In Writing

New Practice have been bringing together exciting creative practice and people since 2011. We have included below short essays from Playing with Place (2017-2018) which asked innovative writers, thinkers, architects and designers to respond to a question and reflect on placemaking practice across Europe.

Simo Vassinen is a choreographer, futures researcher and business school graduate based on Helsinki.
He responds to the question: “What makes our everyday spaces special?”

The Stove Network is an arts and community organisation based in SoSouthwest Scotland.
They use creativity to bring together people and ideas, inspire and support new community-led projects, grow opportunities and celebrate our local places and people.
They respond to the question: “What different does culture really make?”

Anna Raymond is an architect and designer who is passionate about bringing community voices into placemaking projects with a focus on integrating the voices of girls and young women. She reflects on a residency, responding the question: “What does equity look like?“

What makes our everyday spaces special?

Prepping for Togetherness

This is what we currently keep at home as our Emergency Reserve.

2 jars plums
2 tins tuna
1 jar vegetarian ravioli
3 cans baked beans
2 cans peas
2 jars cherries
2 jars sauerkraut
1 jar white beans
1 jar red bell peppers
1 bottle plum juice
(1 jar Miracle Whip)

A Frankfurt newspaper published parts of an upcoming governmental Concept for Civil Defense last autumn as a first update here in Germany since 1995, the conversation piece of the report being that all households should keep a reserve of 10 days of food supplies and five days of water in case of a “development that could threaten our existence and cannot be categorically ruled out in the future”.

Somewhere between an awkward paranoia and a street smart “why not”, my partner and I went for the latter. As a side note: there were two jars of ravioli but we already ate one and it wasn’t really an emergency. Also, the plum juice was originally bought for an episode of constipation, and the Miracle Whip is in parentheses because it was not meant for the Emergency Pack and nobody really wants to eat it anyway. Anyways, the collection of jars and cans now sits amongst folded kitchen towels and an assortment of electric cords that also claim they may come in handy one day.

Half a decade ago in my other hometown of Helsinki I was often faced with other types of preparedness. The early 2010s kicked off a powerful era of new self-made urban movements in the Finnish capital. A true trailblazer was called Restaurant Day, a day encouraging anyone to go wild with a one-day pop up restaurant without a single form filled out. The idea was one of positive resistance to sanitary legislations and the general complexities of setting up shop, improving attitudes towards small businesses, and reclaiming public spaces.

The first Restaurant Day in May 2011 started from a Facebook post asking “what if anyone could set up a restaurant for a day” and quickly manifested as 45 one-day oases of food, drink and laughter held in homes, parks, street corners and offices. In spite of hiccups of upbraid here and there, the event could not be stopped and it exponentially started to resemble a new national day, now held four times a year to hit all seasons. (If you have been to Finland in February or November, you can guess that smiley communal activities are not a given year-round.) The mayor gave his blessing, the concept received all kinds of awards and contributed to more international country brand efforts than pretty much anything in near memory or sight. The May 2014 edition hit a peak of 2724 restaurants in 35 countries, perhaps still to be surpassed.

Restaurant Day managed to make a huge shift in how Finns see their environments. The phenomenon showed a new mass of people just how obvious it could be to, well, do fun things together. It is easy to describe Restaurant Day through concepts of design thinking, bottom-up prototyping, self-built cities or whatever the current trend words are for making spaces into places. Fast forward six years from the start of it and our communities are living through more globalized problems than the bureaucracy of a single country. But can a sandwich bar operated via a basket lowered from the third floor window hit the spots of wicked problems like migration and ecological disaster?

Maybe we can combine the collapse-awareness of the Emergency Reserves and the fun-fun-fun of Restaurant Day by sending out a simultaneous message to ourselves: We can influence our surroundings and we can question any status quo handed down from the top. We can train to deal and be creative with scarcity and home-made everydays before there is no other choice. One-day Restaurant Day eateries have already popped up in refugee centers, and a spin-off project in Helsinki brought daytime dances to senior homes – showing that food and fun can indeed unite groups of people. We can invite a stranger in before they knock on the door. We can see what and how we are able to share, and feel good about ourselves as independent builders of society – crisis or no crisis. As the esteemed empowerment architect RuPaul says: “Honey, if you can’t love yourself, how in the hell are you gonna love somebody else?”

Perhaps we need all of this: the canned peas, the smiles over sandwiches. A need to be ready: for fun, for disaster, to talk to your neighbor, to get over yourself, to fight over-the-top sanitation laws, to feel resilient without relying on political parties or restaurant chains to define how to live, how to interact, how to come together. In the meanwhile, I’ll even keep the Miracle Whip – maybe I can test out all the ways to use mayonnaise and pop open a stall on our home street to, hmm, spread the love.

- Simo Vassinen


What difference does culture really make?

Dumfries is a market town with no market

Dumfries is a market town with no market, similar to a coal town with no mine. The Stove Network is the Community Development Trust for Dumfries Town Centre and the only development trust in Britain to be run by artists. We operate a fully accessible public art centre in the High Street. From here we work with local people, agencies and community groups to engage, challenge and develop ideas. Artistic practice makes this conversation visible and, most importantly, does not begin with the answer, rather, an inclusive invitation to help shape new outcomes.

While the outputs of The Stove Network might not always be perceived as ‘art’ or ‘culture’ it is important that culture and creative process is the starting point. What we experience is that no-one expects an art project to be useful in the conventional sense – this ‘uselessness’ is one of the strengths of culturally-led projects – and people drop their guard down and enter the project with more of their inner self showing as opposed to their professional or ‘common-sense’ self. This space in which to think and act beyond normal limits is key to establishing new bridges between people, agendas and sectors. In our experience, it is not that cultural ‘outputs’ are vital to making places, rather it is creative process that makes a difference.

Living on the High Street grew out of a collective anxiety about the future of the town centre which currently has 74 empty retail premises. We began with two creative projects: firstly commissioning a film from an artist to explore the contemporary context of Dumfries High Street at the moment that The Stove building was being completed, followed by a two-day event that encouraged passersby to enter into conversation and to make additions to a map drawn on the town square.From this starting point, we are now leading a large and diverse community partnership - Midsteeple Quarter - a project that is shaped to take advantage of new Scottish Government legislation that supports ‘Community Empowerment’ and will help the people of Dumfries buy back their own High Street*.

Living on the High Street started with a story of a building, and grew through creative engaged practice into a project that explores key issues of Dumfries’ community. If ‘culture’ is part of the story of who we are, this project became a way to bring that back into our High Street, to help imagine a different future. With a focus to listen, engage and challenge, this project involved the community and the artists as key contributors to policy-making discussion and development. The Stove has effectively become Dumfries’ Town Artist – giving an invaluable creative perspective on regeneration – but, perhaps even more importantly the town is beginning to recognise the value of involving a creative voice in the important conversations about its future.

- The Stove Network


What does equity look like?

Dressed to Build

Women make better designers than men. Women are thoughtful, creative and innovative. Items designed by women are beautiful, efficient, sustainable and, where possible, have pockets. 

Sadly, I can’t prove that this is true. In the UK there are four male designers for every female designer. Even if women are better designers, it is inevitable that our town centres, our technology and our tampons are designed from a male perspective. So the next time you’re in a building and you realise to your horror that the toilet cubicle door doesn’t reach the ground, you’ll know why.

What can be done to help more young girls become designers, confident and committed? We need to give our young girls the opportunities we give our young men.

Last summer, I visited three projects in America which give girls the chance to learn hands-on practical skills, from woodwork to welding, alongside design skills. Girls At Work (Manchester MH), Girls Garage (Berkeley CA) and Girls Build (Portland OR) teach girls from as young as eight how to skilfully use electric drills and chop saws, hammers and nails, to build things weighty and meaningful. All three projects challenge their young participants to undertake ambitious projects for real clients within their local communities. The sheer physicality of what these girls make - from picnic benches to playhouses - often much larger and heavier than the girls themselves, are real achievements that silence even the most unrelenting inner-critic.  

All three projects use making and designing as powerful vehicles to teach girls about their own strength. As Elaine Hamel, founder of Girls At Work, put it, “I am teaching these girls how to use their inner tool box”. By giving young girls the chance to use tools and learn skills normally reserved for boys and older men, they have to shatter their preconceived limitations of what they thought they could achieve - a powerful thing to experience aged eight. All three projects actively encourage their young builders to embrace mistakes and failure, to take responsibility for their own actions, to be strong, outspoken and, when necessary, dig in and be difficult. These are not just the skills which make great designers, these are the skills which make great, confident women. 

Confidence is not something you have, or are born with. Confidence is a force you create for yourself across a lifetime, reinforced by each fresh challenge you meet with head on and overcome. What I saw in America proved to me that teaching girls to design and make things equips them with the skills to build their own confidence, however difficult that might seem. As confidence and self-esteem is at an all time low amongst young women in Britain, it is not just potential designers who would benefit from being given the opportunity to experiment and make things in a safe and supportive environment. Giving girls the opportunity to fail while knowing they are not failures and face criticism without internalising it will give them a much stronger footing across all aspects of their lives. From relationships to careers, confidence and self-esteem are the foundation to making the choices which are right for you. So come on girls, it’s time to roll up your sleeves and discover what you’re made of - and what you can make.