Latest news 6th March: Planning permission refused. See decision here. See planning report here. Meeting Thursday 18th March 2pm at CLF Art Cafe, Bussey buildng, 133 Rye Lane, SE15 to seek better planning from the developers and owners of the land on the Copeland Cultural Quarter site (see here for more).

January 2010 - Developers sought permission to demolish what remains of the historic Holdron’s on the corner of Rye Lane / Bournemouth Road. It looks potentially as inappropriate and poor quality in design as the Wandle housing block next door to it. Also its design with cramped flats might exacerbate the social problems already experienced from the Wandle block after only two years. It is not integrated at all in the thinking of the developments that can happen now on all that big site behind, now that the tram depot threat is fully lifted.

For those not up to date on this - TfL consultants finally a year ago reported that that site was completely wrong on all counts for the tram depot and another different and appropriate site was found. This news got completely lost in the news of the tram project itself being suspended. This was a shame as it fully vindicated everything Peckham Vision had said including that it would be bad for the tram itself if the tram depot location plan was not thoroughly re-examined ASAP. Once TfL did review it, they conceded everything Peckham Vision had said about why it was a defective decision.

Historic Bournemouth Rd/Rye Lane corner as it was - these buildings are still intact there January 2010

In spite of the blight caused by the TfL plan to locate the tram depot here, organic developments have continued in the Copeland Industrial Park, resulting in the growth of important cultural and small business enterprises. These have demonstrated the significant potential for this part of Peckham Town centre in the life of the town centre as a whole. In response to the Issues and Options report, Peckham Vision asked that the Preferred Option Plan should include an overall framework plan for the part of site 71P which lies between Copeland Road, Bournemouth Road and Rye Lane, including the applicant’s site which is an integral part of it. We submitted an indication of the outline of such a framework. This indicates that considerable progress has already been made in developing such an approach.

Peckham Vision believes that this needs to be completed as soon as possible to provide the right planning context for a redesigned development on the applicant’s site. We know that two major objectors to the current application - The Peckham Society and Peckham Business Park - both of whom are members of the Peckham Vision Consortium, are very ready to cooperate in the development of such an overall plan with the owners of this applicant site, and in liaison with the Council as appropriate both in terms of meeting the objections to the current application and also contributing to the development of an overall framework plan for site 71P in the PNAAP Preferred Options report.

Peckham Vision has therefore asked the Council to encourage the applicant to withdraw the current application and to work with the other property owners and occupiers on the adjacent sites, and to liaise with the Council on its work on the PNAAP. This would enable a redesigned proposal which meets the Council’s UDP criteria for developments in Peckham and enables this site to fit within the overall plans which are emerging for this important part of the town centre and Rye Lane. See Peckham Vision letter here.  Failing that we have asked the Council to defer consideration of, or refuse permission for, the current application to enable this discussion and collaboration to take place.

See other objection letters here, from The Peckham Society, and the Peckham Business Park.

PLANNING APPLICATION INFORMATION

See all the details on the Council’s website.

All documents can be downloaded and saved. The main ones appear to be:

• Design and access statement - 1 OF 2  2009-11-25: There are 38 pages of pictures and diagrams of what the buildings will look like as well as details of design and access provisions, and of the site now.
• Planning statement (1)  2009-11-25: This covers their case for how it meets all the Council’s criteria and requirements. First 21 pages are the key ones.

by LAUREN HOUSSIN formerly on laurenetcaetera.blogspot.com  22 December 2009

From New York’s Meatpacking district to Berlin’s Mitte or Paris’ Montmartre, dirty corners of cities all face the same destiny: they are pioneered by young artists, and later colonized by the trendy bourgeoisie. The rents soar, and the starving bohemia has yet to migrate again.  Take the case of London. After Ladbroke Grove in the 1970s and Camden in the 1980s, the East End was conquered in the late 90s. By the early noughties, Brick Lane, Shoreditch, even Dalston were out of price. Artists soon decided to move south of the river, to Peckham. Known to most people for its gang warfare and knife crime rates rather than its culture, Peckham is home to a burgeoning art scene. Because of its empty industrial spaces and proximity to art schools, the bloody district is now an area of choice for young up and coming artists.

“An advantage of working as an artist in Peckham is that there is an audience for art in the area,” said 26-year-old Bobby Dowler, whose paintings are currently showcased at the Hannah Barry Gallery, one of the great pioneers of the area’s scene and one of the most dynamic new art galleries in Britain. “There’s an extremely good dialogue between people,” the young artist added, “and a seriousness about what they’re doing, a kind of belief that it’s important.”

Located in a former cricket bat factory at the end of an industrial road populated by factories, the Hannah Barry Gallery was invited at this year’s Venice Biennale to stage the first Peckham Pavilion. Ms. Barry founded her eponymous gallery in 2008 with Sven Mündner, and works with 32 artists, all aged between 21 and 35. Whether they are showing paintings, installations or photographies, their aim is to always show the work in-depth, in order to best represent the progress of the artist.

“Peckham is the land of freedom and opportunity,” said Ms. Barry. A hallmark of the area’s art scene is its large-scale and high-reaching projects: the spaces available can accommodate shows and works that could not take place in typical West End or East End galleries.

“Everbody has their own possibilities,” she explained, “and for us the space that we have here allowed us to do the shows that we wanted to do. It would have been a different price in the West End, and perhaps not the kind of price that a young gallery can afford. Being in Peckham has enabled us to do things on a scale that we wouldn’t have been able to do over there.”

Although East London is an established part of the city’s gallery circuit and houses the highest population of artists in Europe, it is no longer what it used to be. Its charm and character seem to be lost since property developers have taken advantage of its popularity. As rents have rocketed, many younger artists have in fact headed south of the river in areas like Peckham, where rents are more affordable.

Situated inbetween two of London’s leading art colleges, Goldsmiths School of Arts and Camberwell College, plenty of young, artistic and imaginative people are challenging the negative stereotype that is still all too-often applied to the area. “A lot of students live in the area and continue living in the area after they graduate. I have done so and I graduated in 1998,” said Emily Druiff, Director of the arts initiative Peckham Space.

Through annual commissions, workshops and public events, Peckham Space supports art practice that forges sustainable links between the arts and the local community in south east London, and aims to provide professional development opportunities for artists. The organisation is also plans to open an art venue in a raw space in Spring 2010, showcasing artworks made in conjunction with and in response to the locals of Peckham.

Peckham is home to 25,000 people from all over the world, and has the highest proportion of people born elsewhere compared to the rest of Southwark. One of the best metaphors of Peckham is the Bussey building, that from the outside looks like a run-down factory in a dodgy back alley. But penetrating the almost historic monument -it was built in the early 20^th century- and looking closer, it is occupied by an aggregate of over 60 artists, faith groups, exhibition spaces  and small businesses, all existing and working happily alongside each other.

Turner Prize winner Antony Gormley and his fellow Royal Academician Tom Phillips, who both have their studios in Peckham, decided a few years ago with a clutch of others to do an artistic makeover of the run-down neighbourhood’s landscape. With this street art initiative, residents now enjoy some of the most original street murals, barcode-patterned pavements in the city and twisted or heart-shaped lampposts by the fashion designer Zandra Rhodes.

Just a step out of Peckham Rye station is a wooden sculpture of a phoenix with splatters of paint on it. According to legend, the Phoenix is reduced to ashes at the end of its life, from which a new, young phoenix is reborn to live again. Using the metaphor of destruction and creation, the sculpture aims to communicate a message of rebirth among the community and the role played by the young art scene in this rejuvenation.

Most people will hear the word ”Peckham” and they will just picture graffiti, dirty pavements and urinated phone boxes. But aside from the drama that the South London area evokes, a few pioneers have managed to raise up the profile and status of the place for everyone, bringing new audiences to the area, creating people of different ages and backgrounds mixing in the same place and causing the area to now easily betray people’s expectations.

from Architects’ Journal - London, UK  17 December, 2009 | By Rory Olcayto

Architects who turn derelict sites into places worth living in are modern-day alchemists, says Rory Olcayto

Last weekend, taking advantage of the bright, crisp December weather, I wandered around my south London neighbourhood of Peckham with an architect friend. We were talking about how tough the year had been for the construction industry. ‘Soul-destroying’, said my friend, as we drifted from bustling Rye Lane into a post-industrial no-man’s-land.

Within minutes however, we caught sight of Walter Menteth Architects’ supported housing scheme on Consort Road, and our gloomy discussion stopped. Given the immediate context - a railway viaduct behind, with arches beneath, bus depot and materials yard opposite and a busy A-road running along its length - its visual purity proved shocking, unexpected and genuinely thrilling.

Let me explain. The project has a bold sculptural form, comprised of three distinct blocks. A six-storey shared ownership scheme links with a terrace and a corner block of rented flats. The elevations are white render, they incorporate glazed winter gardens and magically, at street level, they sparkle. The architect has laid vertical slabs of Tarmac, embedded with glistening aggregate, to break up the elevational strip. Stainless steel panels on the north end, which comes to a point, soar above these slabs. It looks amazing.

The rear elevation is just as good, perhaps better. It deals with an access road (serving the arches) by sectioning off its footprint with a perimeter wall of concrete and gabion cages. It feels - and is - robust. Beyond, an elegant curving glass wall, beautifully modulated with strips of galvanised steel, provides a buffer zone between the flats and railway.

We spent time examining the building, which was completed just over two years ago. It was one of those moments when you feel good about architecture. About how compassion and craft can combine to transform the mundane, make a place out of nothing, and bring light to the darkest of environments.

It reminded me how hard the architectural profession works, throughout the UK, to steadily and incrementally improve our nation’s lot, and continues to do so, even when times are as tough as they have been lately.

All the best for Christmas and the New Year. You deserve it.
rory.olcayto@emap.com

from: ARTINFO 1st December 2009

How Hannah Barry has managed to take a group of unknown young artists from a Peckham squat to a Venice pavilion in just three years.

It was always likely that British art would recover from its post-YBA slump in a manner as radically refreshing, thrilling, and unforeseen as the arrival of Hirst, Emin, et al. had been at the beginning of the 1990s. But few could have predicted that the revolution would start in Peckham.Change is afoot in this corner of London, specifically behind the anonymous-looking doors of a particular warehouse in an industrial estate. Those doors lead to the Hannah Barry Gallery, one of the most dynamic new art galleries in Britain and home to some of the best young talent in the country. Read more

On 26^th November the Peckham Multiplex showed a one hour film called ‘Consume Peckham’, which consisted of 18 short films, each focusing on a different business based in Peckham town centre. The work of film students from Chelsea, the film wove together a tapestry showing the many sides to Peckham’s Rye Lane, and beyond. Its aim was to show the link between cultures and commercialism. There was a great turnout - the cinema was full - and a terrific buzz, to see the collection of short student films about some of the businesses in the town centre.

It was a very good show from first year students. And it was recognisably the place we know! It showed the people of Peckham in a true light, and that the town centre does have a lot of life in it in its various forms, though with lots of space for improvement. For those there, many really interested in the revitalization of the town centre using all our assets – people, buildings and commerce – it will have stimulated further thoughts on how to do this and about the nature of thecommercial dynamic, and its potential. Click here for more reports. http://www.laurieeggleston.org/2009/11/consume-peckham-culture-commercialism.html   and here  http://helengraves.co.uk/2009/11/ozzies-cafe-peckham/

There have been a number of requests for another showing and the producers are looking into that. So if you couldn’t make it there may be another chance. Email info@peckhamvision.org if you want to join the mailing list.

The summer with Frank’s Café & Campari Bar with its fabulous views from central Peckham comes to an end on 26^th September 2009. Let’s hope the huge success encourages Frank to start a permanent café in Peckham. In the meantime, see these splendid views by Nick Woodford and a few of the many photos and comments over the summer.

Such is the context for Bold Tendencies III, [see details] the third and doubtless boldest of sculptural exhibitions by the brilliant Hannah Barry Gallery. The ambition, the sheer scope and the obvious media delight for this show have given it a somewhat mythical status. Attendees at the sunny launch have swollen from a probably conservative 700 to 1500 and The View is fast becoming the best in London.
Arriving on foot from the neighbouring Peckham Rye station (ten minutes / £2.40 Victoria or London Bridge) the entrance is a ropey elevator that smelled of somebody else’s urine. ‘Heaven’ was written on the stainless steel. It was so good I wondered if one of the curators had pissed in the corner themselves. … the pioneering role that this gallery, just returning from their Peckham pavilion in Venice, is playing in the emergence of Peckham as London’s most current art area. read more…

Venice, glorious city of Titian, Casanova and Vivaldi, has welcomed a new artistic powerhouse into the international fold at the Biennale this week. Enter Peckham, downtrodden South London neighbourhood made famous as the setting of Only Fools and Horses. The Peckham Pavilion at the Venice Biennale is a whitewashed studio the size of a small newsagent’s shop. Although it is outside the official competition it is already attracting appreciative visits from some of the art world’s most influential tastemakers.

“It feels very much like where we are in Peckham,” Hannah Barry said yesterday, with a straight face. “The busyness of the place, the selling of food on the streets, the fish — these are all big things in Peckham.” Ms Barry, 25, founded her eponymous London gallery last year with Sven Münder, 30, a Bavarian who had just completed a degree in cultural history.  The gallery is now on the radar of some of the most important people in the art world. This despite Peckham’s undeniable, and they believe undeserved, reputation for crime and urban decay. “Peckham’s got a really bad name but we are really grateful to the area for allowing us to do what we do. More people should know that it’s a place where things are really possible.” Ms Barry said. Because of its cheap rents and proximity to Camberwell and Goldsmiths schools of art, Peckham is home to hundreds of young artists, giving Ms Barry and Mr Münder’s gallery and their Venice pavilion a strong local identity.
Read more

and more http://www.peckhamvision.org/wiki/Hannah_Barry_Gallery

In 2008 the Council published an inspiring report on the business case for change at Peckham Rye Station. This would see over several years, the original square in front of the station restored and opened up, and the land between the railway lines on both sides of Rye Lane transformed into spaces for creative enterprises. Over the last few years, ideas have also been evolving for the development of the emerging Copeland Cultural Quarter on the other side of Rye Lane, right alongside the railway line. This site has already been meeting some of the increasing need for flexible spaces for creative and cultural enterprises, and fits exactly with the new plans for the station transformation. See how the two masterplans could come together to transform Central Rye Lane. Read more…