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Document your own street in a new Street Life Project. 

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Document your own street in a new Street Life Project. 

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Find your own way to document the life of the street now. Make images or a video of your street, record people's movements or behaviour on the street in images or diagrams or write about it in prose or poetry...Post your creative response below or on Aula:

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SUBMIT YOUR PHOTOGRAPH TO A MUSEUM COLLECTION!           

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SUBMIT YOUR PHOTOGRAPH TO A MUSEUM COLLECTION!           

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The Museum of the Home is one of those institutions which is documenting our life under Corona Virus.  The museum is asking people to share photographs of their home and how they are living in it right now.
Submit your own photograph to a museum collection here:
://www.museumofthehome.org.uk/explore/stay-home-collecting-project/

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During these extraordinary times, our homes have never been more important.

We want to document how our home lives have changed during the coronavirus pandemic in the UK.

This new national collecting project will form part of the Museum of the Home's extensive Documenting Homes archive.

What does home mean to you right now?

How are you using your home? Does your living room now have multiple uses as a work place, school or gym? If you have any outdoor space what are you using it for?

Are you leaving home to carry out your role as a key worker? Separated from your family or loved ones? Spending considerably more time with your flatmates or family?

Our homes have never been more important.

How to take part in Stay Home

We want to hear from you. To take part we would like you to:

Answer 7 questions about you and your home

These are open questions about how you feel about your home during this time. Your contribution can be written or recorded.

Share up to 5 photos of your home

These can be of one room, several rooms or an outdoor space. We'd like you to tell us how you are using these spaces at this time.

Ideally include people in the photos. And don't tidy up!

Take landscape format

Take candid rather than staged shots

Use natural light

Avoid zooming in

Upload as large a file as possible

Provide some personal demographic information

There are some questions about you. Some of it is a little personal, but it is really useful to us.

The questions align with the way the UK Government will collect Census data in 2021. This allows us to compare the profile of participants with the general population. By answering these questions you will help us to know how we are representing our communities.

Share your diary entries (optional)

We would love to collect diary entries that span one month. Entries can be daily, every other day or weekly. Please email these separately to stayhome@museumofthehome.org.uk with your full name.

Permissions and copyright

Your contribution will become part of our Documenting Homes collection.

This is a constantly expanding archive with nearly 8,000 items. It represents homes from the 1900s up to the present day.

We plan to share the photos and experiences we collect on our website, social media channels and in the press, and showcase them in our galleries at the Museum of the Home. The collection will also be used for research purposes and be publicly accessible.

We will not publish full names or addresses. If you wish to protect the identity of yourself or others please ensure your photos don't show faces.

You will need to agree to the Archive agreement (pdf). This includes giving permission to publish your story and photos and gives the Museum of the Home copyright of your photographs.

If you are under 18 please ask for permission from your parent or guardian and ask them to complete the demographic information on your behalf.
Documenting Homes Stay Home collecting policy (pdf)

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Stay Home collecting project | Museum of the Home

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During these extraordinary times, our homes have never been more important. We want to document how our home lives have changed during the coronavirus pandemic in the UK. This new national collecting project will form part of the Museum of the Home's extensive Documenting Homes archive. How are you using your home?

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There are different ways of conceptualising the street and different ways of  representing and characterising it.  Look at these two different ways of thinking about the street.

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There are different ways of conceptualising the street and different ways of  representing and characterising it.  Look at these two different ways of thinking about the street.

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Street Photography; street scenes.        LOOK and WRITE 5 mins

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Street Photography; street scenes.        LOOK and WRITE 5 mins

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Have a look at these two images.

What is similiar about them? What is different? What do they tell us about the place and time in which they were taken?

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a. Street Photography      WATCH: 3 minutes

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a. Street Photography      WATCH: 3 minutes

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When we use the word street in conjunction with fashion or photography we are conferring ideas of authenticity and 'everydayness'.  The see the street as a place where we find 'real' people engaged in their 'real' lives.

This is Bill Cunningham, he was an American fashion photographer for the New York Times, famous for his candid and street photography.  Here the street is spectacle and theatre!  Has this way of using the street disappeared under Corona Virus? Comment below

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The street is a place which has particular meanings for both fashion and photography and for intersections between the two.  We talk about 'street style', 'street photography', we might describe somebody as 'street'. So what do we mean by street fashion or street photography?

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The street is a place which has particular meanings for both fashion and photography and for intersections between the two.  We talk about 'street style', 'street photography', we might describe somebody as 'street'. So what do we mean by street fashion or street photography?

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While the inside - our homes - are a private space, the outside is a public space.  However, while most of us can still go outside for a walk or a run, some of us can only look at the outside through a window. Just as our relationship with the inside is changing, so is our experience of the outside: The Street           

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While the inside - our homes - are a private space, the outside is a public space.  However, while most of us can still go outside for a walk or a run, some of us can only look at the outside through a window. Just as our relationship with the inside is changing, so is our experience of the outside: The Street           

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https://www.nytimes.com/2020/03/31/arts/design/museums-coronavirus-pandemic-artifacts.html

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With photographs, field interviews and mass surveys, institutions are trying to preserve information about everyday life during the crisis for future study.

A photograph taken by the Finnish Heritage Agency showing residents of a Helsinki retirement home singing together from their balconies on March 19. Credit... Hannu Häkkinen/The Finnish Heritage Agency

Late Friday evening, Finland's most populous region cut itself off from the rest of the country. By the time residents of Uusimaa, which includes the capital, Helsinki, and is home to more than half of Finland's more than 1,300 coronavirus cases, awoke on March 28, roadblocks had been erected along its highways, and the police were out in force to prevent anyone from entering or exiting.

This week, those police officers may notice a few observers tracking their efforts. The photographers and interviewers will not necessarily be journalists, but rather employees of the National Museum of Finland, attempting to capture the historic moment in real time.

Around the world, the coronavirus outbreak has sent legions of emergency medical and health care workers into overdrive. But it has also meant work for a handful of curators and museum researchers in Europe, charged with tracking the events and implications of the crisis, even as it happens. Most of them do not know exactly how or when their findings will be used, but they are confident that future generations of museum workers - and visitors - will want the information.

It's not just the Finns who are doing it. Museums in Denmark, Slovenia and Switzerland, among others, are busy documenting the crisis in various ways, from asking citizens to keep diaries of their daily lives under lockdown to acquiring objects that represent the moment.

At the Vesthimmerlands Museum in northern Denmark, the curator Maria Hagstrup and a colleague have been taking photographs - from a safe distance - of the closed stores and empty streets of the country on lockdown. She has also been collecting firsthand accounts from residents.

"Usually, we think of a museum as a place with objects behind solid glass," she said in an interview. "But right now, we have a chance to get people's impressions in the moment, before they've even had time to reflect on them."

With the help of the municipal government, the museum put out a call on social media for citizens to send in their accounts of life during the pandemic. So far, most of the stories have come in via email: the dentist who had to close his practice, the older couple who worry about their autistic son, the newly home-schooled boy describing what it's like to have his mom as his teacher. One small-business owner sent in a poem.

"As a historian, you're always thinking about what's missing, of what you want to know more about," Ms. Hagstrup said. "I think what people will want to know about this crazy time is what everyday life was like, what it was like to live through."

When it is no longer a health risk to gather objects for its collection, the Vesthimmerlands Museum hopes to secure some of those, too. Curators at the Victoria and Albert Museum in London are also thinking about acquiring such items. In 2014, the museum, which focuses on applied art and design, opened a gallery devoted to "rapid response collecting" - a term it coined for the acquisition of objects that "articulate major moments in our contemporary history," according to Corinna Gardner, a senior curator.

Ms. Gardner, who is in charge of the rapid response collection, played a decisive role in selecting items such as a "pussyhat" (the bright pink caps worn during the 2017 Women's March), various objects bearing the Extinction Rebellion logo, and a set of Katy Perry-brand false eyelashes, chosen as an artifact of global consumer culture.

Ms. Gardner said she was already thinking about objects that articulated something interesting about the pandemic. She was intrigued by a device that can be attached to a door handle for hands-free opening, created by the architectural designers Ivo Tedbury and Freddie Hong and available online for 3-D printing, she said.

In the United States, the National Museum of African American History and Culture has collected artifacts from events like the protests over the death of Michael Brown in Ferguson, Mo., and the days of racial strife in Charlottesville, Va., in 2017.

In Manhattan, the New-York Historical Society, has sent out its "history brigades" to events like Occupy Wall Street, while in Orlando, Fla., the Orange County Regional History Center hurried to collect items to record the tragedy of the Pulse nightclub shooting. The center is now collecting artifacts from the current crisis: photographs of empty store shelves, cancellation emails and social media posts discussing the impact of the virus.

Acquiring new objects poses a special challenge for museums right now, because it involves interacting with the public and handling artifacts in ways that could spread the illness. And social distancing is making traditional field work - usually conducted face to face - impossible. That's why the National Museum of Denmark, in Copenhagen, is currently focusing its efforts on digital artifacts.

The museum is asking citizens of all ages to answer an online questionnaire to preserve important information about everyday life during the crisis for future study.

"Whether or when we will have a special coronavirus exhibition, I don't know," said Christian Sune Pedersen, the head of research in the museum's department of modern history. "Maybe we will consider including it in the permanent collection, since it is a central historical event. But right now, our focus is on remembering what happens in our everyday lives, which goes to the core of the museum's vision."

In Finland, the National Museum has a long history of rapid response collecting during historical turning points, even if they did not call it that during the 1918 Finnish Civil War or during World War II. Some of the photographs taken recently by Maria Ollila, curator of contemporary history for the museum, and her collaborators - shots of panic buying and home schooling, for instance - will go onto the website of the Finnish Heritage Agency's Picture Collection as soon as they have been cataloged. And, if the crisis is over by fall, she said, some of the material she is gathering could go on display in a section of the National Museum devoted to contemporary collecting.

In the meantime, gathering artifacts from the pandemic means keeping on top of its ever-shifting dimensions. For two weeks before the country's lockdown, the Finnish researchers held face-to-face interviews on subjects that ranged from how the crisis was affecting restaurants to the shutdown of Helsinki's harbor. But the changing situation forced them to adapt their techniques; They now conduct many interviews by phone or Skype and are considering asking citizens to "self-document" - to send in photographs and video they have shot themselves.

Later this week, when they begin documenting the closing of the Uusimaa border by observing the situation at a roadblock and interviewing the police officers in charge, the researchers will revert to traditional in-person techniques - with some era-appropriate adjustments.

"There'll be two photographers, and me, who'll do the interviewing," Ms. Ollila said. "We'll just have to make sure we stand two meters apart."

Graham Bowley contributed reporting.

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Museums Scramble to Document the Pandemic, Even as It Unfolds

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With photographs, field interviews and mass surveys, institutions are trying to preserve information about everyday life during the crisis for future study. Late Friday evening, Finland's most populous region cut itself off from the rest of the country.

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You can watch the whole film here, it's very entertaining!

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You can watch the whole film here, it's very entertaining!

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I'm afraid it's not fantastic picture quality.

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There is a great documentary about Bill Cunningham, watch the trailer here:

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There is a great documentary about Bill Cunningham, watch the trailer here:

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Bill Cunningham New York - Official trailer

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http://billcunninghamnewyork.co.uk/ Before the internet and before the likes of fashion bloggers, there was Bill Cunningham, the street-fashion and society chronicler for The New York Times. After 50 years of cycling the streets of the Big Apple with his camera, snapping the great, the good and the stylish, Bill Cunningham is now in front of the lens in this loving and intimate portrait of a remarkable man and a chronicler of a city.

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How are people occupying the streets under Corona Virus? Those same places that may have been designed to encourage us to linger, to relax or to gather are empty and for the moment 'gathering' is forbidden. Look at the spaces in the landscape of the street but also the space between people.    The crowded streets of Bill Cunningham's New York seem like another lifetime, the scene below is our new normal. 

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How are people occupying the streets under Corona Virus? Those same places that may have been designed to encourage us to linger, to relax or to gather are empty and for the moment 'gathering' is forbidden. Look at the spaces in the landscape of the street but also the space between people.    The crowded streets of Bill Cunningham's New York seem like another lifetime, the scene below is our new normal. 

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What is Whyte suggesting people are doing with these chairs?

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What is Whyte suggesting people are doing with these chairs?

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Comment below

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Place has acquired new meanings in recent weeks.  We are confined largely to one place, our homes and maybe we are spending longer than usual in a place within that place - bed for example!  This is the place in my home in which I am spending a lot of time in at the moment and this is where I will be talking to you in tutorials.  I'm wondering what the section of my home you can see behind me is saying about me!

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Place has acquired new meanings in recent weeks.  We are confined largely to one place, our homes and maybe we are spending longer than usual in a place within that place - bed for example!  This is the place in my home in which I am spending a lot of time in at the moment and this is where I will be talking to you in tutorials.  I'm wondering what the section of my home you can see behind me is saying about me!

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Start here!

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Post an image of your place on Aula! Don't forget to caption it.

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Post an image of your place on Aula! Don't forget to caption it.

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What is the relationship between fashion and place? WRITE: 4 minutes

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What is the relationship between fashion and place? WRITE: 4 minutes

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Fashion works to define the relationship between the body and social space "between private experience and public content' (Quinn 2003 p135). What does this quote mean and how does it relate to ideas of the inside and the outside?

Can you explain below:

Bradley, Q., 2003. The fashion of architecture. New York: Berg,

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William Whyte moveable chairs: watch this clip:

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William Whyte moveable chairs: watch this clip:

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https://www.youtube.com/watch?v=uowJa3pstlw

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WATCH: 1 minute 42 seconds.                            

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WATCH: 1 minute 42 seconds.                            

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How do people occupy the everyday social life of the street? William Whyte was an American urbanist,  journalist and people-watcher. He identified the elements that create vibrant public spaces within the city and filmed a variety of urban plazas in New York City in the 1970s. Whyte described urban public life in an objective and measurable way. These observations developed into the "Street Life Project", an ongoing study of pedestrian behaviour on the city streets.

Much of Whyte's work contradicts other conventional wisdom, for instance, the idea that pedestrian traffic and car traffic should be separated.

A number of key factors were identified for  gathering spots. First on this list was an abundance of inviting places to sit and relax. Benches, movable chairs, ledges and steps could all provide hospitable seating. Plazas that were devoid of life and activity did not provide such seating. In fact, some private owners of these plazas went out of their way to deter people from sitting altogether by placing spikes on surfaces, designing planters too high for sitting or simply providing no seating at all. At the end of the film, Whyte stated, “The street is the river of life of the city. They come to these places not to escape but to partake of it.”

Think about how Whyte's ideas translate to Greenwich Peninsula -which is a privately owned space  - how could the area immediately around Ravensbourne be improved by reflecting on Whyte's findings?  Post comments below.

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In what way does this connect to how people have to behave under Corona Virus? 

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In what way does this connect to how people have to behave under Corona Virus? 

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Comment below

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MAKE: 20 minutes                                           

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MAKE: 20 minutes                                           

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What happens when social life is removed from the street?

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More and more museums are attempting to gather records of peoples everyday lives at this time of crisis - both inside and outside. Many museums are currently asking the public to document life under Covid 19. Read about what museums are doing below in this article from the New York Times.

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More and more museums are attempting to gather records of peoples everyday lives at this time of crisis - both inside and outside. Many museums are currently asking the public to document life under Covid 19. Read about what museums are doing below in this article from the New York Times.

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LOOK: 3 minutes. Example idea: Documenting life under Corona Virus 

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LOOK: 3 minutes. Example idea: Documenting life under Corona Virus 

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Photographer Dan Giannopoulos explains what drew him to start photographing the discarded plastic gloves he found on the street as the coronavirus began to affect the way of life in the UK.

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Dan Giannopoulos explains what drew him to start photographing the discarded plastic gloves he found on the street as the coronavirus began to affect the way of life in the UK.

Like everyone else, the coronavirus pandemic has had a massive impact on life as I knew it.

As a photographer, during the beginning of the lockdown, I had thought about ways to document these surreal times from home.

After spending a number of days without leaving the confines of my house early last week I decided to go for a short walk and was surprised to see the number of discarded rubber gloves and surgical masks on the streets of my neighbourhood, a small suburb in Nottingham.

I began to photograph them in situ throughout the duration of the 30-minute walk. These disposable gloves quickly came to represent the sheer scale of the public health crisis.

The artefacts of the paranoia and panic that people are feeling under the immense pressure of this invisible killer.

These discarded gloves also represented, to me, our own virulent impact on the environment. If this small sample is anything to go by then there are hundreds of thousands of these gloves scattered across the empty public spaces of this country.

The gloves had gathered in gutters, protruded from bushes and bins, were strewn on doorsteps and forced through wire fences. I couldn't walk more than a few metres without finding one. And over the course of the next four days I continued to go out for my permitted daily exercise and zigzagged through my neighbourhood again and again focusing each time on a different area.

Covering a radius of less than a mile, I found in excess of 300 discarded gloves and masks.

I'd produced a similar project a number of years back charting discarded drug baggies in south London. For that project I catalogued just over 400 bags during the course of three years. With this project, I found more than three-quarters of that number in four days.

Producing this body of work is an obvious continuation of some of the themes that I explored in the earlier project but in the context of a terrifying global health crisis. This small neighbourhood sample gives an indication of the unprecedented level of fear that we are all living under and the profound irony of our damaging nature.

All photographs courtesy Dan Giannopoulos

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In pictures: Discarded disposable gloves

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Dan Giannopoulos explains what drew him to start photographing the discarded plastic gloves he found on the street as the coronavirus began to affect the way of life in the UK. Like everyone else, the coronavirus pandemic has had a massive impact on life as I knew it.

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Checklist: Have you read / watched / written / posted?

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Checklist: Have you read / watched / written / posted?

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Have you anything else to add - where else could thinking about 'the street' take you... ?!

Any questions or suggestions, e mail me or Carole at f.carter@rave.ac.uk
c.evans@rave.ac.uk

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Here are the things for you to read, watch, look at, comment on and make before the online session this week.  This is a conversation between all of us - so please contribute, comment on and extend everybody's ideas!

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Here are the things for you to read, watch, look at, comment on and make before the online session this week.  This is a conversation between all of us - so please contribute, comment on and extend everybody's ideas!

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A Photograph of Nothing                       READ and COMMENT                                     5 minutes

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A Photograph of Nothing                       READ and COMMENT                                     5 minutes

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Read this description of one of Robert Frank's photographs, by another great street photographer, Gary Winogrand.

What does he mean when he says "photograph is of nothing"?

Do you agree with it?

"In a talk in October 1970, Winogrand said Frank’s picture of gas pumps near Santa Fe, New Mexico, was “one of the most important pictures in the book. It’s also a photograph of nothing . . . When [Frank] took that photograph, he couldn’t possibly know that it would work . . . The fact of photographing something changes [it]. I photograph to find out what something will look like photographed. Basically, that’s why I photograph, in the simplest language.”

Source:
https://www.ft.com/content/522284fc-1119-11e8-940e-08320fc2a277

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Watch this clip about street photographer Bruce Gilden.

How is his approach different from that of Bill Cunningham?

Are there any ethical issues with his approach?

What do you think? Is the street a public place? Or should you be entitled to privacy?

Do you know of any different rules in other countries?

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Want to know more about Street Photography? Watch This:

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Want to know more about Street Photography? Watch This:

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This is the fourth episode of the Genius of Photography, a fantastic BBC documentary charting the history of Photography. This episode is on the subject of photographic journeys, and considers the beginnings of street photography as we know it after WW2. It's available on Planet eStream, which you can log into using your Ravensbourne credentials.

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JavaScript is required. This web browser does not support JavaScript or JavaScript in this web browser is not enabled.

To find out if your web browser supports JavaScript or to enable JavaScript, see web browser help.

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See you online soon...