January 1991
Art and Place (a group of artists preceding PLACE) first engage critically
with the ongoing development of Cardiff Bay.
July
1994
PLACE (Andrew Darke, Anneke Pettican and Jonathan Adamson) site a billboard
image in Cardiff. The image shows the vista across Cardiff Bay and the
Severn Estuary at low tide, with LOST HORIZONS printed across the mouth
of the bay - the proposed site of the Cardiff Bay Barrage.
September 1994
PLACE publishes two postcards funded by the Severn Estuary Conservation
Group opposing the proposed barrage. The first postcard uses the LOST
HORIZONS image (click here to view
images). The second postcard uses the same image but with NO BARRAGE
replacing LOST HORIZONS across the mouth of the bay. The following words
were printed on the reverse of the cards from Roget's Thesaurus. LOST
HORIZONS: horizon, contemplation, prospect, vista, open, divulge, reveal,
discover, unfold, acknowledge, allow, unveil, extend, stretch, reach,
spread, distant, remote, far, yonder, clear, abound. NO BARRAGE: barrage,
hinder, impede, prevent, bar, inhibit, scotch, squash, cramp, restrain,
check, thwart, frustrate, balk, spoil, stymie, mar, curb, shackle, fetter,
stonewall.
December
1995
In response to the LOST HORIZONS and NO BARRAGE postcards, Rhodri Morgan,
M P for Cardiff West, writes to PLACE saying the cards are "absolutely
brilliant." He goes on to describe the shutting out of the sea from
the envisaged 'Superlative maritime City' as a "wondrous irony," and
says he deeply regrets the way the barrage will prevent the continuing
reintroduction of salmon and sea trout into the Taff and Ely rivers.
Water bailiffs have told him, he says, that in spite of the incorporation
of a fish pass, the barrage will almost certainly prevent the return
of the hatchery reared fish (which have a weaker homing instinct).
PLACE
recognises the possibility of transforming Mount Stuart Graving Docks
into a new structure/work of art/educational resource, once the barrage
becomes operational. However, PLACE's preferred option continues
to be that the Cardiff Bay estuary should remain tidal.
Photography
of the tidal mud formations in the Graving Docks begins.
April
1996
PLACE completes PROPOSAL FOR THE GRAVING DOCKS, CARDIFF BAY. TIDAL MUD.
The proposal is sent to Sir Geoffrey Inkin, Chairman of CBDC; Mike Hill,
Director of Cardiff Bay Art Trust (CBAT), and other individuals and
organisations. It argues that the three Mount Stuart Graving Docks should
remain tidal after the completion of the barrage.
Two options are presented. 1.) The Graving Docks should be sealed and
a one meter diameter pipe laid from the docks to the Severn Estuary.
The pipe would lie on the bed, or under the bed, of the man made lake,
and would pass through the barrage, enabling tidal inundation of the
docks, and its action on their deposits of mud, to continue. 2.) (As
an alternative to 1.) A pump and sluice system should be developed which
would replicate the rise and fall of the tides in the Graving Docks,
enabling a simulated, fresh water tidal action on the mud to continue
after the completion of the barrage. If the second option were adopted,
the proposal strongly advocates that its instrumentation should be located
in Techniquest (a children's interactive science and technology centre,
overlooking the Graving Docks), with information about the tides, and
the methods and technology used to simulate and synchronise them in
the docks. The display of the proposal is also advocated, as part of
this body of information.
June
1996
Sir Geoffrey Inkin writes to PLACE saying:
"While I recognise the ingenuity and possible relevance of your unsolicited
proposal, on technical grounds and expense alone it is not acceptable."
Will Alsop, the architect of the barrage, contacted earlier by PLACE,
replies saying:
"I like the idea very much but find . . . the climate [for implementation]
is not really favourable at present."
July
1996
The European Court of Justice's Lappel Bank Judgement (11. 07. 96) casts
doubt on the legality of the barrage. The inter-tidal mudflats, designated
an SSSI because of their importance to international water bird populations,
will be destroyed by the creation of a freshwater lake.
For the deal struck between John Gummer, environment secretary, and
Yoannis Paleokrassas, EU Environment Commissioner, which predates this
judgement, see the entry under June 2001.
PLACE receives letters of support from Dr. P. N. Ferns, Department of
Pure and Applied Biology, University of Wales, and Dr. R. J. W. Cowell,
Department of City and Regional Planning, University of Wales.
Dr. P. N. Ferns says:
"I showed them [the proposition and enclosures] to the last meeting
of the Severn Estuary Conservation Group a couple of weeks ago, they
received an extremely positive reaction. We have been arguing for years
that mud is attractive, and your slides illustrate this beyond doubt.
Your proposal offers the opportunity for the physical beauty of mud
formations to be experienced by all, without the need to negotiate the
difficult, and often dangerous, littoral fringe.
The potential educational value of such a resource is also tremendous
. . .
Good luck with your venture. If anything deserves to receive support
from the National Lottery it is this."
Dr. R. J. W. Cowell says:
"I found your ideas fascinating and share your view that there is considerable
educational potential and aesthetic merit in retaining the mud and inundation
cycles [in the Graving Docks] . . .
There is also an intriguing irony in the deliberate maintenance of formerly
'natural forces', particularly with your second option of simulating
the tidal cycles by mechanical means. Indeed, both of your proposed
technical options share some unsettling aspects. In addition to reflecting
on the forms in the mud, the observer might contemplate how this essentially
residual estuarine spectacle is maintained, and muse on relations between
the 'natural' and 'human-made'. One might conceive of the mud display
as a mournful echo of the once large mudflats of Cardiff Bay. 'Wild'
ecosystems, once fed by the tides, are placed on a 'drip' or ventilator,
at the mercy of human 'doctors'!
While disturbing, I believe this to be a valuable consideration, prompting
the visitor to contemplate on the processes- organic, economic and technological-
that shape landscapes, and affect their long-term sustainability."
CBDC
pursues a mitigation scheme for bird habitat loss.
Dr. R. J. W. Cowell informs PLACE that no significant consideration
has been given, by CBDC, or any other body, to the value of the Cardiff
Bay mudflats, on aesthetic, or other grounds, in relation to the fresh
water lake which the barrage will create. He adds:
"The Environmental Impact Assessment does give the issue some, albeit
limited, coverage and the Worldwide Fund for Nature sponsored Media
Natura video '10,000 Dunlin Dinners', put forward the wading bird populations
and tidal range as aesthetic (and commercial) spectacles."
He says, however, the value of the mudflats themselves has been almost
completely ignored by decision makers.
August
1996
PLACE seeks Will Alsop's opinion about the technical feasibility of
laying a pipe through the barrage. He says this is feasible, both now
and in the future.
PLACE
locates an anonymous advertisement in the South Wales Echo (p. 18),
on 24 August 1996, the evening before CBDC's open air art exhibition
"Art Around the Bay." The advertisement reads: 25. 8. 1996 'ART AROUND
THE BAY' CARDIFF BAY INNER HARBOUR GRAVING DOCKS THE 9th OF DECEMBER
1995 UNTIL THE DOCKS AND THEIR MUD CEASE TO BE TIDAL . The event is
advertised by CBDC as "The largest outdoor Art show ever held in Wales"
with "50,000 plus visitors on the August Bank Holiday Sunday." The venue
for the exhibition includes the extensive public spaces around the Graving
Docks. During the exhibition cards are handed out to the public. On
one side they read: SUNDAY 25th AUGUST 1996 'ART AROUND THE BAY' CARDIFF
BAY INNER HARBOUR . On the other side they read: GRAVING DOCKS THE NINTH
OF DECEMBER NINETEEN NINETY FIVE UNTIL THE DOCKS AND THEIR MUD CEASE
TO BE TIDAL .
September
1996
On the basis of the information received from Will Alsop, PLACE sends
a letter to Andrew Morton, Senior Manager of the Barrage Project, pointing
out that the work necessary to run a pipe through the barrage, or its
breech, could run concurrently, but separately, from the main construction
programme and need not impinge on the barrage contract.
October
1996
Andrew Morton replies to PLACE saying:
"It is not possible to consider your proposal on financial grounds,
programme or legal implications on the Bay project let alone technical
design feasibility issues . . . We will not be considering your proposal
further."
November
1996
PLACE submits a separate proposal to Techniquest: OUTLINE PROPOSAL FOR
TECHNIQUEST INTERACTIVE SURVEILLANCE/VIDEO INSTALLATION, TIME-LAPSE
PHOTOGRAPHY INSTALLATION, PHOTOGRAPHIC AND TEXT DISPLAY. Despite this
proposal having been solicited by Harry White, Exhibits Director at
Techniquest, after expressing interest in PLACE's photography of the
tidal mud in the Graving Docks, no response to the proposal was ever
received from him, or from Techniquest (in spite of a telephone conversation
with Harry White, and further telephone messages, requesting one.)
A letter from Dr. R. J. W. Cowell informs PLACE about CBDC's compensation
package for the loss of the tidal mud flats in Cardiff Bay. This includes
a proposed bird sanctuary to be built on the Gwent Levels. He says the
package will do relatively little to assist the bird species dependent
on the mud flats. See the entry for June 2001.
Will Alsop informs PLACE that it will be possible to empty the bay once
the barrage is completed, but that this will only happen in exceptional
circumstances. (See the entries for December 1999 and January 2000.)
He says it is still a matter of debate as to who will own the barrage,
or be in charge of it, when CBDC is disbanded.
March
1997
PLACE meets Barbara Macateer, Director of the Norwegian Church, and
Kate Philips, Exhibitions Organiser, to explore the possibility of PLACE
mounting an installation of slide projections of the tidal mud in the
Graving Docks, and exhibiting the proposal, in the Norwegian Church
Arts Centre. Both Barbara Macateer and Kate Philips express pleasure
in the tidal estuary (Cardiff Bay) and its mud flats. The church is
located near the centre of the development, overlooking Cardiff Bay
and not far from the Graving Docks. In the meeting they refer to the
potential difficulties of exhibiting images of mud in Cardiff Bay. They
also say their landlords are Grosvenor Waterside (the property subsidiary
of Associated British Port Holdings plc, in Cardiff (ABP)). Some months
later they decline to mount the exhibition.
On the same day, PLACE meets Sue Grayson-Ford, the new Director of CBAT,
about the proposal, and to explore the possibility of a similar installation/exhibition
in CBAT's exhibition space (then under construction), at some future
date. Sue Grayson-Ford offers to consult further with ABP and the architect
of the Sir Rocco Forte Hotel (then under construction adjacent to the
Graving Docks) on behalf of the proposal. She also offers to mount an
installation/exhibition of PLACE's photography, with a catalogue, in
CBAT's new exhibition space, along with the proposal, when the exhibition
space becomes available.
July
1997
Dr. R. J. W. Cowell begins to collaborate more closely with PLACE.
Photography of the mud in the Graving Docks continues.
September
1997
PLACE reluctantly accepts that the construction of the Cardiff Bay Barrage
is now a fait accompli and responds by producing an expanded proposal:
THE GRAVING DOCKS AND THE BARRAGE. The proposal is sent to Sir Geoffrey
Inkin, the UK art establishment and others. It reaffirms PLACE's belief
that the Graving Docks, and their microcosm of the bay's mud flats,
should remain tidal, and accessible to the public, after the completion
of the barrage. It also strongly advocates that the Graving Docks
and the barrage should now be conceived as a single structure.
October
1997
Sir Geoffrey Inkin writes to PLACE saying:
"I am grateful, though a little surprised, at the further work that
you have completed. While it is an intriguing scheme and the photographs
[of the tidal mud in the Graving Docks] have an almost tactile effect.
I am afraid that the view of the Corporation has not changed. While
the final use of the Graving Docks has not been determined, they are
more than likely to be used for maritime exhibition purposes. Quite
apart from practical end use matters, any suggestion that there should
be a pipe connection from the Graving Docks through the barrage is impracticable
technically and financially."
PLACE receives a letter from James Lingwood of Artangel (a leading UK
organisation supporting innovation in the arts):
"I think it's an exceptionally interesting project. It has the potential
to reveal that beauty does not always have to do with beautification,
and that process is often as, if not more, fascinating to many people
than objects. I'm sure the whole project with the barrage would be enriched
by your proposal."
PLACE presents THE GRAVING DOCKS AND THE BARRAGE proposal at Public
Art Forum's (PAF) Annual General Meeting and Conference Day: 'Sustainability
and the Art of Conscience.' This is held in the Norwegian Church Arts
Centre as part of Cardiff's 'Art and Architecture Week.' PLACE's presentation
also addresses CBDC's advertising campaigns, revenue funding and the
mud flats, perceptions of the mud (central to CBDC's rationale for the
barrage) and development ethics. After the presentation, Lorraine Cox,
the chair of PAF, invites PAF members to vote in support of PAF advocating
on behalf of the project. An almost unanimous vote for advocacy is recorded.
N.B.: Sue Grayson-Ford, the director of CBAT, does not support the motion
in spite of PLACE's slide installation of the tidal mud in the Graving
Docks and THE GRAVING DOCKS AND THE BARRAGE proposal being on show in
the lower gallery of CBAT's new exhibition space. PLACE's installation/exhibition,
which is running concurrently with CBAT's inaugural exhibition 'Changing
Places,' is dramatically cut in duration by Sue Grayson-Ford, and, as
far as possible, denied publicity (owing, it would seem, to the politically
sensitive nature of the material on display).
November
1997
PLACE receives a letter of support from Isabel Hitchman, Arts Council
of Wales (ACW).
Given
the substantial support the project has attracted PLACE proposes to
Sir Geoffrey Inkin/CBDC that they allow a feasibility study to be undertaken,
financed independently of CBDC.
Vivien Lovell, Director of Public Art Commissions Agency (PACA), who
led the team which wrote 'Strategy for Public Art in Cardiff Bay,' for
CBDC, writes directly to Sir Geoffrey Inkin urging him to support the
project. He declines to do so.
December
1997
THE GRAVING DOCKS AND THE BARRAGE proposal is named ATLAS. The title
makes more explicit, and expands, many of the preoccupations of the
proposal.
Work begins on a catalogue of contextual material.
D. M. Crompton, director of engineering operations at CBDC, replies
to PLACE on behalf of the Secretary of State for Wales. He acknowledges
that the proposal is technically feasible and is the first employee
in the CBDC management team to engage with the proposal in any detail.
January
1998
The Board of CBDC do not appear to have received THE GRAVING DOCKS AND
THE BARRAGE proposal and covering letter, sent to them c/o CBDC's address
at Baltic House in September 1997. Duplicates of the proposal package
are sent to all Board members of CBDC at alternative addresses.
Cardiff MPs are sent a copy of the proposal.
Lorraine Cox writes to PLACE:
"Your proposal really is quite compelling and unique. I have spoken
to colleagues at the Arts Council of England and the Royal Society of
Arts, and all agree this proposal has aesthetic and conceptual merit
. . . the docks would be alive biologically and aesthetically . . .
it would be exciting to develop an educational programme based on collaborations
between historians, geographers, marine scientists and artists."
February
1998
Lorraine Cox, who has offered to broker a meeting between PLACE and
CBDC (as part of PAF's advocacy), writes directly to Sir Geoffrey Inkin.
In his reply Sir Geoffrey says:
"I fear that it would not be in either of our interests to do this [for
a meeting to take place]," adding "I know only too well that artists
often have to be determined to the point of intransigence if they are
to achieve their objection [objective?], PLACE certainly fall into this
category to their credit!"
Ben Heywood, Commissions Officer, The Arts Council of England, writes
to Sir Geoffrey Inkin saying:
"We note the support for the project from The Welsh Arts Council, and
two of the country's leading commissioning agencies for public art works,
PACA and Artangel, and would like to take this opportunity to fully
endorse their opinion on the quality of the proposals from PLACE."
20
February
Rhodri Morgan, MP for Cardiff West, writes to PLACE in response to THE
GRAVING DOCKS AND THE BARRAGE proposal saying:
"I have every sympathy with the points you make about the aesthetics
of the mud in Cardiff Bay and you are probably aware that I have been
one of the principal opponents of the Barrage ever since it was first
dreamt up under Nicholas Edwards. My own view is that it would be far
better to acknowledge the environmental disaster that it is likely to
be and not to impound the lake at all. My principle interest in the
whole issue has been related to the environmental consequences of the
Barrage and its effect on the groundwater levels in my constituency
and the consequent damage that can be caused to properties. I don't
really think therefore it would be appropriate for me to get involved
in either supporting or opposing your proposal in the sense that I would
much rather that it was not necessary to even consider such a proposal."
(16 March)
PLACE replies to Rhodri Morgan's letter saying:
"We completely agree with your views regarding the barrage, as you know
we also campaigned against its construction.
Our proposal for The Graving Docks should not be seen as supporting
the barrage, or as some sort of palliative [ . . . ]
In fact the work would lead people to reflect on the way the built environment
and the "natural" environment coexist. By retaining the Graving Docks'
connection with the ocean the work embodies an openness to what lies
beyond human planning, organisation and control. An openness, we would
argue, which is intrinsic to a rich and healthy existence, and which,
therefore, must, must be reflected in our planning and architecture.
I enclose a copy of a letter we recently received from the Earth Centre.
The letter acknowledges aspects of the proposal you may not have fully
considered, not least the breadth of the work's concerns and its unique
physical and intellectual accessibility.
Naturally, as the barrage seems to be a fait accompli, we hope you will
reconsider your position. The implementation of the proposal would,
in itself, help change the cultural attitudes which produced the barrage
in the first place.
We look forward to any further thoughts you may have."
PLACE received no response to this letter.
March
1998
3
March
PLACE writes to Sir Geoffrey Inkin about the failure of CBDC to give
cogent reasons for refusing to cooperate with a feasibility study. No
reply to this letter was received by PLACE.
PLACE discovers that their proposals have never been discussed by CBDC
at board level.
4 March
PLACE writes to Ron Davis, Secretary of State for Wales, arguing that
Art and Culture are being ill served by CBDC.
4 March
A letter to PLACE from Michael Boyce, Chief Executive of CBDC, prompts
a written reply accusing CBDC of negligent and undemocratic behaviour.
5 March
PLACE receives a letter of support for ATLAS from Jonathan Smales, Chief
Executive of The Earth Centre, Doncaster:
"The work . . . has the potential to inspire, provoke and stimulate,
on many levels and across a range of issues. It is also clear from your
photographs that the mud formations are fascinating and beautiful."
16 March
PLACE writes to Rhodri Morgan. See entry under February 1998 (20
February/16 March).
April
1998
PLACE begins investigation into the effect the projected rise in water
level will have on the listed structures in the bay and whether anyone
has considered this.
June
1998
PLACE discovers that no planning permission has ever been applied for,
or given, to reduce the visibility of the listed structures in the bay
(as a result of the barrage raising the water level).
July
1998
PACA's book PUBLIC:ART:SPACE (published by Merrell Holberton, London),
which documents a decade of PACA's involvement in Public Art, includes
ATLAS in its chapter 'A Strategy for Public Art in Cardiff Bay.'
October
1998
PLACE meets Robert Hopper, Director of the Henry Moore Institute, to
explore possibilities for exhibiting, and publishing, ATLAS, and its
related material.
November
1998
PLACE reviews possible strategies regarding the flooding of listed structures
in Cardiff Bay. Dr. R. J. W. Cowell provides information on the planning
policy implications.
PLACE
submits a proposal to Helen Cadwallader, British Airports Authority's
(BAA) Art Programme Manager, to install large scale photographic prints,
or transparencies, of the mud in the Graving Docks, in BAA airports.
The apparent primeval land forms, and aerial views of them, which the
photography suggests, would be both beautiful and thought provoking,
PLACE believe, in an airport setting.
Helen Cadwallader replies:
"I am very aware of the project ATLAS and appreciate the appropriateness
of this work in terms of visual perception. Unfortunately, we are unable
to consider your work due in part to the fact that our programme of
sites for the next three years is now established . . . I am sorry we
are unable to consider what is a very interesting project."
December
1998
PLACE submits a proposal to make a film/documentary about ATLAS, to
be broadcast on television, to the Times/Artangel Competition. At the
time of submission the flooding of the bay and the Graving Docks is
expected in
March
1999.
January 1999 After detailed consultations with SAVE Britain's Heritage
regarding the flooding of the listed structures in Cardiff Bay, PLACE
decides not to seek an injunction to halt work on the barrage. SAVE
agrees that CBDC, by not seeking permission to reduce the visibility
of the listed structures in the bay, could have a case to answer in
planning law. However, the case would be a difficult one, with the danger
of prohibitive costs being awarded against PLACE.
February
1999
Further delays to the barrage's completion - its opening is not now
expected until the end of 1999.
April
1999
The site of the new Welsh Assembly is announced. The site is within
a few hundred yards of the Graving Docks.
September
1999
PLACE applies for funding through South West Arts' (SWA) "alias" scheme
(artist led initiatives advisory service), to aid publication research
for ATLAS.
November
1999
PLACE is notified of the success of its SWA funding application.
PLACE commissions Richard Page, photographer, to make large format stills
of the docks and their environs two days before a high tide is to be
impounded by CBDC (4 November at 4.00 a.m.). The impoundment, which
will flood the bay and the Graving Docks for an unspecified period,
is required to allow dredging to take place. The flooding is likely
to erase the complex mud formations.
PLACE
commissions Carolyn Black to shoot final video footage of the tides
entering and leaving the Graving Docks. Jonathan Adamson and Andrew
Darke take still film.
Material about the project is sent to Camden Arts Centre suggesting
an exhibition and possible publication. Heather Galbraith, Exhibitions
Organiser at CAC responds by phone saying "fascinating . . . an amazing
project" but says that CAC is fully booked until its building programme
begins in 2001.
December
1999
The Environment Agency of Wales (EAW) requires CBDC to take manual control
of the operation of the barrage. The lack of reliability of the computer
controlled sluices has caused concern about the quality of the water
in the new lake.
January
2000
EAW instigates a "flushing out programme" for the new lake to deal with
the low oxygen content of the impounded waters, caused by decomposing
organic pollution. "Flushing out" takes place every 5-7 days. Full operation
of the barrage is not now expected until 1 April 2001.
February
2000
PLACE visits Cardiff Bay to assess developments. The ongoing architectural
constriction, and enclosure of space, reinforce the rationale of the
ATLAS project. As a result, PLACE develops a new strategy of advocacy
and dissemination.
PLACE produces the ATLAS 2000 document.
March
2000
CBDC is wound up on March 31. Responsibility for the barrage, and the
Cardiff Bay Development, is transferred to Cardiff County Council.
June
2000
Photography of the sedimentary mud in the Graving Docks during a "flush
out" shows that, in addition to eliminating the SSSI, the flooding has
erased the tidal mud formations.
July
2000
An 'Action' by Adrian Holme - the daily release of a large number of
helium filled balloons, into the sky, at approximately three second
intervals, between each balloon, from one of the chimneys of Clare College
Mission Church (Southwark, London) - as part of the exhibition ZERO-G
(16. 1. 2000 - 13. 2. 2000) - leads PLACE to ask Adrian if he would
be interested in developing an alternative event to coincide with the
official ceremony to mark the completion of the barrage.
PLACE believes Adrian's 'Action' has the potential to provide a visual
'sound-bite' capable of challenging the values underpinning the development's
spatial organisation.
August
2000
"alias," artist led initiative advisory service's publication, documenting
a pilot project, includes information on PLACE's contact with the service
and uses a photograph of the mud in the Graving Docks on its cover.
Publication commissioned by South West Arts and produced by Stroud Valleys
Artspace.
September
2000
Sir Geoffrey Inkin, ex-Chairman of CBDC, is invited to contribute to
the ATLAS publication. No reply to PLACE's invitation has been received
to date.
September
2000
Dr. Tim Hall, Department of Geography and Environmental Management Research
Unit, Cheltenham and Gloucester College of Higher Education, contacts
PLACE to ask for further information about its work, for inclusion in
a paper for publication in the journal "Landscape Research."
January
2001
American photographer Robert Clark-Davis writes from Newfoundland about
ATLAS saying: "i wonder what would happen here if there was a similar
situation. one part of me sees it going through as it would be infinitely
marketable for the city [Chicago] and could be used to show how the
city is arts aware and environmental[ly] aware - of course the second
aspect is false, if it were truly environmentally aware the barrage
wouldn't happen."
April
2001
Work on a website for ATLAS is begun by Steve Warwick.
June
2001
1
June
"Sky Map" Action/Balloon Release, commissioned by PLACE to coincide
with the official opening of Cardiff Bay Barrage, takes place between
7.00 p.m. and 9.00 p.m.
The performance/event, a collaboration between Adrian Holme and Hana
Sakuma, is located beside the fresh water lake created by the barrage
(Cardiff Bay), next to The Red House public house, on Penarth Flats.
Shortly after the arrival of Hana, Adrian and helpers, the publican
and customers of the public house offer to help with the organisation
and release of "Sky Map."
The marquee, erected on the barrage to host the official barrage 'completion'
ceremony, can be seen from the site. "Sky Map" is videoed by Dan Thomas.
PLACE
meets with an anonymous discussion group, in central London, to 'brain
storm' ATLAS. The group were given copies of an earlier ATLAS synopsis
in advance of the meeting. The exchange, which threw up many ideas,
influenced PLACE's view of ATLAS and its work to date.
Johnny
Spencer draws PLACE's attention to an article which gives some background
to the European Court of Justice's Lappel Bank Judgement of 11. 7. 1996.
The article, by Christopher Booker, published in The Sunday Telegraph
on 3. 12. 2000, entitled "EU deal turns meadow to swamp," states that:
"[ . . . ] nearly 1,000 acres of land on the Gwent Levels [ . . . ]
has been flooded [ . . . ] under a bizarre secret deal agreed in 1995
between John Gummer, Britain's environment secretary at the time, and
Yoannis Paleokrassas, the former EU Environment Commissioner.
The EU had threatened at the last minute to block the highly controversial
scheme to dam up the tidal waters of Cardiff Bay to provide an agreeable
"waterside development" for a lucrative new development of office blocks
on the city's waterfront. The development would, however, destroy a
nationally important winter feeding ground for thousands of wading birds
such as dunlin and redshank on the bay's tidal mudflats, and Brussels
had noticed this would be in clear breach of its directive on wildlife
habitats.
The solution agreed by Mr. Gummer and Mr. Paleokrassas was that Brussels
would allow the scheme to go ahead so long as an "alternative habitat"
was created 15 miles down the coast by flooding 1,000 acres of the Gwent
Levels [ . . . ]."
See the full article for the paltry compensation offered to the farmer
whose land was compulsorily purchased to create the reserve, and who
had not been paid (at the time of printing); and for the reserve's failure
to provide an alternative feeding ground for the birds displaced from
Cardiff Bay.
The publication of this information in 2000 also raises the question
of when the information first entered the public domain.