithic towers, blackened at the top, rise over everything for miles around and spill smoke into the air around them, as if to prove Davies’ point about man’s huge footprint on the world around us.

What is implicit in the often desolate emptiness of Davies’ photos is the way lives have been changed and uprooted to make way for the new, from slum clearance and the demolition of back to back houses to the programme of mine closure undertaken by the Conservative government. We’re shown the remnants of a community that was built up around Easingdon Colliery in County Durham and told, ironically, that the houses which survived featured in the film Billy Elliott and are now regarded as ‘classic’.

Hulme provides another example of how trends in urban living come round again like fashions; housing left over from the Industrial Revolution was knocked down to make way for sixties high rise housing estates, before being rebuilt as traditional low rise houses again in recent decades.

Many of the scenes look old fashioned now, depicting a bygone way of life - for example, a shot of racing pigeon sheds overlooking Sheffield, and many of the buildings pictured, including Agecroft Power Station, are long since demolished.

What links all the photos across the 30 year time span together is that they have an unusual beauty. A few photos of nature’s natural monoliths, the peaks and mountains of the Lake District, show Britain in its pure, unsullied, glory, but Davies’ shots seem to say that it's still majestic even after the intervention of man.

CUBE
113-115 Portland Street
Manchester
M1 6DW
Until April 18.

www.cube.org.uk
www.johndavies.uk.com

Friday, 30 January 2009

Japanese Pavilion, Piccadilly Gardens

What? The Japanese Pavilion which dominates Piccadilly Gardens. Its most defining feature is a large concrete wall which is sometimes described as the Berlin Wall of Manchester. Anyone stepping off a bus or tram is greeted by the brutal expanse of bland greyness, made even worse by rows of portable urinals.

A pavilion should be a pleasant, relaxing place, though? The word 'pavilion' has connotations of pleasure and recreation, but Piccadilly Gardens isn’t exactly a place in which you want to hang around. The Japanese Pavilion is minimalist, cold and hardly welcoming - unless you’re gladdened by the sight of yet another Café Nero.

When and who? The council set up an international competition to redesign the gardens as part of the regeneration that followed the IRA bomb. It also coincided with the smartening up of the city that happened in the run-up to the Commonwealth Games. The winners were announced in 1998, and Japanese professional boxer turned award-winning architect Tadao Ando was enlisted, completing the building in 2003.
What was wrong with the old Piccadilly Gardens? The garden, which is the largest green open space in central Manchester, was created in 1914 where the basement of the original Manchester Royal Infirmary stood. By the time of the 1996 bomb, though, the sunken Victorian style ornamental gardens were seen as being both out of date and an unsafe no-go area populated by drug dealers. Now, all that remains of the original design are the statues, including the imposing figure of Queen Victoria.

What’s Ando's track record? He's designed churches, art galleries and housing, which often incorporate natural elements such as light into the design – see the Church of Light in Japan or Church on the Water, which is surrounded by an artificial lake. The problem is, given the above average grey element of Manchester's skies, the greyness of the pavilion serves only to emphasise the prevalence of our overcast skies rather than distract from them, and the grubbiness of the wall is in keeping with the shabbiness of the gardens as a whole, with their patchy grass and litter.

So it’s something to make Manchester proud? Let's take a look at another city, Sheffield, and what it's done to regenerate one of its public spaces. Visitors leaving Sheffield's train station walk out into Sheaf Square which, like Piccadilly Gardens, has fountains and a large wall. Sheffield's though, designed by international glass artist Keiko Mukadie, reflects (literally) the city's history.

Cutting Edge is a five metres high, 90 metres long sculpture made of the steel for which the city is famous, and depicts the fashioning of a knife blade as a tribute to the city's reputation for fine cutlery. Finished in 2007, it has lights embedded in it and its mirror finish gleams and excites more than our bland concrete block.

We drew the short straw, then? Yes. The Japanese Pavillion divides people – literally, as it's designed to separate the busy bus and Metrolink terminal from the rest of the space.

Didn’t the council have ambitious plans for the Pavilion? Yes - in September 2007 it announced plans to create a living roof, and work was supposed to start this time last year. The council wanted to make Manchester Britain’s greenest city and attract wildlife to the area. The roof would have attracted birds and butterflies and come alive in summer. But it would only have been seen from offices that overlook the Pavilion anyway.

That’s the main problem, isn’t it - the Pavilion is bit lifeless, especially compared to the hub of activity that goes on around it? The word on the street is that people would like to feel a bit more involved in the space.

But at least people are trying to enliven the place - in April 2006, Manchester International Arts covered it in 25,000 pink, scented flowers as an installation called 'Wall Flowers'.

And not very Manchester (there's a clue in the name)? No. Rachael Elwell of art knitting group ArtYarn says its “bleak” and “uninspiring” appearance is “a complete contradiction to what Manchester claims to achieve artistically”. She suggests a knitted panel covering the wall to bring back memories of “forgotten practises and ways of old living” from Manchester’s textile heritage.

What else do you suggest we do about it? We could have a mural, stick with the fairy lights that are there at Christmas and at least bestow the Pavilion with a little bit of warmth, or even have changing projections on the wall. It could be given to graffiti artists like the street art walls down the road in Stevenson Square, or provide a new home for the Afflecks Palace mosaics.

Morag Rose, founder of the Loiterers Resistance Movement psychogeography collective, came up with the most inventive suggestion: “one week cover it in glittery pink fake fur so stressed commuters could have a stroke or a hug.”

Sally Makison, an interior designer at Maddocks Design Partnership, thinks the tourist information centre should be moved from the town hall to a more central location inside the Pavilion.

As a Victorian city, how about updating a Victorian leisure tradition that's a welcome addition to any park and turning the pavilion into a bandstand? Offer city centre buskers, who provide one of the last remaining shreds of individuality amid the chain stores of Market Street, rotating slots in a rain and wind free environment, and give people a reason to stay in Piccadilly Gardens rather than rushing though it.