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The Human Cities Project: Using colour and a sense of civic pride to ignite a community.

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Colour should be a part of everybody’s lives, especially in a bold and dynamic borough like Barking.

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More colour, more life, more character: Studio 3 Arts helped to weave the Gascoigne Estate regeneration vision.

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Studio 3 Arts are bringing colour to communities 

Studio 3 Arts operate on the belief that everyone has the right to encounter art. Their goal is to engage people in dialogue about social issues, and they champion this through a variety of art-based initiatives; many of which, act as a gateway for marginalised or hidden voices to be heard.

Relevant, resonant and accessible to people of all ages and cultures, these initiatives are truly wide-reaching. This is partly due to the fact that Studio 3 Arts choose to undergo work in places where people gather: empty shops, cafes, bus stops, hostels, pubs, GP surgeries, on streets – as well as more traditional arts venues.

Open Estate at the Gascoigne Estate in Barking, East London, is one of many projects managed by them. It involves artists, heritage professionals, local community groups and residents coming together to celebrate the rich history belonging to the estate.

We interviewed a selection of key people to find out more about the programme and, in particular, why it has been so well received. They were: Rosie Ross, Head of Projects (Studio 3 Arts), Lisa Vallance, the company’s Artistic Director, David Harley, Head of Regeneration (London Borough of Barking and Dagenham), as well as residents of the Gascoigne Estate.

Speaking about how the project kicked off, Artistic Director of Studio 3 Arts, Lisa Vallance, told us about the steering group of local people they brought together to help shape a vision for the regeneration of the Gascoigne Estate. She highlighted the importance of public art, social space and, in particular, colour to achieve this vision.

Head of Projects, Rosie Ross, also stressed the importance of colour in people’s day-to-day lives, but also emphasised how they work with people on the estate. Local resident, and artist, John Akinde, agreed with their approach: ���I really feel like what’s intrinsic to Studio 3 Arts is the idea of giving power to the residents – the ordinary, everyday people. A project like Weaving the Gascoigne allows many people to understand this power and explore this power further.”

David Harley, Head of Regeneration for the local council, praised Studio 3 Arts and their approach: “Organisations like Studio 3 Arts are essential in really achieving proper regeneration, and not gentrification,” he shared.

The Gascoigne Estate will be rebuilt over the next decade, with the redevelopment vision being shaped by Studio 3 Arts and the community.

Find out more about Studio 3 Arts at http://www.studio3arts.org.uk/

And discover more #HumanCities projects at https://www.akzonobel.com/about-us/what-we-do/our-human-cities-initiative

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Why I’m so passionate about AkzoNobel’s Human Cities projects

In today’s world, rapid urbanisation makes change inevitable for everyone. Cities, villages and towns are growing, and it’s my passion to see how we can ensure these environments stay fruitful, and inspiring. We’re always asking ourselves the same question: what can we do to help preserve the sense of identity, connectedness and happiness belonging to communities undergoing changes? 

My name is Julia Huss and I manage the Human Cities program at AkzoNobel, to help cities and their habitants respond to the challenges they face. From creating more liveable and green neighbourhoods, to preserving architecture in Malaysia’s third biggest city, Malacca and helping to restore the magnificence of a historic building in Italy, I’m proud to say that our work is global, and diverse. I’m passionate about what we’ve accomplished and the work that is still to be done.

I was recently asked to answer a few questions about what it’s like to coordinate the projects that we’ve been involved in. I believe it’s my role to share why working together, and especially working with colour, can have long lasting effects on communities:  

What appeals to you most about the Human Cities projects?

Human Cities says it all – it’s about the people in cities. What makes them feel at home, proud, happy, energised? There are a lot of good projects and programs out there that help cities meet various challenges in times of rapid urbanisation, but most of them don't put the people at the forefront. Human Cities is exactly about that. We think about what people want, need and feel, and we work with them to make sure positive changes happen.

The Human Cites program is vast but is there a part of the project that you have worked on or any part you’re proud of?

The passion that our people have to help others. Human Cities is deeply rooted in our company and I feel very proud to see so many colleagues being engaged in society through our Human Cities initiative. From smaller projects like renovating an orphanage, to 5-year projects in slums, you can always feel the passion of our people to create positive change in the world. I love that. It gives the whole company a lot of energy and drive.

In your view, what role does colour play in helping to transform an area?

I believe that colour plays a crucial role in the life of people. It’s a bit like music - it can make you happy and sad; it influences your emotions. A more colourful living environment and neighbourhood can definitely help uplift a community. But it’s not just about the colour, it’s also the act of painting together. Where possible, we involve the community and our employees in the painting process. This is where the real magic happens and connections between people are made. Social cohesion and the feeling of togetherness is a hugely important when cities turn into megacities and hundreds of different cultures are coming together in one place.

In the places where the projects have taken place, what are the benefits?

Let me give you an example: The Let’s Colour project in the Santa Marta favela in Rio de Janeiro, Brazil. The program has mostly impacted people’s sense of optimism and well-being. After painting the houses together, more than 80 percent of the people appreciated their property better, and 85 percent felt more motivated to make new improvements to their homes. About 70 percent said it improved their self-esteem, while more than 60 percent felt it has encouraged fellow residents to take more actions to improve the community as a whole. Also, more than 90 percent said the painting helped to attract more tourists, which means an economic benefit for the whole community.

Is there a place in the world where you would like to see the Human cities program help next?

I want to help everywhere in the world! ;-) Human Cities is close to our heart and our business. Therefore, we will focus on locations and regions where we as AkzoNobel can play a role in those communities and help with our people, products, expertise and passion to create positive change in the world. 

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Excited to share the news that we’ll be investing in two new coatings research and development facilities in Felling, Gateshead, and Ashington, Northumberland: http://bbc.in/2lyGkFU

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The Human Cities Project

What it’s like to be a part of the Human Cities projects?

It’s a universal challenge and one that needs to be addressed - “how do we keep our cities “human”? As neighbourhoods, villages and towns grow and develop, how do we preserve our sense of home, identity and happiness?

At AkzoNobel, we created the Human Cities project as our commitment to improving, energising and regenerating urban communities. We’ve joined forces with organisations such as 100 Resilient Cities, the Cruyff Foundation and Monocle’s Quality of Life Index to bring about positive change across the globe. Our projects have been diverse - we’ve helped to revitalise favelas in Rio de Janeiro and Brazil, helped restore historical landmarks, and we’ve helped to create jobs for young people in the UK.

I’m Marianne Shillingford and as the Creative Director at Dulux, I was asked to describe what it’s like to work firsthand on the projects. The opportunity also gave me the chance to stress why you should never, ever, underestimate the importance of colour…

What appeals to you most about the Human Cities projects?

The human bit!  I live in the heart of London, a human hive of tightly packed, crazily busy, fast-paced multicultural inhabitants.  The Human Cities initiative connects us together in a subtle but powerful way, it draws our attention towards things we often overlook or take for granted and slows us down long enough to consider and appreciate how small changes can have positive lasting impact in our lives. The projects also recognise and celebrate human achievements in the present as well as the past. This in turn cements a richer identity and confidence within the communities they affect.  

The Human Cites program is vast. Which parts have you worked on and which are you proud of?

One of the great pleasures on my role at AkzoNobel is adding colour to people’s lives on a very practical level. Because I’m pretty handy with a paint brush (and in particular mural work), I’ve been practically involved in many projects working with the teams here in the UK. There are two that particularly stand out:

The first is being part of the new AkzoNobel Training Academy where we have delivered training courses in everything from decorating and colour scheming skills to business development and communication to over 1000 people since its launch. That number included hundreds of young people who are just beginning their career journeys and it’s been a great privilege to give them skills which they will use to improve people’s lives with our colours and products for the rest of their professional lives.

The second is a project to decorate ‘Fitzroy Lodge’, a famous Boxing Club in the heart of the East End of London.  Founded by a philanthropist surgeon after the first World War to provide healthy activity, discipline and companionship for disadvantaged children of the area, the club soon became one of the most famous and well respected hubs of the community, turning lives around and breeding world champions.  In recent years (totally reliant on charity and without financial help from local authorities) it was extremely run down and became the focus of a rejuvenation project by one of the Dulux teams.  Over a very long and tiring week, we worked with the members, managers and volunteers to transform the building to its former glory.  If anyone when has an ounce of cynicism about the power of colour and paint to connect people together in a common goal that leads to mutual respect and in turn lasting friendship, I invite them to drop in and take a look for themselves.

In your view, what role does colour play in helping to transform or regenerate an area?

Colour is the most powerful form of non-verbal communication and it is fundamental to the transformation of everything it touches. It creates visual reference points that are widely understood and is one of the easiest ways to draw attention, stimulate conversation and connect people together. With technological advances in lighting, materials and surface coatings, especially cement and paint, it is no longer necessary for us to live in cities that immerse us in grey in all its forms. The urban landscape is enhanced with colour- buildings can be illuminated in a more sustainable way with low energy LED light technology; concrete, brick and ceramic is available in a rainbow of colours, and paint can withstand the elements in an unprecedented way.  We have to ditch old habits in architecture and design by embracing colour as a fundamental element of a building rather than the decorative afterthought. Only in this way will we begin to create a truly new and uplifting visual language in urban development for future generations.

In the places where the projects have taken place, what do you believe are the short-term benefits? Thinking further ahead, what do you think the long-term benefits might be?

The short-term benefit is in the activity and energy provoked by positive change. The long-term effect is that it gives us the confidence to make those changes again and again.

Is there a place in the world where you would like to see the Human cities program help next?

I might have to say Hull in the UK.  Despite being City of Culture for 2017 and having a rich and enviable seafaring heritage, Hull could still be at risk of remaining one of the unpolished diamonds of the UK. It would be great to be able to support Hull beyond this important year and help to breathe life back into this once thriving and historically important estuary port.  

                       Find out more about the Human Cities Project here

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Interaction’s colourful workplaces

Interaction are known for their ability to transform workplaces from uninspiring to inspiring. They’re the creative design and build experts who want people to think about their work environment differently. The philosophy guiding their work stems from the belief that great workspaces can boost employee motivation, productivity and sense of wellbeing. Unafraid to use colour, Interaction are famously against adopting a one-size fit all approach, with a long list of clients to vouch for.

Aside from the obvious request - a workspace redesign - many companies approach Interaction hoping to achieve important, but less tangible outcomes: increasing staff retention, attracting new talent, creating culture and ultimately, fostering a sense of togetherness. We spoke with Hayley Lambert, the Studio Manager at Interaction, to gain a better understanding of where their ideas come from and how they use colour to help people prosper:

Tells us more about working with Sutton Specialist Risks, Pacific West Foods and Gresham - what outcome where you hoping to achieve with each?

In all of these projects, colour was used to create a fresh, fun and engaging environment that reflects the organisations’ playful and vibrant working culture. Colour is a tool that can be used to empower and inspire, create a distinctive mood, and differentiate areas from the rest of the space.

For projects like these, where do your ideas/inspiration come from?

All ideas are developed from the brief and initial meeting with the client, when we uncover the organisation’s aspirations and personality. It starts from little ideas of what mood or feel can be represented in certain areas, or the flow and movement within a space. We then develop conceptual plans where our ideas about finishes and colour schemes become finalised. All ideas are conceived through conversation - we communicate with the client about the story they want to tell and how they want people to feel in their workspace. Through these conversations we can get under their skin and explore the potential of the project. 

What does colour mean to you and how do you choose the colours you work with?

Colour is a powerful and simple tool that can have real impact upon a space -  it can make a statement, highlight a feature or even influence how people feel. Some colours like green or blue can be calming, whereas yellow can be more energising; we believe it’s imperative to consider colour when designing a space. Exploring which colours to use for every project is a unique task, as we take the time to understand the user and what needs to be achieved in each setting. For example, we used bright and powerful colours for money.co.uk’s workspace in a Castle to create an environment that was unorthodox and unrepresentative of a typical office setting, in order to encourage knowledge sharing, socialising and collaboration.

How can colour influence people’s sense of satisfaction, contentment, and wellbeing in the workplace?

The effect of colour on people is not to be underestimated and it can influence perceptions very subtly. For example, using warm colours can actually make a space feel and look warmer. Considering colour is extremely important in our design process. When we create spaces for relaxation, we use more natural and calmer tones, whereas if an environment is more informal and used for socialising, we would use brighter and stronger shades to energise people. There is no ‘right’ answer when it comes to colour, everyone will experience things differently, but we always intend to make it clear about the functionality and feel of a space.

See more of Interaction’s work here

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Making cities more colourful

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Vertical garden helps to transform Quito

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Art and colour in the context of Healthcare

Recently, we interviewed the Director of Vital Arts, Catsou Roberts, to find out more about the ways they bring art and colour into hospitals across East London. Whilst undergoing projects for Barts Trust, Vital Arts regularly form partnerships with many artists. We invited artists, David Goodman, Tord Boontje and Rebecca Thomson who worked with Vital Arts on projects for Barts Trust, to talk about the planning that went into their commissioned works and how they used colour and light to make a positive difference:

David Goodman, artist at MillerGoodman, on Imaginary Menagerie at Royal London hospital

Where did the idea for Imaginary Menagerie come from?

We were shown really long corridors and lots of space to cover. We wanted to use wooden animals from our existing PlayShapes range and integrate them amongst patterns, so we used vinyl and paint as well as wood. There’s something special about having a physical object on a wall rather than a picture – you have a different relationship with it because it’s more tactile.

In what ways do you think colour and characters can help a child’s recovery?

Colour lifts our mood and can make a difference to our emotional state. That’s why we sought to create an installation that was visually appealing and also fun for the young patients. By using colourful patterns and characters, we’ve created a distraction from the medical devices and equipment. Before we began this project, the space was very drab and grey but with our installation, no two corridors are the same. This helps the children to get their bearings in the ward and have a relationship with the space (knowing their room is near the monkey or the giraffe, for example).

You use bright colours alongside natural wood in your work, what’s the effect of this contrast?

Wooden toys used to have a reputation for being dated and couldn’t compete with modern plastic toys that have bright, lurid colours. We thought bold, strong colours and patterns would give our toys and updated feeling and would be more attractive to kids and parents. We wanted to get back to tactile play and felt wood was the right medium for this – it has much more ability to ground us. It feels traditional and part of the earth – it’s natural, not man made, so it feels wholesome and warm. Wood ages nicely too, so while plastic toys become scratched and break, wood looks nice with the markings of age. People like to buy heirloom toys and pass these on from generation to generation but you don’t see this happening with modern plastic toys.

What response have you had from the project?

Design isn’t just for adults, it’s something that children can enjoy too. We want to get children interested in design through patterns and play. As well as Royal London Hospital, we have also worked with the Design Museum in Kensington to create a bespoke play area for the education department. This kind of art is so important to us and we hope to keep taking on projects like this – it’s such a great feeling to make a difference.

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Tord Boontje, artist, on Herbal Medley at St Bartholomew’s Hospital

Where did the idea for window designs, rather than curtains, come from?   

The new hospital wing was built a short distance away from existing office buildings and this created a privacy issue– from either side you can look into each other’s windows. Opaque window coverings were the perfect way to provide privacy while maintain a feeling of openness inside the hospital. To get the balance right we made test prints using different transparencies and densities. We tested these on the windows during daylight and night time, looking out from the hospital and also looking at it from the office next door. These coverings were used on 300 windows over 8 storeys.

What effect did you want to achieve by using images of botanicals? 

I use botanicals regularly in my work and in this case, the images of nature have brought a humane quality to a clinical hospital environment. All the plants and herbs incorporated into the pattern have different medicinal qualities that have been used in healthcare for thousands of years. The effect is a very peaceful pattern that has real meaning to wellbeing and recovery.

What is the effect of light and shadow in the room?                             

Daylight casts the patterns as shadows on the walls and windowsills. In a busy environment, this extends the calming pattern in a subtle and constantly changing way.

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Rebecca Thomson, artist, on RT Farty at the Thistle Street Ward

What does colour mean to you and how do you choose the colours you work with? 

To me, colour is another way of communicating without having to use words. For example, I am drawn to colours that have been successfully used to make a service or system more accessible for people. Additionally, colour has great power to set the tone or mood of an environment, space or even a brand. In my more recent projects the selection of bright colours are a result of my understanding of colour theory and how people respond to different colours. And finally, there is a saying that goes “it really brings the place to life” and when we hear that phrase, people are normally referring to colour and the impact it has on the mood and feeling of a room.

For the Thistle Street project, where did the idea of colourful doors come from? 

With Thistle Street, the idea of the colours was an instantaneous response to helping patients to identify with their assigned rooms. During the early stages of the project, I noticed immediately that every door was identical - that can be extremely confusing to anybody in an unfamiliar place and even more so for older adults some of which suffer with various stages of dementia. At the same time I did a bit of research into the patients ‘hey-day’, which would have been post-war around the 1940’s. It was a time of things being rebuilt, and as a sign of optimism and ownership, people would paint their doors with new coloured pigments that had been traded. These pigments had arrived at the Royal Docks near Newham University Hospital, where the Thistle Street ward is based.

What feelings did you want to invoke through your use of colour in this project? 

I used colours that were typically used in the 1940’s to tap into the sense of nostalgia and fond memories of the patients. Therefore, I was aiming to increase the patients’ happiness through positive colour association.

How do you think colour influences people’s sense of health and wellbeing? 

A selection of the right colours can instantly lift people’s mood, represent individual personalities, or even bring comfort to unfamiliar and uncomfortable environments such as hospitals or doctors surgeries. With this project, I could feel a sense of calm within the ward as the patients navigated and mobilised themselves independently through the corridors. They did this because they were able to recognise their own coloured door and this encouraged them to engage with other neighbouring patients. Colour has provided these patients with freedom, comfort and a sense community, which is really testament to the possibilities it provides to impact people’s sense of health and well-being.

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Colour and Healthcare: How Adding a Dash of Colour can Make all the Difference

We interviewed Catsou Roberts, Director at Vital Arts to find out more.

As leaders in merging art and health, Vital Arts work within NHS for Barts Health, the largest Trust in the UK. Founded in 1996 and entirely charitably funded, the organisation’s mission is to deliver arts projects to enhance the well-being of patients, staff and the hospital community. Vital Arts establish strategic partnerships in order to be able to run a successful therapeutic creative program, which includes workshops, exhibitions, and public art commissions. They also manage and curate a lively patient participant agenda, bringing music, dance, literature and performance into five hospitals across East London.

Many studies have shown that art can help improve the patient experience and lead to a faster recovery, so we wanted to know how. We sought the expertise of Catsou Roberts, who explained more about the effort that goes into creating the colourful and uplifting spaces and experiences that Vital Arts are known for:

How do the hospitals act as your canvas?

We view the areas of the hospital as important civic spaces in which to introduce new audiences to the transformative power of art. We offer patients and staff an uplifting cultural and, hopefully, a mind-opening experience they might not otherwise access, while at the same time making their hospital visit a more positive experience.

Can you tell us more about your projects and what you hope to achieve with each?

All of our projects are site-specific and born of a long engagement with by the artist. Everything we do is carefully curated and is part of a much larger strategy. We develop particular projects for each area which take into account the people who will encounter the art; the patients and families using that space. We think about the demographic of our different patients, what kind of treatment they are undertaking, what’s relevant to them and what images will resonate with them. For example, teenagers are unlikely to be moved by art in the Older Adult areas, and might feel infantilised by the art in the neo-natal areas. We also consider what’s happening to the patient in that particular space and how colour might affect them - perhaps they are anxious in a treatment room, walking through a corridor on the way to an appointment, lying down supine in radiotherapy where we have embedded back-lit art on the ceiling, or just simply bored sitting in a waiting area.

Does the feeling in the spaces change after art and new colour schemes are introduced?

It’s hard to quantify the impact of art on patient wellbeing but the benefits of good design are widely recognised – it has the power to make people feel welcome and catered for. In a hospital environment, you see lots of posters with messaging on care or behavior, telling patients to wash their hands or indicating patients that are fasting. Our art installations try to overcome this clinical atmosphere and create a space that feels more like home.

How does the application of colour and art differ between projects?

Well, of course colour is a very determining factor, so it is important not to rely on clichés (eg pink for feminine, etc) nor cater to the obvious (primary colours for children), but rather to really understand the power that colour can wield. Moreover, it is essential to bear in mind how it can vary and have a compounding effect – for example, in conjunction with other colours, under certain light conditions, and in relation to other objects. That is why Vital Arts also has an enormous hand in selecting the furniture in the hospitals. We think about the colour of the furniture as well as the equipment and (believe it or not!) staff uniforms which are all populating the scene.

Have you noticed people behaving differently in the decorated areas?

Some of our patients will not be familiar with contemporary art or even realise that they are looking at museum-quality objects, but the effect is still the same; art and the colours themselves change the atmosphere. It signals that the Trust Executives have taken careful consideration of the visual environment and paid deliberate attention to the experience of being in hospital - this is something that radically improves patient, families and staff perceptions.

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We were curious to learn about some of the projects in more detail, so Catsou talked us through three of them: Kaleidoscopic Reflections, Herbal Medley and Imaginary Menagerie…

Kaleidoscopic Reflections

Kaleidoscopic Reflections, by jewellery designers Tatty Devine, uses x-ray images of bones as an apt motif for the imaging department in the Paediatric area. The installation includes thousands of individual acrylic pieces to create several kaleidoscopic compositions. The hospital's large, state-of-the-art imaging equipment can be frightening for children, so the artists have decked these out with a mesmerising explosion of colourful, reflective and glittering shapes. Primarily bones, the shapes also include a few surprises hidden in the design - such as a star, pony, and shoe, which the young patients are encouraged to find. This helps to provide a distraction, and makes the procedure much smoother for clinician and child alike.

Herbal Medley

It’s important to distinguish that the art isn’t always intended as a distraction. It depends on the context as it can serve many functions. Herbal Medley is a permanent window treatment at St. Bartholomew Hospital that provides some privacy in lieu of curtains (which would have blocked out the light and obstructed the beautiful views across St. Paul's). The intertwining pattern of plants and herbs with medicinal qualities retains some visibility to the outside world, as if through a lace veil. This artwork runs throughout the adult oncology areas, where calm and muted colours are more suitable than the intensely colourful artworks commissioned for paediatric areas. The white window design allows colours from the outside world to enter the room, creating a play of light and shadow that animates the space.

Imaginary Menagerie

Key to this art installation is the use of wood. In a brand-new, hi-tech hospital, there is little evidence of natural materials being present. We commissioned Miller Goodman for this project, as they are particularly known for their stylish wooden toys, inspired by vintage design and characterised by simple, bold shapes. The toys are intended to evoke a sense of nostalgia for hand-crafted, well-made objects which were passed on from generation to generation and cherished by children for years (unlike the flimsy plastic toys which flood our stores today). Paired with bright vinyl shapes - which add another layer of texture and surface quality - the wooden elements run throughout the ward, much like a child's toys splayed across a living room. They really do bring a sense of warmth, nature and homeliness to the environment.

       Vital Arts stage temporary exhibitions, manage an extensive art collection,            and produce and sell limited edition artworks to help fund their projects.

        Learn more about Vital Arts, their work and participation programs here

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Dutch Royal Barge

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Old Street Station

How do you turn a busy transportation hub into an inspiring destination?

It’s well worth stopping by London’s colourful Old Street Station. In recent years, it has shifted its focus from functional transport interchange to an inviting place for people to stop and spend their time. The stores, curated around themes, concepts and seasons, change frequently – introducing commuters to fresh concepts, whilst allowing shop owners to launch, test and refine their ideas.

In 2014, TFL appointed design consultancy Tait as the retail design consultant and creative lead to reinvigorate the underground network. The project had two key parts – easing commuter confusion by updating signage, and modernising the station’s retail stores. As a result, signage and passageways were redesigned to make it easier for people to navigate in an area that experienced high foot traffic throughout the day. Tait simplified the subway naming system, gave each tunnel its own vibrant identity, and painted distinctive colour ribbons along the walls to link the structure with the outside world. At the same time, Old Street Station rebranded itself as an innovative retail destination for pop-up stores. The intention was to provide brands, designers, artists and entrepreneurs easy access to new audiences and potential clients.

Studio Tait’s Creative Director Robert Rosser describes how the project brief was elaborated to address not only the retail but the overall asset: “Creating new spaces and re-invigorating the existing units was the key design element, but with eight exits and tired signage, it was a great opportunity to address the wayfinding at the same time – so, as well as the retail offer, we've re-designed the wayfinding system that takes you from ticket hall to street level. Each subway has been given an immersive colour wrap and numbering system to aid navigation, in a 'digital ribbon' design responsive to the tech-based locality."

When work began on the stores, the retail units were given a makeover; stripped back to allow for ease of tenant turnover (some are even leased on a weekly basis). The change was something the local community was very supportive of from the start, and the friendly culture and environment can be credited to the pop-up shop owners who share information and help one another on a daily basis. The shops form part of TFL’s Commercial Development strategy, currently forecast to raise £3.5 billion over the next ten years, all of which will be reinvested back into upgrading the public transport network.

Around 22 million people use Old Street station each year. Over the past ten years, the surrounding area has been transformed into the UK’s fastest growing and most entrepreneurial digital hub, home to futuristic office spaces such as Second Home. The success of the station’s pop-up stores can be attributed to TFL’s vision of revolutionising the station by introducing services that customers will actually want. In this project, it’s about the pop-up stores being able to act as the fusion between the digital and physical world. Now an ongoing initiative, Time Out were quick to show their support, stating that ‘Old Street Station has been transformed into a hive of creativity.’

            Old Street Station is served by the Northern Line & the National Rail

                               Visit the station at Old St, London EC1Y 1BE

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The making of the Dulux Let’s Colour Project 

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Dulux: Let's Colour Project - Poland 

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Beautiful Bugs of Bedminster

The inspiration behind the colourful installation from Upfest co-founder Stephen Hayles

‘Beautiful Bugs of Bedminster’ was commissioned by one of the UK’s pilot Business Improvement District (BID) schemes, designed to create communities around retail streets and kick start urban regeneration. Working for the Bedminster BID, the Upfest team designed and created over 100 super-sized bugs with the help of local schoolchildren and artists. The brightly coloured bugs were attached to prominent buildings and helped drive footfall to the local high streets, its shops, cafes and community spaces, creating a ‘buzz’ throughout Bristol and beyond.  

We met with Upfest co-founder, Stephen Hayles to discuss the connection between the project and his longstanding relationship with colour…

What inspired the team to create the ‘Beautiful Bugs of Bedminster’ project after you were commissioned?

The team are used to working on projects where murals can be up to 100ft tall. Around Bedminster, huge murals have become the norm, so the bugs were a way of injecting shape and colour into some areas where mural work is just not possible. The theme of the oversized 3D bugs came from a short list of three and it was chosen for many reasons but significantly because the theme of bugs and the environment could be taken into local schools to gain the kids’ engagement.

What were you hoping to achieve with this project?

There were a number of aims to this project, from involving the community to getting people to notice the architecture in the area. However, the overarching aim was to drive footfall to the local streets and help local traders (who, over the years have found it more and more difficult to compete with out of town shopping centres). Small independent high streets are so often the heart of local community, so facilitating projects that go some way towards helping them survive is very rewarding.

What does colour mean to you and how does it affect your work?

Colour is everything. As an arts festival organiser, gallery owner and a project manager of murals, colour has become intrinsic to my life. I've seen first-hand how it can lift moods, bring people together and create conversation.

Can different colours have an effect on people?

We tend to leave the use and choice of colour to the hundreds of artists we work with, but in a broader sense, undoubtedly colours have impact. The interesting thing is that different colours can have very different effects on different people - often individuals have connections with colours in a very personal way. For me, orange brings back memories of my time in India, but for others, it's just a tasty fruit.

How does colour help to revive and regenerate places and buildings?

Over the past ten years I've been involved in and managed many projects where colour has been used to bring back life to an area, whether it’s to generate more footfall to a retail street, or give those living in a community a better sense of purpose. With a quick lick of paint, the impact is instant.

After the projects are complete, have you noticed a change in the way people use the spaces?

Absolutely. Don't get me wrong, colour won’t solve every issue but it certainly acts as a catalyst for change.

                    Upfest created a short video to document the project.