What can an art residency in a Utrecht old folks' home teach us about intergenerational living?

Caroline Derveaux-Berté's workshop at The Sofia. Image: Jade French.

The city of Utrecht might be compact but it’s a bustling centre of student life, cycling obsessives and innovative social design. With social care in the UK in something of a crisis, perhaps this small Dutch city can offer an alternative view on how young and old can reconnect and provide each other with a better quality of life.

Earlier this year, student accommodation in the city centre reached a saturation point, with a growing number of students and early careerists finding it hard to rent in the city. So, it came as a surprise when The Sofia, an elderly care home, stepped in with a solution. It owners began to offer space in its empty spare wing out as student accommodation. The only catch? The new residents had to integrate with the elderly folk who already lived there.

Around the same time, artists and NGO workers Linda Rosink and Barbara van Beers were looking for office space for their project, Artshake. They approached The Sofia and immediately realised that they could make a difference by setting up an artist residency that would organise activities and help people meet one another.

It might sound simple, but art can be intimidating. The first residency, with Italian artist Mattias Campo Dall'Orto was an experiment. Luckily, his mix of photo-realistic portraits and a huge mural painted on the side of the building helped ease up those people who felt they were “not arty”. He also paved the way for some more abstract work from French artist Caroline Derveaux-Berté.

This distinctly European flavour is a deliberate choice. The artists can’t speak Dutch and communicating with the elderly residents about upcoming events and art projects can prove tricky. However, this communication gap also gently forces the students to help with translation and spreading information. In this simple way, the elderly and young people begin to speak on common ground.

By inserting the artist as an uncertain element between the two generations, Artshake provides a talking point for the residents, asking them to get excited – or even critical – about the art together. Beyond this, the building is becoming a social hub for the neighbourhood in general. During my stay, I saw a full-blown orchestra rehearsing with the residents, and Barbara and Linda are keen to implement more art workshops, yoga, and choirs into the space.

At the most recent art residency, Caroline Derveaux-Berté's work on childhood memories was channeled through abstract stories. On one morning, we spent time with 66-year-old Marianne, painting walls and listening to disco. Once we had finished a couple of panels, we ripped the masking tape off – an act which really felt like a collaborative effort. Marianne took us to see the portrait Mattias had drawn of her on the previous residency, explaining how she found the artist's intriguing. “It’s like we’re creating new memories as well,” says Caroline, “Sometimes you can look at the past and become sad, but actually by creating beautiful moments, in the present, you realise life doesn’t just finish at 66.”

The Sofia doesn’t feel like a typical care home. There’s an on-site hairdresser, a games room and coffee on tap by the receptionist. People are encouraged to loiter and chat. There’s a restaurant that wouldn’t look too out of place on Shoreditch High Street, with mason jar light bulbs and new geometric signs all around the buildings. With a fresh take on the care home, Artshake brings a sense of youth into the building showing how older generations can be exposed to new trends.

Now it feels like a home for everyone – but it might not have always been this way. During a transitional period over the summer, the first artist left and Linda noticed that “all the rules were gone. Some of the elderly people took advantage – sitting outside in front of the restaurant and having parties until 2am. Then you had the young people trying to sleep!” In fact, for Caroline the “older people are the young ones – always teaching me Dutch swearwords, drinking and talking through movies. The elderly seem to be getting a rebellious streak back.”

This inter-generational behaviour “swap” suggests that the social impact of a project like this isn’t always easy to measure empirically. When we tried to encourage some elderly people to help us paint, some had excuses: lunch to go to, family to see, dogs to walk. Even though that meant we were left holding our rollers, the power of choice can’t be underestimated. A lot of the original, elderly residents often felt like choices were being made for them; now, Linda notes that the power of saying ‘no I’m busy’ will “empower the elderly people, and show the younger students what it is like. Someday, we will be old. We have to ask: how would we like to live and be treated?”

 As Caroline put it: “It’s about owning the walls. They are the simplest part of where you live but they can also keep you separate.” By breaking down the generational barriers, Artshake has proven that even the smallest element of choice can have a big impact on daily life. By inserting something new, engaging and interesting into elderly care we can begin to close the gaps between the generations.

Just seeing the interaction between different generations is enough for Linda: “As long as we see young and old talking to each other in the restaurant or saying ‘hi’ in the corridors, that’s all we want. It’s very simple.”


All pictures courtesy of the author.

 
 
 
 

Pembrokeshire's innovative new eco-hamlet is great. But it should be the size of a city

The eco hamlet. Image: Western Solar.

The opening in January 2017 of an “eco-hamlet” for council house tenants in West Wales is great news. I have nothing but praise for a development which builds houses with a low carbon footprint, using locally grown wood, to make homes which are well insulated and powered by solar energy. It was also quick to build, with large sections being made in a factory and then assembled on site. And it was relatively cheap – at around £70,000 to £100,000 per building, it is certainly comparable to the costs of more conventional builds.

These houses are an inspiration to the construction industry and an aspiration for the home owner. After all, who wouldn’t like to live in a house that had yearly utility bills of £200, rather than the national average of £1,500?

So the problem is not the six wonderful solar houses at Glanrhyd, Pembrokeshire, or the lucky people who will get to live in them (and enjoy shared use of an electric car). The problem is that we’ve seen all of this before – but nothing changes. What we really need is far, far more of them.

Pentre Solar in Pembrokeshire. Image: Western Solar.

I’ve been involved in sustainable construction for nearly 25 years and seen many inspirational developments like Glanrhyd. There’s Julian Marsh’s home in Nottingham, Susan Roaf’s Oxford Ecohouse and the Hockerton Housing Project, to name but a few. The list is long.


Yet while many individuals continue to build these innovative and inspirational structures, we have a construction industry which still responds to these buildings with disdain. One executive from a large well-known house building company told me recently: “This is a new, expensive and untested technology. We just can’t risk building something so new with all the risks to the consumer and at a higher cost.”

But the situation is even worse than the disdain from the mainstream construction industry. Rather than being welcomed, the latest versions of these sustainable buildings are challenged at every turn. The initial response to the Welsh eco-hamlet plans were concerns about the materials, the technology and the design. The houses at Glanrhyd then had more than 20 planning conditions placed upon them. The CEO of Western Solar, the company behing the hamlet, freely admits that nearly half of their research budget went on solving problems they encountered along the way.

Thinking and building big

So it seems this kind of development just isn’t celebrated enough. There is a general atmosphere of mistrust from construction professionals. It is seen as too complex, too expensive, too risky. Yet there are positive reactions, too. Welsh politician Lesley Griffiths had this to say about the new houses in Glanrhyd:

This scheme ticks so many boxes. We need more houses, we need more energy efficiency, we want to help people with fuel poverty. It’s been really good to hear how they have sourced local products. It’s great they’re using local people to build the houses.

Surely we need to take the eco-technology we have and start rolling it out on a much larger scale. To do so would be a massive step in meeting the significant housing shortage (an estimated 125,000 extra new houses are needed every year). It would also address the disrepair of our current housing stock, and help refit the millions of houses in good repair but requiring improved performance in order to achieve the government’s 2050 carbon reduction target.

We must not forget that the 2050 Climate Change target is not some arbitrary political policy, but one based on the environmental challenge facing all of us. We need to play our part in slowing down the speed of climate change and adapting to the changing natural, social and economic environment.

The solar houses in Pembrokeshire are wonderful. But until we start building huge numbers of buildings with similar credentials, we are just celebrating a cottage industry rather than restructuring our urban environment for an uncertain future.The Conversation

John Grant is senior lecturer in natural and built environment at Sheffield Hallam University.

This article was originally published on The Conversation. Read the original article.