When the Mayor’s London Borough of Culture 2020 title was awarded to Brent in 2018, the bid stood out because it unashamedly placed young people at its heart, promising an exploration of what culture means to them in the 21st century.
The first phase of the public campaign for Brent 2020 called for radical change in the way that public spaces are planned and designed to reflect the needs of young people.
As a Principal Partner of Brent 2020, we strongly supported this objective, and in addition to our support of Brent 2020’s Blueprint Collective –a group of over 100 young people aged between 15 and 24 who have helped to drive Brent’s year of culture –we have developed a specialist programme with experts in urban design at the London School of Economics (LSE).
Inspired by extensive research and workshops in collaboration with urban design researchers at LSE and the design and development team at Quintain, the Blueprint Collective have developed the ‘Blueprint Charter’ –a manifesto calling for the needs of young people to be at the heart of the design of public spaces in London.
Apprenticeship In City Design
The Apprenticeship in City Design was created as a continuation of the themes explored with the Blueprint Collective and was designed to engage young voices in the planning and design of the built environment by testing new forms of participation aimed at future citymakers. In order to involve a diverse range of participants, Quintain financed six paid opportunities to learn through practice, delivered by the LSE For the participants, learning components involved practical aspects such as mapping; demystifying the planning system; and the anthropological aspects of city design. More philosophical issues such as why design matters when thinking about the city; the city as site for resistance and contestation; and whether meanwhile uses can be considered as radical, or just reinforce the status quo, were also explored. The Wembley Park site and context were introduced, and design proposals from the students were sought focusing on four public spaces. Throughout the process, several principles emerged such as the inclusivity of different public spaces, and that designs should have a sense of “Brent in Brent” – bringing elements that are recognisable to local people.
In addition to the benefits to the apprentices, the programme helped researchers at LSE in recognising the value of tacit knowledge, compelling them ‘to do’ research differently; and at Quintain, it has helped to demonstrate constructive ways in which more diverse voices and opinions can and should inform our design processes. The dialogue with the apprentices will not only inform the brief for these spaces, but in some areas will result in the adoption of specific design solutions and their ultimate construction.
“It is right that young people have a say in the plans and decisions about where they live, and I’m delighted that the London Borough of Culture has given a voice to Brent’s young people. This is an excellent example of how communities and authorities can work together to shape their local area, and I’m sure the determination and creativity of the Blueprint Collective will lead to improvements that will help Brent now and in the future.”
Justine Simons OBE, London's Deputy Mayor For Culture & The Creative Industries
As a social science university, LSE is aware of the deep connections between urban space and social inclusion. The planning process in London leaves out the generation of urban residents who most need public space to connect and participate in society. The ideas and recommendations generated by the Blueprint Collective make it clear they want to be ‘seen and heard’. They bring fresh thinking that is helping transform real places in Wembley Park in Brent and influence the way planners and policymakers make space for people in the city.
Professor Ricky Burdett, Director Of LSE Cities & Advisor to the Quintain Board
Student Reflections
I have had an amazing experience and there is no doubt this is something that should be continued. It exceeded my expectations and that is also thanks to your dedication and support! I really hope we have to opportunity to work together in the future and if there is a possibility after the pandemic it would be so nice for us all to meet. Thank you again for providing this apprenticeship and everything I have learnt from it.
Everyone is entitled to have a say on public space, whether you're into politics, health or science. It’s a shared space and therefore is important for people to take part in the conversation... I see public space as a way to reflect the community and the people who live there. We shape where we live and our circumstances can change what a public space is.
My perception of public space has changed definitely; I now see the potential public space has as opposed to before. Moreover when outside I can start relating my lecture findings to real life which (is) always fantastic.
SAMOVAR SPACE
The first of the four spaces to receive input from the young people involved in the LSE apprenticeship scheme is at the top of
world-famous Olympic Way, at a small site previously used for car parking.
The apprentices’ design, which was worked on during 2021 and came to fruition on site in July 2022, includes aspects
responding to three themes under the apprentices’ overarching intention to create a place for young people to ‘just be’.
• COLLABORATE: a place to see and be seen
• CALM: a place to chill out and do nothing
• CONSUME: a place to snack and chat
There are brightly coloured exposed and covered areas for seating,
AstroTurf, and a commissioned floor mural. The space hosts a
bandstand at its heart – delivered by Wembley Park’s masterplan
architects Flanagan Lawrence; a place for buskers to play under the
shadow of the National Stadium.
As part of the naming process, the apprentices drew on the core aim of
the project: the proposal to ‘just be’ and to come together. The group
considered themes that represented Brent, such as its diversity.
This could be represented through objects such as a samovar, a container
traditionally used to boil tea. Originating in Eastern Europe the samovar is
widely used throughout South-Eastern Europe, Iran, Afghanistan, Kashmir,
the Middle East, Azerbaijan and is also known in some parts of Central
Europe. The samovar was decided to be a fitting object because it
represented the culture of coming together and sharing space with others.
The Apprentices could see the name working, as they imagined telling a
friend “Let’s meet at The Samovar Space”.
