Redundant Architects Recreation Association

Clapton’s architect collective has quietly been installing its work all across London, creating employment for the local artists and makers who were disproportionately hit by the recent economic downturn. Redundant Architects Recreation Association Co-founder Joe Swift tells us how the collective got to where it is today


The number of artists and makers looking to join the Redundant Architects Recreation Association (RARA) has hit a wall: there is simply no more room.

That isn’t to say there are currently increased redundancies of talented craftspeople – far from it. It’s just that RARA’s reputation has outgrown itself. The work is coming in and the business has grown steadily over the past six years. What started as a £2,000 credit card debt has become a functioning business with work that can be seen across the city. “We need to expand so that we can start giving places to the people on our waiting list,” explains Joe Swift, a founding member of RARA.

“Our membership has grown slowly, like a moss accruing. Many people have used us as a stepping stone, moving on to bigger things, but now we have a group of people who have decided that RARA is where they want to stay,” Joe says of their current expansion issue. “We’re at this critical point where we don’t have a single corner of space that can be offered to transient users, which was the whole reason we started RARA.”

Laure Ledard at work
Laure Ledard at work

Upon graduation and after finding their first full-time jobs, the original founders of RARA – Sam Potts, Dan Nation and Joe – found, as so many people do, that the dream of working for a large firm when you have little real work experience was unstimulating and unfulfilling. Sick of working on CAD designs all day, they used their spare time to explore where they could take their practice.

“So we had an idea,” Joe tells us. “For the London Festival of Architecture in 2008, Sam and Dan got local artists from around South London to come down to these railway arches we had found. Sam had a huge fiberglass speaker that he made during a previous work placement, and we made two more to create a sound system.” The artists were invited to create soundscapes in the arches. “This was our architectural intervention – albeit a brief one – that was all about having a dance and getting people to use this space in a new way. In the daytime we’d have cups of tea and people could listen to the sound art through headphones, and in the evening we would have a party, with DJs and cans of beer.”

The group pulled the project off without their own studio space or the money to rent one. “We had to borrow friends back yards and garages, and we kept having to move these huge speakers around. It was a nightmare, but it was all part of us trying to create a collective,” Joe recalls. “As soon as this project was finished, we asked ourselves, ‘do we carry on’? Of course we did, there was never really another option.”

Alongside their full-time jobs, the group set about building the foundations for RARA. Every free minute was dedicated to finding a space, until the unit on Grosvenor Way – where RARA is today – was discovered on Gumtree. The space was being offered at £1 a square foot, so the group took what they could afford and split the £180 monthly rent between the three of them, although eventually they would be forced to take responsibility for the whole space, when the original tenants left.

Helmets hung up – safety first
Helmets hung up – safety first

“At the time, Clapton wasn’t very trendy, it was hard to get to and no one really wanted to come here. We found that the artists and makers living in the area were all struggling in some way, and for them the space became a really valuable resource. We sublet a large portion of it to these other makers for three years, and as we gradually grew our membership we were able to start taking the space back,” Joe explains.

“We’ve managed to create a business that is employing local people, which I would say is a success.” Joe Swift, RARA

The decision to move to Clapton was one borne out of necessity, but now the location has become of paramount importance to the group’s members. Not because Clapton has become something that it was not four years ago, but because the members all live nearby. The benefit of having somewhere near home to drop off tools, and the fact that there is a builders merchants near by cannot be underestimated – and RARA certainly could not boast these qualities had it been based in Zone 1.

That said, with the neighbourhood changing at the pace it is, RARA’s future in E5 is uncertain. When we ask Joe how he feels after the Tram Depot sale, his outlook is realistic: “Grosvenor Way may well end up becoming a street of residential housing; the price of the land will become too high for the current owners not to sell it. But we have built up some good assets and we’ve got a strong business that will be able to survive moving on to a new place,” Joe tells us. “We’ve managed to create a business that is employing local people, which I would say is a success. By moving our business we’ll be able to keep growing, and keep finding jobs for people.” The search for a new space is ongoing, but locations around Clapton have been considered, including Chats Palace.

Working and getting ready to work
Working and getting ready to work

As RARA’s membership has grown, the group has been able to take on a range of projects; and with it’s cross-disciplinary membership, the Redundant Architects are able to actually build and make many of their designs, a skill often forgotten when working in a corporate practice for too long. Notable projects have included a 9-metre high sculpture of a dog that debuted at Secret Garden Party in 2012, Google’s 2013 Gay Pride float, and the wayfinding stations for the Southbank’s Festival of Neighbourhood in the same year. For more on RARA’s local projects, see the Member in focus boxouts on the right.

Words by Sarah Drumm

Photography by Barney Thomas

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