Type Specimen for ‘The Rain Haven’, by Joe Samson-Hill, 2014.
Grids/structure â€” The publication uses a five column grid throughout, and tries to reflet the M32 space, firstly, space is left around and above the text in a lot of places, similar to the way the skatepark occupies the undercroft. Secondly, the quote spreads are set at 90 degrees, this is again to reflect the space in that the obstacles built there are all over the space and not linear. This means that when reading the book you must move it around similar to moving around the space. The far left column is always left blank, and used for the section headings, introductions are spread across the remaining four, and blocks of body text and information are in the right three. For interviews, the introductions are centered on the page with a lot of space around them, to clearly mark the beginning of each one, and draw attention to the importance of them whithin the book. The body of the interviews is spread over the right four columns. Pull quotes are placed on spreads within the interview, at 90 degrees, as mentioned above this reflects the space, and forces the reader to interact with the book.
Community built, or DIY skateparks are not a new idea, there are numerous succesful and notable examples worldwide, many of them also built in undercrofts and beneath bridges, developing and making use of previously neglected space.
The following is a transcript of a phone call with Georgie Bryant of Bristol City Council about the M32 skatepark.
Viewpoint — Pontus Alv
Do you think the fact that a build is illegal drives a crew to be more creative or is it just another factor to deal with? I think DIY spots are more creative because they are built in sections, with no plans. You start in on corner with something, skate it, and then you add the next piece. Most skateparks have a fixed plan and I don’t believe that is the best way to go. Plus, a DIY spot most of the time are kind of fucked up, perhaps the floor is shitty or the concrete is rough, which adds a lot of flavor to the spot. I also think that most DIY spots have limits on how big you can go which force you to be creative on a small level…. Compared to a lot of the big spots we see in the USA (Burnside, FDR, WSVT etc.) I suppose this is true. Do you think the infancy of the DIY scene in Europe has an effect on the size of builds at all? Hmmm, I don’t know maybe the things we built in Malmö inspired others around here to build small stuff. I love the small, weird stuff and most of the things we build where never over head height. Things don’t have to be massive to be fun. Small stuff is fast and easy to build and you don’t have to be a gnarly skater to ride it. Everybody can enjoy it and get into it; perhaps it is more inviting with small things around here. We don’t have to prove ourselves to be the biggest, baddest mother fuckers around, we just want to skate some fun stuff, dude. I see your point, it is true to say there is a difference, and perhaps Malmö’s position as the centre of DIY in European skateboarding has made smaller stuff the norm over here. Did you ever want to try and work in skatepark design? All the planning you want, less of the work? I did design and work on the Sibbarp skatepark, here in Malmö, together with Concreatures and Bryggeriet. That one was built section by section and by making things up as we went – piece of paper and a pen. I think you can see that as a final result that the park is different. Dave at Concreatures wants me to do some designs for them and I have some plans together with another 83
Articles / Information
motorway was built people used to walk between Easton and St Pauls; there were roads that joined up the areas and that community was one community.” Community Resolve first started working with young people affected by the divide a decade ago after a particularly violent clash involving a group of youngsters from Easton and a group from St Pauls. An altercation on Gatton Road in St Werburghs turned violent, leaving two young people hospitalised and continuing the trend among youths to identify themselves along divisional boundaries. This wasn’t the first incident of fighting, and it hasn’t been the last. “At least three young people have been stabbed and killed in these areas, related in some way to the tensions between the communities,” explains Wilkinson. “It’s not just those extreme cases either – young people from both sides are reluctant to move into the territory on the other side.” The M32 creates a mental divide as well as a physical barrier to those wanting to cross from one area to the other. As a result of its positioning, the motorway created rival territories and distinct borders and separation. The walls of the pedestrian underpass at junction 3 of the M32 are branded with the tag ‘BS5’ – the territorial markings of a group of young people from Easton named after the postcode they inhabit. ‘BS5’ are in opposition with a rival group from St Pauls called the ‘Bloods’. In July last year, a fight broke out between two groups of youths on Stapleton Road in Easton, resulting in the stabbing death of 18-year-old Abdirasak Mohamoud. Sue O’Donnell is a councillor in Easton and believes that the media misunderstands the impact the M32 has had on the areas around it. “The media portrayed the murder of Abdi as a ‘turf war’, as the Bloods vs. BS5” she says. “But the ultimate facts are that somebody killed somebody else. It’s easy to blame young people, easy to say that they’re responsible, but you’ve got to look at the physical surroundings that these young people are growing up in.” O’Donnell’s ward extends to the boundary of the
Viewpoint — Harry Slater McKenzie
Type â€” The typeface used throughout is Oranda, roman and bold. When testing typefaces I wanted something that was serious and not too rounded or flamboyant, it needed to work with the content and fit the style of the space. Oranda has a big variety of weights and this meant i could use it for titles, introductions and body throughout the book. The point sizes used are 10, 18, 60 and 72.
ABCDEFGHIJ KLMNOPQRS TUVWXYZ abcdefghijk lmnopqrstu vwxyz
ABCDEFGHIJ KLMNOPQRS TUVWXYZ abcdefghij klmnopqrst uvwxyz
Colour â€” Black and white is used throughout the publication, this muted colour palette again reflects the space, it is very monotone and grey, full of shadows and dimly lit, even in broad daylight. The stock is mostly grey, to fit with this, with yellow to highlight quotes and break up the book, without this the book was too monotone.
Imagery â€” The photography used is a mixture, some shot by myself and others arhive photography from the internet, of the space previously. The archive photography has been edited slightly and put in black and white, to fit the publication, and everything I have had control over has been shot to illustrate the space in its current state. Some of the archive photographs have been layered over each other to mask the people constructing it, as there was no way to find out who they were to gain permission, I thought it fairer to mask their identities.
Stock â€” As mentioned before the stock is mainly grey, to reflect the dark and concrete environment in the space. It is quite heavy for book stock, as the subject matter is rough and DIY, it means that the reader is not to precious when the engage with the book, much like the undercroft. The yellow stock is slightly thinner, to highlight important quotes and views, so that the reader is more delicate and notices them. It also breaks up the book and makes sure the black and white does not get monotonous.