A new road through a traditional English rural landscape presents a number of problems which can be solved responsibly. Approaching this from an artist's point of view will give unexpected results.
my experience in similar projects
My answers to your selection criteria are stated below. Clicking your key words will take you to my specific answer immediately:
I have taken part in dozens of projects; and since most of them involved much more than selling a sculpture, many discussions with committees, landscape architects, architects, designers, contractors, working groups, project teams, city council members, aldermen and mayors have given me a broad view and have tenderized my soul as far as my own senses are concerned - but does not mean I'm ready to be served for supper.
The creativity shown in my past projects can be judged by using the links to the left.
Evidence of delivering my proposals and products within the allotted time and meeting deadlines can be distilled from the fact that one project followed another - often working on five, or so, projects at the same time - as can be seen in my resume.
As to my experience: I have participated in a number of teams - in a various of situations - those which have been in collaboration with highway departments are with the aesthetic design team of the Dutch Ministry of Transport, Public Works and Water Management - for the aesthetic proposals for Highway A15 (art in highway environment*) - and with the Provincial Department Traffic and Transportation of Zuid-Holland. My land art project, 'homage to El Lissitzky', in Lelystad in the FlevoPolder was realised in cooperation with National Road and Transport Department of The Netherlands. And, since most of the projects which I have done are environmental and landscape projects, I have lots of experience in working with various project groups and teams in a variety of fields. As you can see, I hope, my English is as good as perfect - the flaws are due to my American education.
The working methodology which I practice is to first see and study a given location on the spot, to return when necessary while I prepare my visual analysis, gather al the information I need from any source I can find - the most obvious being the parties involved, participate in meetings and hearings pertaining to the part for which I have been contracted, discuss my ideas with specialised parties participating in the project, read up on the history and geography of the location(s) through which the road has been planned - and present my ideas along the journey in order not to be working on ideas which are not realizable - unless I can prove that they are actually achievable.
My experience of actively engaging with community groups has evolved over many years. Anticipating what the wishes and reactions of the users and interested public are, and what remarks are to be expected, help in preparing a presentation. Thirty five years of worthwhile experiences have proven to me that understanding and identifying with the public has helped in agreeing upon seemingly contradicting views. In the city of Ede, where the people living around my new urban oasis project had launched a very negative press campaign against my work, they themselves applauded after listening to and discussing my hour-and-a-half long visual presentation of my previous environmental works and intentions and expectations for my present project.
The record of my compatibility with the project teams has been good - and in some cases even perfect. I can replace myself into the situations of others - even my adversaries - and help them do the same as far as my views are concerned. They do not always agree with me but discussion remains possible. And because decisions are usually made by a group, I have achieved many of my goals. Never has anyone, including myself, broken off the discussion.
I hope that I have answered your questions sufficiently to enable you to reach a good judgment as far is my work and person are concerned.
Lucien den Arend
*In my study for the A15 a point of study was the relation between the two opposites: distraction and boredom.
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