13 THE ART OBSERVER July 2010 civic pride within the community. However, whilst these arguments seem logical, very little hard evi- dence has been available to sup- port these assertions until rela- tively recently. Increasingly, organisations such as ixia (the public art think tank) and vari- ous regional offices for the Arts Council are looking into the long term effects of art in public spaces and a growing body of evidence suggests that this investment is money well spent - wherever it comes from. In addition, recent initiatives such as Building Schools for the Future (BSF) also demonstrate a commitment to the importance of art in public spaces. The BSF scheme aims to rebuild or refur- bish every secondary school in England and to transform educa- tion through the creation of inspirational learning environ- ments. One requirement is that every local authority sets up a Cultural Stakeholder Group (CSG) whose remit is to advise on the provision of arts spaces within BSF schools. My particular art form, stained glass, can be employed to great effect within public spaces, using light, colour and reflection to bring something unique to the environment in which it is placed. When commissioned to design an installation for a pub- lic building, an important con- sideration for me is that the design should be sympathetic to that environment and create a sense of place. When designing a commission, inspiration can come from many sources. For example, a recently completed commission called ‘Proclaim the Good News’ in St Dunstan’s Catholic Church in Woking, Surrey combined the inspiration By Derek Hunt Architectural glass artist Derek Hunt of Limelight Studios (www.limelightstudios.co.uk) explains how art can be used to enhance our public spaces and buildings. Ever since the earliest times, art has been a key element in help- ing to define important places where people meet. As far back as 16,000 years ago, cave paint- ings were used to create places of religious significance for the people of Lascaux in south west- ern France, and we are all famil- iar with the aboriginal art of northern Australia, which used symbols as maps to describe the landscape. In fact, art has been used throughout history to create a sense of place. One of the most striking and memorable uses of art has been in our churches - amongst other things, the use of stained glass. Like most forms of art, stained glass has gone through different styles and incarnations in its long history - from classical, to gothic to abstract. But when most peo- ple think of stained glass, they almost always think of it in a religious context. However, glass is an art form increasingly used to great effect across a range of public buildings, from schools to hospitals to shopping centres. As an architectural glass artist, many of my commissions are for public buildings, both secular and religious. It’s not surprising that I believe in the importance of good art in our public spaces. However it's not just my convic- tion; the significant role that art can play in public places has long been recognised by organi- sations such as Paintings in Hospitals, a charity which was founded in 1959 and now has a collection of over 4,300 works of art which it loans out to healthcare sites across the UK. In fact, healthcare organisations seem to be particularly alert to the beneficial effects that art can have in their hospices, clinics and wards and are beginning to gather evidence to support this view. For example, the Enhancing the Healing Environment programme (EHE) launched by the King’s Fund found that bringing art into the clinical environment has had a of nature using images of leaves, flowing water, the silhouette of trees with the visual images con- jured up by excerpts from Mark’s Gospel to create an instal- lation that has relevance and meaning for the congregation. Another recent project was the design of a piece of artwork for The John Rylands University Library in Manchester, due to be unveiled by the poet laureate, Carol Ann Duffy in May. This neo-Gothic library building was designed by Basil Champneys and is heralded as one of the finest libraries in the world. With such a prestigious setting for the artwork, the challenge was how to create something that could enhance such histori- cal and stunning surroundings. This commission was awarded following a selection process in the form of an international competition, a procedure fre- quently used in the world of design and similar in some ways to the tendering process used in other industries. The competition for the John Rylands commission involved a panel of judges study- ing examples of many artists’ work, resulting in a short list of four who were paid to develop their ideas further. By doing this, the steering committee were ensuring there was a far better chance of the final art- work being of the highest stan- dard - in fact the whole process demonstrates the University’s firm commitment to developing public art in its environment. The final structure that I designed, entitled ‘TOTEM’, is 11 metres tall, made of glass and back lit, with images taken from the huge historical resource of books and manuscripts held at the library. The concept behind the design was to reflect and cel- ebrate the library’s collections of rare books, manuscripts and archives such as the St John’s Fragment, the earliest piece of New Testament in existence bought by the library in 1920. Installed in January 2010, Totem is made from glass and steel to make the best use of light in a controlled palette of colours, utilising the original Victorian colour scheme established by Basil Champneys. It’s a contem- porary design that complements the new entrance wing with its array of recessed windows and which will hopefully further enhance the enjoyment and appreciation of those who visit the building. However, if art in public spaces is to really make a difference, it needs to be of the highest quali- ty and carefully thought out. Inserting a window, a sculpture or a mural without considering how it can enhance the area into which it is placed is essentially a waste of time and money. Fortunately inspiration is all around - I believe that the best art to be found in public spaces is almost always the boldest and bravest, such as the Baptistery window by John Piper and Patrick Reyntiens at Coventry Cathedral. That's why it is so important to spend time seeking out the very best artists to work with - artists who have a proven track record of delivering stun- ning work of the highest calibre. As the use of art in public build- ings extends to places such as schools, libraries, offices and hospitals, so public art commis- sions have the potential to be seen by a wider audience and to influence and to enrich our everyday lives. And just like those early cave dwellers of France who understood the transforming power of art, we too can transform our modern spaces into inspirational places. About the author:  Derek Hunt (BA FMGP ACR) has been a practising stained glass artist for over 24 years and is also an accredited stained glass conservator. A graduate of Edinburgh Art College, Derek set up Limelight Studios (www.limelightstudios.co.uk) in 1985. He is a Fellow of the British Society of Master Glass Painters. Derek regularly works with English Heritage, the Council for the Care of Churches and the Churches Conservation Trust. His commissioned designs can be found in churches, theatres, schools, public libraries, shopping centres and private buildings across the UK. range of benefits for both staff and patients, promoting a greater sense of ownership, and reduc- ing incidents of patient aggres- sion in addition to creating a more therapeutic and environ- ment. More recently, the unveil- ing of Michael Craig-Martin’s huge five storey wall painting for the atrium of the Children’s Hospital at the John Radcliffe Hospital in Oxford last month (April) gives further credence to the theory that art in a variety of forms can actually enhance the healing process. One of the criticisms that is fre- quently levelled at organisations such as councils and PCTs when they commission works of art for the benefit of the community is cost. Some stakeholders can find it difficult to justify spend- ing hard earned public money on artworks which might be dis- missed by some as merely deco- ration or difficult to understand. However, it should be remem- bered that much of the funding for art in public buildings, such as Michael Craig-Martin’s recent piece, comes from charitable institutions or from donations by the private sector, rather than the public purse. So, whilst some of the cost con- cerns about placing art in public places is misplaced, the argu- ments for its inclusion are numerous and compelling. The appropriate use of art in public spaces can achieve much for the environment and its users such as: l Enhancing and transforming the existing physical environment l Helping to create a distinct sense of place and individuality l Creating and maintaining a sense of ownership and community l Offering opportunities to improve the quality of life for all, irrespective of wealth, class or circumstance l Reducing crime, particularly vandalism and anti social behaviour l Providing opportunities for contributions from different cultures l Improving health and wellbeing -physical, emotional and social l Having a positive impact on the environment and local economy, bringing increased investment and tourism l Developing a stronger sense of How Public Art Can Turn a Space Into a Place Derek Hunt at Work