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Heritage as a conservation area in 1969, through to the formation of the Nottingham Civic Society and the public/private sector partnership of the Lace Market Development Company, an increasing amount of control has crept into the direction of the area. This knowledge has been invaluable in formulating this research proposal.

 

In regards to the newer planning strategies, specifically those with a direct relationship to the gallery, searches of government legislative documents have shed very little light on the situation. It appears too recent a point in time, for there to be extensive publications within the public domain. Instead, to obtain this information, I will need to identify and speak with those parties that have been directly involved in the development process, those tasked with formulating local planning policies and the actual briefing document for the gallery. To deduce a well-rounded and, hopefully, unbiased account this includes contacting those mentioned previously, members of the local and regional Councils, individual members of the competition selection panel, the Architects, Developers and Client.

 

Whilst many buildings have contributed to the cultural regeneration of Nottingham in the past, focusing in on just one case study seems appropriate for a small-scale research project. Valuable time can be spent on analyzing details rather than on broad generalisations. By focusing specifically on the Nottingham Contemporary, its geographical proximity is ideal should I wish to carry out field research and importantly, I hope that, once identified by name, key figures will also be accessible. Backed up by the original theoretical framework, the key outcomes from this study can then be abstracted and used for comparison in similar future scenarios in Nottingham and other cities, or related back to the larger global issue of identity.

 

In this instance statistical data is, initially, of little use due to its more remote and general nature. Instead, in a qualitative approach, I plan to undertake detailed interviews, which will be more suited to portraying the perspective of the individual and the organisation they represent. Again, due to the relative ease with which I could conduct face-to-face interviews, this is preferable to those conducted over the phone or by email. Whilst possibly more time consuming, I feel I would be able to better control the direction and focus of the interview if conducted in person.

 

Prior to devising the interview questions, I attended a public debate held by the Nottingham Contemporary, involving the architect Adam Caruso, a faculty member of the local university Jonathan Hale, and an architectural historian Michalea Giebelhausen. This talk was hugely insightful in presenting the architect’s desire to explore the gallery’s image within the city from an early stage. The comments also reaffirmed that a strong dialogue/consultation had been undertaken with all interested parties throughout the actual design process.

 

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