- Why isn’t there new experimental architecture within large areas of UK housing, or artists working as collaborators with housing planning, where bog standard architectural approaches and solutions seem to be predominating.
- What should the new pavilion look like as a symbol within a housing estate today, and what has happened to the ideology of the original pavilion/ Peterlee new town.
- How can artists be involved in planning and development in relation to different approaches of regeneration - that rolled out by the state (as in Peterlee) and in the more unpredictable smaller private developments that are regenerating cities like Leeds.
- Are shops the predominant communal spaces for social interaction in our town and city centres. How can you be part of this civic life without any money?
- Can an architectural pavilion, or folly considerably add to a community even if it is only placed there on a temporary basis, communicating through it’s own outer form, hosting exhibitions, music events and as a locus for dialogue.
- Is it’s monolithic permanence one of the major problems or attractions of the original Peterlee pavilion?
- Are the questions that the pavilion brings to the surface consistent across other cities facing economic change and regeneration (such as Belgrade Serbia), and can a transportable pavilion help to make these connections relevant to different audiences in different countries.
- What does Pasmores formal language of concrete abstraction mean in today’s contexts of complex economic and media created realities. How can a reworking of the PAV create a new visual language to communicate a purchase on these shifts of meaning, political, social and public spaces.
- What are potential ways for monolithic sculpture of this sort to engage with their localities, and what is the use of the cultural tourism that goes along with them?
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