OUGD601 - Practical Research - Primary Research Images of HUB

I walked over to Holbeck to visit the HUB and to get an idea of the location where it was situated as I'd never been to that area before, although I had heard of it. The outside features a large courtyard where events are held in the summer months. 

The giant railway arches would provide an amazing canvas to be used as defining features with giant murals and street art covering them, perhaps with the words Holbeck Underground Ballroom or the letters HUB, similar to Snask's design of Kaiboshi's window display.

Snask

Below are more images of the area including a display of posters for the theatre, showing little consistency between typefaces, layout or in terms of a colour scheme. 

This sign was attached to the gate outside the HUB, which could be an interesting concept to explore in terms of a potential colour scheme relating to the theatre's history. 

When visiting the website there is virtually no branding or visual identity system in place, with a charcoal grey background, uninteresting layout and basic use of typography. The navigation and user experience is extremely ugly and provides no indication of the cutting edge and progressive performances that can be found at the HUB. 

The lack of any branding or visual identity provides me with a completely clean slate to work on and build upon, creating a fully new, fresh and engaging solution that will be consistent across its entire range of collateral. 

OUGD601 - Practical - Brief Outline

The Problem:

The HUB (Holbeck Underground Ballroom) is a lively and engaging theatre space, which showcases a range of performances each month including travelling theatre companies, musicians and comedians as well as being a space for emerging artists to practice and rehearse their own performances. Despite offering a variety of interesting and critically acclaimed shows, the HUB has virtually no visual identity or branding and no consistency across its range of collateral including advertising, a website or social media. Tying in with the development and investment of the Leeds South bank area, the design of a consistent and engaging visual identity will provide the HUB with recognisable branding to match its great reputation and reviews, encouraging more visitors and putting Holbeck Underground Ballroom on the map. 

The Brief:

Design the end to end branding and visual identity for the Holbeck Underground Ballroom, a cutting-edge theatre space in Leeds that will tie in with the development of the South Bank area of Leeds. The design needs to reflect the bohemian and laid-back yet engaging nature of the theatre and be recognisable, consistent and honestly reflect the atmosphere of the theatre.

Deliverables:

Branding: Colour scheme, logo, typeface, banners, signage, decor
Advertising campaign: Posters, Stickers, Flyers, Badges, banners
App: To buy tickets, rate performances
Website: Lists Performances, history of location etc. 

Other: Menu, wayfinding, tickets, social media

Design Boards

OUGD601 - Practical - Deliverables HUB

Holbeck underground ballroom - Visual Identity Design and Branding - Deliverables

Branding:

• Logo / Logotype / Wordmark
• Theme
• Colour scheme

Digital Design

• Website
• App - Buying tickets etc.
• Online Presence: Instagram, Twitter etc. 

Printed Design

• Banners
• Posters
• Catalogue of the years/months runnings/Zine
• Flyers
• Tickets
• Bus Stop Signs
• Menu for Bar

Other

• Wayfinding
• Toilets

OUGD601 - Practical - Leeds Southbank Development and Leeds Culture Capital

Holbeck underground ballroom is located on the Southbank of Leeds where an ambitious development plan to double the size of Leeds city centre creating 35,000 new jobs and over 8,000 new homes is starting this year. This will be one of Europe's largest regeneration projects.

ABOUT SOUTH BANK LEEDS

The regeneration of the South Bank area of Leeds will be the biggest change the city has seen in more than a hundred years. Developers aim to double the size of Leeds city centre by transforming South Bank into a distinctive Global destination for investment, living, learning, creativity and leisure.

South Bank refers to a number of investments and proposed activities aimed at regenerating 253 hectares of land that lies south of the River Aire in Leeds. Equivalent to 350 football pitches in size, the regeneration will help to double the size of Leeds city centre; it will provide over 35,000 jobs and over 8,000 homes, and be one of the largest city centre regeneration initiatives in Europe capturing the growth of Leeds city centre for the coming decades.

WORK AND LEISURE

The area is home to Asda's headquarters, Sky, over 3,000 residents and a creative and digital cluster of over 250 businesses including award-winning independent businesses. There are over 30 listed heritage assets in the area and it is a leading location for the region’s digital economy. South Bank already showcases the diversity and range of sectors which contribute to Leeds economy. The proposals aim to develop a Global location for investment, creativity, leisure and living; attracting jobs, firms and skilled workers who are not already in Leeds from across the world.

HS2 AND LEEDS STATION

South Bank is the proposed location for a new station for HS2 creating an integrated Leeds Station. This facility will have more passengers than Gatwick airport currently, and will have a transformational impact on Leeds' connectivity with the rest of the UK, driving growth and economic prosperity. The development will attract new businesses and leisure opportunities whilst acting as a stepping stone into better connections across the region.

INFRASTRUCTURE

A range of new developments will be established in the South Bank providing a resilient infrastructure which will support a variety of uses. There are plans for a range on investments in infrastructure including a transformation of the road network and the waterfront, flood protection, super-fast broadband, new public spaces and a social infrastructure to support more residential developments for families.

LINKING COMMUNITIES

Regeneration of the South Bank will link neighbouring communities to the city centre through new walking routes and better public transport links. This will allow better connection to employment and leisure opportunities. A priority is to better connect businesses and developers to training providers and address any barriers people may have in accessing jobs.

MAKING THE MOST OF A NATURAL ASSET

By doubling the size of the city centre, the River Aire will be placed in the heart of the city. The opportunity to reintroduce the River Aire into people's daily lives is a key theme within the framework. Integrating the river into the new green network will allow people to pass freely along the water's edge as a connective piece of infrastructure. The waterfront can become home to new activities and a destination for leisure.

HOME TO CULTURE

Leeds is a truly cultural city. Leeds' bid to be European Capital of Culture 2023 and the emerging Cultural Strategy will be transformational and help redefine the city. South Bank is a microcosm of Leeds’ culture scene – a diverse and exciting mix of attractions, communities, events and places to gather – with something new to enjoy every visit.

OPENING UP THE RIVER AIRE

The proposal of an integrated Leeds Station with an active waterfront aims to provide a variety of leisure opportunities. New cafes, bars and restaurants are planned for the new open spaces created through the changes in infrastructure. It aims to combine these opportunities with better connectivity featuring a city park, to enable people to stop and spend their time.

INDEPENDENT BUSINESS

The area is home to a range of award-winning independent bars and restaurants. A programme of events at Leeds Dock provides a range of activities along the waterfront, including the annual waterfront festival.

AIMS

The regeneration of South Bank, Leeds will be transformational and help redefine the city. The vision and outcomes for the regeneration of South Bank, Leeds include:

1) Activate the waterfront, making the River Aire, and areas close to it, world-class leisure, events and recreation spaces at the very heart of the city centre. Transforming these areas into places for people of all ages to enjoy through play, leisure and urban design.

2) Creation of a clear movement system: Inner Ring Road > City Boulevard > Pedestrian Precinct and Public Transport Box. This hierarchy will include the transformation of the City Centre Loop to a slower, more pedestrian and cycle friendly City Boulevard. This boulevard will allow for active frontages, landscaping and traffic calming measures.

3) Improving access beyond the Inner Ring Road, with seven new or improved pedestrian and cycle connections into South Bank and the city centre. These connections will come from the east, west and south, including the neighbourhoods of Holbeck, Beeston, Hunslet, Cross Green and Saxton Gardens.

4) Implementation of a sustainable parking strategy, consisting of short stay and limited long stay car parks in and near the South Bank, supported by strategic Park & Ride, with long stay car parks mainly being placed outside the City Boulevard. This will encourage drivers to seek alternative forms of transport to the city centre, creating safer, healthier and more enjoyable city centre environments.

5) Expansion of the pedestrian area, excluding private vehicles to create safe, comfortable and attractive pedestrian environments. There will be easy pedestrian and cycling access to the waterfront, developments, pubic spaces and HS2.

6) Creation of a green and blue network consisting of streets, paths, urban spaces and parks that connect the South Bank, the city centre, the River Aire, and local neighbourhoods. As part of this, the new City Centre Park will be a major piece of green infrastructure to serve the area and wider city.

7) Adapting heritage and linking it with existing assets, strengthening the identity and character of the South Bank. The area will boast a heritage network linked clearly through the area.

8) Creating and expanding a series of walkable neighbourhoods which complement each other. This will build upon the existing strengths and clusters such as education around Leeds City College, digital at Leeds Dock, and creative at Holbeck.

9) Improving resilience and sustainability, contributing to the Flood Alleviation Strategy for Leeds and the South Bank. Doing this will ensure safe environments for residents, business and wildlife, and increase the likelihood of investment in the area.

10) Celebrating the culture in the South Bank and making it an integral part of the approach to placemaking. South Bank already has a diverse cultural identity that will be recognised, valued and encouraged, whilst new developments actively encourage new cultural opportunities. This approach has the potential to help deliver the European Capital of Culture 2023 ambition.

OUGD601 - Practical - What is The Theatre?

I did some research into people's views on the theatre and how they would describe theatre to someone who had never been before, as I thought it would give me a fresh perspective on how to design the collateral for the HUB. Here were some opinions:

“good theatre recaptures the feeling you had as a child when grownups who you didn’t know well would really PLAY with you.” 

“Imagine telling great stories with friends for a good evening with some of the best storytellers you can ever imagine!”  

“like wearing Harry Potter’s invisibility cloak, or at times like being at a party without having to make small talk.” 

"I reckon it’s like dreaming with your eyes open."

"Creating worlds in a tight place" - Es Devlin, Abstract

OUGD601 - Questions for SlungLow answered by Alan Lane

1) If you had 30 seconds to explain to someone the essence of Holbeck underground ballroom and the service it provides what would you say?

A space for artists to make their work. A Pay What You Decide venue that presents radical touring work from around the country to a local audience.

2) Who would you say are your 3 main competitors?

I don’t think that is really a way to look at things. We compete for funding of course and for audience but that is mostly by presenting the argument for our uniqueness. No one else does what we do how we do it. That’s probably true for most theatre companies

3) What about your background /service sets you apart from your competitors? Why should visitors choose the HUB?

Friendly welcome, pay what you decide policy

4) Is there a unique story behind the HUB's current logo?

No not really Lee Goater designed it. It’s named Holbeck Underground Ballroom because I asked twitter what we should call the new space

5) Where did the name slunglow come from?

When we were kids our pants fell down

5) Describe Holbeck Underground Ballroom in 5 words.

Useful, friendly alternative theatre space

6) What is the primary message you want to convey to visitors?

That they are welcome

7). What is the age group/demographic of your visitors or the most common? eg. young professionals, families etc.

1.3 of our audience come from Holbeck. We have a young artist-audience and a part of the audience who are made up of eager cultural seekers

8) What are your aims for over the next 5 years?

Open a free community cultural college in SouthLeedss. Establish a permanent Leeds People’s Theatre

9) What is/are your most popular attraction(s)/show(s)?

They all sell out mostly now

10) Are there any institutions whose branding and visual identity you admire? eg. the interior design of the space, a logo etc.

National Theatre Scotland looks quite smart I think

OUGD601 - Epistomology

Produce 1 x A3 design sheet that defines and outlines your research question and the design brief. Your sheet must address the following:

1. Research question: What are the benefits and implications of establishing strong visual identities within cultural institutions?

1a.What is there to study (ontology)? 

The arguments for and against, what are the important parts of an institution's visual identity? why are they important? Is there anything about cultural institutions and the way they are run that would make designing a consistent visual identity inappropriate? 

Is there a way to both enhance the appearance of the institution whilst accurately reflecting its array of programmes? 

How can we know about it (epistemology)? 

Research, questionnaires, observe. 

How do we study it (methodology)?

Create it and test it. 

2. Defining the design problem: Whilst your research question should provide opportunities for both contextual/theoretical research and practical research, you need to ensure that there is an obvious design problem to resolve/explore: 

Can the visual identity of an institution effect its popularity and the number of people who would want to go there/are aware of it?

3. "Client" needs or requirements: If there is a specific client or organisation or individual who you will be producing this work for (hypothetically) then you should take this opportunity to address any needs or requirements they may have. Similarly, if there is no obvious client needs then you should outline any specific requirements that will guide the project forward.

Holbeck underground ballroom. Wants people to view them as friendly, open and welcoming. Presents radical touring work from around the country to a local audience. 'No one else does what we do how we do it.' - Alan Lane, Director. 

4. Audience: Through defining the brief you should consider carefully who you are designing for and what implications this will have for the project (this can be tentative at this stage as audience research will offer further clarity).

Local Leeds audiences who have an interest in radical,

5. Mandatory requirements: Here you should outline (again, tentatively at this stage) what the mandatory requirements of the brief are. For example, adverts must include the slogan "just do it" or design outcomes must include the company logo or Typeface designs must be functional yet contemporary.

All collateral must feature a logo for Holbeck Underground ballroom, consistent type face, colour scheme and where possible, tone of voice. Typeface must be functional yet contemporary. 

OUGD601 - Essay - Adorno and Horkheimer Notes - Identity

Adorno is criticical of the role of identity within commodity exchange. The only values naturally in things are their use values. What is the use value of art of culture? It enriches our lives? is it a need? in the same way other things are a need? Yes because it provides. Adorno would say it’s a valuable experience because the art objects and cultural objects work differently to other objects in a capitalist society because they seem free from that. In what sence are these ideas still valid today? Do we still see art and culture as being free from the constraints of commercial culture? In what sense has the role of branding played a role in that? How are we sold culture now? Is it in the same way we’re sold a pair of trainers or a gym membership, that it’s good for us? A lot of the branding in these places has tried to broaden up but end up dumbing it down.


The story behind the line, the metaphorical narrative, taking over the identity. It’s too strong. You went to see the exhibition and the museum just held the space. now you go and you’re driven by the identity of the instituion and the trust you have in the institutiont that it will provide something that’s contemporary and challenging or interesting and new and not so mucht he work itself. theres a balance there the institution is the cultural form and not the actual work. the identity of the institution is whats drawing you to vistit. art or certain kinds of exhibitons have become synonymus with an instituion. you werent going there for the work you’re going for the curated experince and the links. a lot of design works like that nowadays. you’d get an I-D magazine because of the name/ the experience. not the content. the experience has been curated. We’re living in a time where through socil media, we’re curating our own experiences, we’re doing it for ourselves. In this sea where we have access to everything We’re looking for trust in certain things. If the culturral instituion is starting to act in a similar way to brands and different things it becomes similar to it. That’s why its good youve found that place that’s just outside of branding. you don’t make sweeping statements.the branding is slightly more subtle. you can’t over brand it . you need to let the work and diversity of the work come through.

OUGD601 - Practical - Feedback from Ben

• Look into Gentrifying of area
• Some people may have reservations about going to the theatre
• Are there any local cafes/ food vans? 
• Some people would be put off this less conventional idea of a theatre
• What is their approach?
• Cooperative? Underground? Laid back? Warf Chambers?
• Use a range of initial different approaches for the visual identity - location, approach, manifesto, building etc.
• Make sure identity reflects institution. 
• Look at everything from furniture to interiors to menu to food vans etc. 
• Look at an app / different approaches to paying. 
• Is there anyone in the area doing similar? 

OUGD601 - Practical - Research Findings on HUB

What is HUB?

• Holbeck underground ballroom
• Less of a theatre, and more a multi-dimensional experience.
• Home of Slung Low, an award-winning theatre company specialising in unusual places.
• Community theatre space.
• The HUB is also a rehearsal and workshop space, which we make available to those making performance in the region who have need of it.
• They invite exciting new work from other companies and present them to an audience.
• Run and owned by one of the country's brightest young directors, who has appeared on "ones to watch" lists for a couple of years now, Lane is an excitable kind of a man and when he is exclusively revealing the fruition of a project which has been close to his heart for several years, the enthusiasm is wildly infectious.
• Lane is the artistic director of Slung Low, a theatre company which has won a rave review in the New York Times, a residency at London's Barbican Theatre and the Samuel Beckett theatre award in its short history.
• The HUB is a performance and creation space for young theatre artists across Yorkshire.
• we wanted to provide a space for all the other exciting artists we know are working in Leeds and around Yorkshire." 

Where is it?

• The venue nestles under old arches in a wasteland of post-industrial abandon in Holbeck.
• It is situated on the south bank of Leeds - an area going through mass development and gentrification.
• From the outside, not inspiring, next to wasteland and a garage.
• But once you are in, a series of dark caves with twinkly lights – bar area, eating and meeting room, the stage itself.
• It is situated on the sight of a historically well known local public house 'The Lavender' Whose landlord had and landlady had an openly lavender marraige. 
• It was the first gay pub in Leeds.

What can you see there?

• The HUB offers a regular performance programme, embracing high quality work which might otherwise not be seen in the city.
• The performance – a triple bill from the Birmingham European BE Festival, currently beetling all over the country and beyond , on a whistle stop “Best of BE” tour.
• This event was an interesting one; college music tech students were recording ‘Buffalo Bones‘ (one of the stand out bands of the BBC Introducing show)
• “The HUB is building an envious reputation as one of the leading platforms to show off the best cutting edge theatre from around the UK…”

Manifesto - What makes it unique?

• The emphasis is on conversation and a shared experience.
• A perfect antidote to the solitary consumption of culture, too common in our digital age.
• All shows at the HUB are ‘Pay What You Decide’ -you give the amount of money you think is right after you see the show and 100% box office goes directly to the visiting artists.
• 'In these times committing to see a piece of theatre isn't the easiest of choices, so we will always welcome you as warmly as we can, the kettle will always be on, and because everyone has different circumstances as many of our shows as possible will be "pay what you decide"-you give the amount of money you think is right after you see the show.'
• The idea that a company which made performance throughout the country also had the desire to be a bigger part of its home city’s cultural activity. 

Other Info

• Arts Council Yorkshire has provided Slung Low with enough funding to run the building, which will cost 30,000 a year, for the first 12 months. Lane, a true pragmatist, is determined to make the project self-funded. "We will be able to say to some artists: 'You want to make work, we have a space, come use it for free', but we will also have clients who will be able to afford to pay for the space and we hope to finance the whole thing in that way, with help from the Arts Council.
• n January 2013 Slung Low were joined by Paul Cooper as HUB and General Manager. This mission statement was expanded to focus energy on presenting more visiting work at the HUB and a commitment to offer as many events as possible on a “Pay What You Decide” basis- the audience paying what they can afford on the way OUT of a performance.

Visitor Comments

• “Just had a terrific and different Sunday afternoon sat under railway arches in Leeds, escaping into five different worlds…..The surroundings are unique, the price is right and the event was wondrous. Everyone should seek out SlungLow or Google the Holbeck Underground Ballroom…”
• “…..Slung Low ‘s Hub is looking beautiful & welcoming, the most unique Yorkshire theatre space….”
• “Love that after 8 years of going to events in Leeds it’s still possible to happen upon places like Holbeck Underground Ballroom”
• “What a welcoming & generous vibe the HUB has”
• “Cant believe it was my first time at SlungLow. Beautiful space.”
• “Loved the show tonight – Sunday is the new theatre day.”

OUGD601 - Practical - Photos of the HUB (Holbeck Undergound Ballroom)

'The Holbeck Underground Ballroom is Leeds' newest creative space. This raw and unique venue is housed in 5 interconnecting railway arches located 5 minutes walk from the city centre amongst the creative community of Holbeck.

Comprising of 5 railway arches and a large courtyard, The Hub retains many of of its original features but also acts as the perfect blank canvass for all manner of events which require a more individual approach.'

OUGD601 - Practical - Change in Direction

Chosen Idea: 

Revisiting my initial ideas for the practical I have decided to change direction and focus on Solution 2: Holbeck Underground Ballroom, as it has the biggest potential for a variety of experimentation and exploration of a range of approaches.

Taking inspiration from a range of visual identities for theatres, art galleries and museums I hope to create an informed visual identity for Holbeck Underground Ballroom that accurately reflects it's ambitios and popular programme of performances and puts it on the map as one of Leeds best venues for entertainment. I will be able to test out the arguments in my essay such as wether consistency can be achieved when advertising a range of unique performances and reflecting their diverstiy. 

As the people who visit Holbeck Underground Ballroom range between young performing art groups and students to the residents of Holbeck I will have to design a visually engaging identity system that will be appropriate to all. 

Investigation: Key Points 

Project needs to be: engaging, open to all, not polished, evoke a narrative, intriguing, laid back, exciting, forward thiking, welcoming, generous vibe, reinventing theatre, fun, question everything we already know / assume.

Problem: 

Identifying functions of visual identity, eg. environment, branding, websites advertising.
Design/ imagery/ message can be accepted by one audience but may be rejected by another.
Problems with the appropriateness of design.

OUGD601 - Practical - Floor Plan of 3 theatres

Leeds Grand Theatre

Leeds City Varieties Music Hall

Leeds City Varieties Music Hall

OUGD601 - Feedback from tutorial

• For something to be classed as modern, it has to be new, but to be new you also have to break from the past and be anti-traditional.
• Contemporary art still follows the same rules (still have to be new etc.) but it's also the idea that it's when we started to think more globally. It's a fictional idea that we all exist in this globalised system. Even art from China, Africa, new cultures is all made part of the same system. However, it's a fiction because we don't all live in the same shared time.
• Contemporary art galleries are set up with a globalised system. 
• Conceptual art introduces idea of what is an artist, what is a gallery - breaks rules
• Other activities like workshops engage with different types of the public that aren't high culture, film programmes etc. film societies. 
• Hepworth art gallery last exhibition curated by a fashion designer
• Acting like brands because you're buying into a system of values almost like nowadays 'a lifestyle devoid of any kind of cultural input is hollow.' 
• Culture tied to commerce - autonomy is freedom, contemporary art is supposed to have freedom to criticize contemporary society 
• The Whitney identity matches the tone of the contemporary art it features 
• Identity has to match the flexibility of the programme and match the flexibility of culture
• MK Gallery Milton Keynes Gallery Identity by Sarah Debont - The identity is a system that keeps the M&K touching 
• Almost a bit like a piece of conceptual art where it has the same idea but every time you see it there's an element of something new
  
  Chapter 2
• After 3 examples talk about what qualities in them are similar or the way of going about them as a conclusion - pull out themes and say this is how they are done. It can change it can be flexible, it can be adaptable. 
• Modernist approaches to visual identity - MoMA - Fixed Grid - neutral, art takes the place and background is the frame.
• With branding, there's a reversal of the product where you're buying into the brand of the Tate and not the objects it contains, you're buying into the idea of it, the lifestyle.
• In modern art in the 50s and 60s its very neutral and the image is full whereas now with branding the content is just a small image on the poster and the branding is what you see - completely against modernist principles. 
• People think of contemporary art is being quite liberal and is generally more on the left side.
• This is too basic. You haven't addressed the key qualities of successful visual identities and (backed this up with the theory).
  
  You need in this chapter to address in greater detail the what exactly constitutes 'contemporary culture' - say in comparison to modern culture.
  
  Contemporary - global, share the same time
  Transnational
  Transmedia
  Transdisciplinary
  
  How are these qualities address by the visual identities? This will not be written anywhere - you will need make this comparison yourself
  
  I think you should also address exactly how a modernist approach visual identity is different to a contemporary one - what are the differences in values and how do they find different expression in visual form?
  Practical
• Think about values, Vance Packard 8 Hidden Persuaders
• Ego gratification, intellectual curiosity, that you are free questioning etc. These are the things that you're buying into. Questioning orthodoxies.
• Whitney works because it is flexible and not static 
• Values for each of the 3 venues is different but there is something shared.

OUGD601 - Feedback from Draft Essay

It feels quite rushed in parts – you need to organise a list of key issues, then use these themes to argue different opinions/approaches

List the examples below then give examples of designers doing these well?
What characteristics does a good visual brand possess?

• Recognisable logo/wordmark/colour scheme
• Consistent across print / digital / environmental
• Honest
• Progressive
• Longevity/Endurance
• Memorable 
• Expressive 

Branding – concept-based (Klein) as opposed to product-based. Which approach is most applicable to the visual communication of culture?

• Surely concept as the content is constantly changing and evolving. It's the idea rather than the product.
• However, product could be the guarantee of experience, quality and knowledge that has gone into curating exhibitions and putting on shows etc.

What approaches to visual identity are constitutive to cultural institutions? 

• Targetting general public. No particular target audience. 

How do we define contemporary culture? As opposed to modern culture? In what sense is the branding of a contemporary cultural institutions specific (local) (as in the historical narrative of the institution) or universal (as is implied by the what it means to be ‘contemporary’)?

eg. Is their approach to the visual identity specific to the institution or is it universal eg. what everyone's doing/could be used on any cultural institution. 

• Contemporary adj 1) belonging to the same age; living or occurring in the same period of time 2) existing or occurring at the present time 3 conforming to modern or current ideas in style, fashion, design, etc. 4 having approximately the same age as one another - When they started or contemporary of now?
  
• Modern culture is characterized by the development and dissemination of media that can be identified as technical modes of reproduction: print insofar as it is connected to mass dissemination, photography, sound recording, cinema, video, television and most recently digital media.
  
  What we mean by modern is the period of the 19th to 21st centuries, dating from the invention of photography in the middle of the 19th century.

What qualities do cultural institutions embody today? 

• A place to experience culture
• Making history accessible for free to the public

What are there politics or socio-cultural values? 

What are the values of cultural institutions both socially, politically and culturally? 
Why are they doing what they do?
Do they have shared values? 

How are these values embedded within their mission statement/intentions and programme (including public outreach programmes, workshops, etc.)? 

How do these ideas translate into the VI – practically, how does the range of applications the branding/VI needs to work across affect the VI?

OUGD601 - Practical - Aims and Objectives for Practical Work

• Increased tourism from Yorkshire Sculpture Triangle = Increased need for entertainment in evenings for visitors.
  
• Create Continuity between 3 cultural institutions
  
• Re-design must coincide with something changing within the company - link it to joining the three companies and changing the name

• Honestly represent: Who is the institution? Make it clear what each 3 venues do/are aimed at / what they want to acheive / How they're doing it / what they're aiming for
  
• What are the business's characteristics?
  
• Change the Name
  
• Create a consistent Logo/wordmark, Colour palette
  
• Create a clear, modern and easy to understand online presence, website/tablet
  
• Create the 'building bricks of an organisations DNA'
  
• Make it recognisable
  
• Generate publicity and business in the area, link it to and promote places to eat etc.
  
• Work across digital and print: Posters, tickets, guides, banners, website etc.
  
• Acheive Longevity and endurance through thorough research and considered approach and strong rationale
  
• Expel Preconceptions: Target new audiences by embracing the spirit of the instution
  
• 'Highly Memorable and Graphically expressive'
  
• Encourage sponsors and compete with other forms of entertainment 

OUGD601 - Practical Research - Grand Resource Pack

Hi Beth,

Thank you for your enquiry. I have spoken to our coms team and they are happy for you to design a concept for the visual identity of The Grand, however, unfortunately they don’t have the capacity to meet with you or discuss.

I have attached a student resource pack for info and I am happy to try and answer any of your questions as best as I can via email. Please note I am very busy so this will be as and when I get chance.

Kind Regards,

Hannah Johnson

Arts Administrator

OGD601 - Practical - Hyde Park Picture House Research

THE HYDE PARK PICTURE HOUSE THE "COSIEST IN LEEDS"

Despite the outbreak of war in August 1914, the Hyde Park Picture House was built and opened ready for business on the 7th November 1914. The pages of the Yorkshire Evening Post were almost enitrely devoted to news of the war but a small advert announced the opening of the new Picture House. It proudly proclaimed itself to be "The Cosiest in Leeds" and to this day this is a title we try our best to live up to.

The first film to be shown at the picture House was Their Only Son, billed as a patriotic drama and was followed the next week by the famous invasion drama An Englishman's House. Although few new cinemas could be built during the war years audiences continued to grow. By September 1914 over 6000 men had enlisted in Leeds and the cinema provided news bulletins, war footage and morale boosting dramas as well as the escapism of lavish productions. In the years to come the cinema would become the highlight of many people's week.

A vibrant heart within the thriving Hyde Park community. Over time it became the backdrop to many little off screen dramas. It was a hot spot for young couples and many a romance blossomed in the back row. The advent of the talkies in the late 20's didn't hurt the stride of the little Picture House in the slightest and a quick conversion to sound was easilly enough achieved but the road was now open for many a new hurdle. The 30's saw the building of several new city centre 'super cinemas' capable of seating up to 3000 people at once.

The 50's saw the development of television. In the 80's it was video, the 90's was the new multiplex surge and the new millenium brought with it DVDs and the full power of the internet. BUT with all these changes the Picture House is all the more able to be a constant, a regular friendly face in an ever changing social landscape.

THE LEEDS GRAND THEATRE AND OPERA HOUSE LIMITED.

One of the landmark events in the history of the little Picture House happened in 1989 when Leeds City Council stepped in to save it from closure. The Picture House is now owned by Leeds City Council as part of the Leeds Grand Theatre and Opera House Limited. This independent company within the council is dedicated to preserving, and securing the future of three of Leeds most historically and culturally significant venues, the Leeds Grand Theatre and Opera House, The City Varieties and the Hyde Park Picture House. The Board of Trustees, Leeds Grand Theatre and Opera House Ltd. The Leeds Grand Theatre and Opera House Ltd is a company limited by guarantee and a registered charity (charity no 500408). It is governed by its memorandum and articles of association. The Board of Trustees comprises five elected members of Leeds City Council, one of whom is Chair of the Board, and four independent trustees.

OUGD601 - Practical - City Variety Music Hall Research

• It is the country's longest-running music hall is celebrating its 150th anniversary with a special open day.
• was the home to BBC series The Good Old Days from 1953 until 1983.
• Its managers said the venue, which is believed to be the country's longest-serving music hall, began life as a room above a pub to provide entertainment to the working classes.
• "Affluent" sister venue The Grand Theatre, used to serve the higher classes, they said.
• Escapologist Houdini and a woman who "hypnotised alligators" were among some of the "weird and wonderful acts" to grace the Varieties' stage.
• “Steeped in History…still regarded as the best venue for stand-up in the land”. Dara O’Briain: Tickling the English –
• When Charles Thornton, opened his New Music Hall and Fashionable Lounge in 1865 above a public house in a Leeds side street, few could have guessed that almost a century and a half later, this much-loved venue would still be packing audiences in and its reputation would have spread around the globe.
• The City Varieties is renowned today for the very best in live music, variety and comedy as well the hugely popular pantos which have entertained the families of Leeds and beyond for generations.
• The coat of arms over the stage is because the Prince of Wales used to go incognito to watch and take his lady friends with him
• 'At the City varieties it was a place that didn't rely on swearing'
• Any age group could go
• Always felt welcome there
• Nice, friendly atmosphere 
• older than its sister, Leeds Grand Theatre
But it’s not just the venues appearance that has stayed the same, as Leeds City Varieties still maintains the same values from those early days, inviting in a huge array of acts. An average week will see musicians, comedians, magicians and dance acts take to the stage to entertain the masses.

The city’s original music hall and variety theatre has been spruced up and dusted down for a 21st-century audience, so while there are still ‘Good Old Days’ nights out, with ventriloquists, clog-dancers, crooners and vintage comedians, City Varieties is also a headline space for big-name bands, hip comedy, tribute acts and off-the-wall stage shows. Sing-along-a-Grease anyone? The building‘s an absolute beauty too – get there early for a pre-performance drink in the excellent bar. Link

Photo Taken in the 1900s

Whats on this year:

• Aladdin the Rock 'n' Roll Panto 
• NT Live present Follies 
• The Transports - A Tale of Exile and Migration 
• NT Live presents Young Marx Encore Screening
• John Robins: The Darkness of Robins 
• Shappi Khorsandi - Mistress and Misfit
• Jimmy Osmond: Moon River and Me 
• The Grumbleweeds 
• A Country Night in Nashville 
• Reginald D Hunter - Some People V. Reginald D Hunter (Support act tbc) 
• Alun Cochrane 
• Ed Byrne: Spoiler Alert 
• Paul Chowdhry: Live Innit 
• Joe Lycett: I'm About To Lose Control and I think Joe Lycett 
• Albert Lee and his Electric Band 
• The Hypnotist LIVE: Andrew Newton 
• Good Old Days 
• Jess Robinson: Here Come the Girls 
• Moya Brennan - The Voice of Clannad  
• Andy Parsons 
• NT Live presents Julius Caesar Live Streaming
• Turin Brakes 
• Adam Patel: Real Magic Live 
• Paul Gambaccini 
• Tom Paxton & The Donjuans 
• Feast of Fiddles 
• Eric Bibb 
• Henry Blofeld 78 Retired 
• Richard Herring : Oh Frig I'm 50
• Count Arthur Strong is Alive and Unplugged
• Simon Evans: Genius 
• NT Live presents Macbeth 
• The Fureys: 40th Anniversary Tour 
• Radio Active 
• David Baddiel - My Family not the sitcom 
• Les Musicals - Jonathan Ansell and Rhydian Roberts 
• Gary Delaney: Gagsters Paradise

'Built in 1865, this much loved venue, hidden in the heart of Leeds city centre, has survived virtually unchanged across three centuries while most other Victorian Music Halls have passed into history. 

Many of the world's greatest entertainers have trodden the boards here including, Charlie Chaplin, Buster Keaton, Harry Houdini, Lilly Langtry, Harry Lauder and Mickey Rooney. It has played a key role in the careers of the likes of Frankie Vaughan, Ken Dodd, Ray Alan (and Lord Charles!), The Chuckle Brothers, Roy Hudd and Barry Cryer. For thirty years, the Varieties was also the home of BBC TV's record breaking The Good Old Days which began broadcasting in 1953 and was screened around the world.

Following our closure in early 2009, the Varieties has undergone an amazing amount of work including a complete demolition and then reconstruction of the backstage areas, painstaking ceiling and plasterwork repairs, new carpeting and seating throughout the auditorium and major excavations to re-establish the ancient cellar network.

Over the last 20 years, City Varieties has established an unrivalled reputation for presenting the very best in live music, variety and comedy as well as hugely popular annual pantomimes which have entertained Leeds' families for generations.

The £9.925m refurbishment of City Varieties was funded by Leeds City Council and the Heritage Lottery Fund with the remainder coming from our own fundraising efforts. Significant sums have been raised by the Friends of the City Varieties and The Monument Trust and individual donors in addition to revenues from other events and activities but there is still almost half a million pounds to be found and the campaign continues following the re-opening with ongoing fundraising activity and a nominal 60p ticket levy on all performances.

We very much appreciate the many performers who have given us their time and support over the last few years including Barry Cryer, Paul Merton, Dara O'Briain, Marc Almond, Kate Rusby, Dave Spikey, Roy Hudd, Tony Robinson, Gervase Phinn and Ken Dodd. We are hugely grateful to the family of Leeds entrepreneur and philanthropist Jimi Heselden which has chosen to name the City Varieties auditorium in his honour, establishing a very fitting tribute within a venue very close the hearts of the Leeds' community.'