Opened in July 2005, the sensory garden at Surestart in Tilbury, uses a mixture of instruments, planting, structure and hard works to create a space designed to stimulate the senses of early years children.

The garden includes batonkas, chimes, gurglophones non-sound-items from Bingbangbong as well as the overall design. The planting is designed to provide smell, taste, touch and vision; all plants are safe to be handled by very young children. A range of walking surfaces with a variety of textures were used to provide visual definition of the areas as well as being part of the sensory fabric of the space

Because this area receives significant attention from unwanted visitors, it was necessary to upgrade all the instruments and fixings to increase resistance to vandalism and theft. It was also necessary to install security throughout the site with cameras, lights and anti climb fencing.

The design revitalised a number of under utilised areas of the site that lay outside the centre's cafe. Now parents can have a drink or some lunch on the new deck and watch their children playing in the new musical sensory garden.

The garden's concept and design is by by Paul Marshall and landscape architect Peter McDonald.

Project management by Martin Abley

Hardworks and planting by Ian and Paul from Acer Landscapes.

Surestart Co-ordinator Annie McKinney

Made possible through the generosity and support of the Cory Trust

Here are some examples of applications using bingbangbong's services and instruments.

There are a variety of projects shown here from musical sensory provision, to interactive play parks and sculptural applications

The Bluebell Interactive Park, sited at the Brandywell in Derry is a steep embankment of land that has been reclaimed by the community as an interactive play space. The site is challenging in its shape and slope. My aim was to provide unusual but engaging outdoor musical instruments and sensory artefacts that would stand up to aggressive play.

The sound play area is constructed around a 2 metre wide by 1m deep concrete-lined underground chamber. This chamber provides a resonant space and an interconnect for the 4 snakes.

Each of the snakes is a different distance from the chamber and has a different reverberation time.

The overarching symbolism in the sonic sculptural elements of the site represents rebirth, potential within a community and a connection to the land from which we come. Ultimately it is about hope for the future.

St Patrick, having driven the 'snakes' out of Ireland, would I think have approved of their re-introduction in this context!

Snakes
This symbol has many varied interpretations in history, in life and in mythology. It has been associated both with positive and negative symbolism. In this installation it is a positive signifier, intended to represent the community and its development. Each of the four snakes is one of a pair, two parents and two children, yet within each couple you will find individual character and presentation.

In natural life, the snake sheds its skin, divesting itself of old constricting binds in order that it may grow and renew itself. Underneath lies a new skin, perfect in its potential and in its projection of itself.

The stainless steel from which the snakes are constructed represents this new skin, a contemporary material for a contemporary people, a strong material to represent the resilience of the community, a reflective material to reflect the life that surrounds it.

In this series of 4 sculptures, the snakes are interconnected through the earth, as is the community whom they are intended to represent.

They provide a conduit through which visitors can listen directly to the very earth upon which they build their community. What they hear will be that which is filtered through the other snakes, each emphasising a different frequency of the surrounding soundscape.

Because the snakes are interconnected, they also represent and provide opportunity for communication with each other and a reflection of one's own words. The sonic effect means that a visitor will hear reflections of their own voices, made so by the journey through the earth, the void and the other snakes.

Eggs
Clearly the eggs signify 'new life', their meaning is simply 'potential'. The pote

ntial may be taken to refer to the hopes and dreams of the community. As with the snakes, the choice of stainless steel as the fabrication material is significant; meaning that while it is difficult to damage the potential from outside, when the time is right, it will blossom from within.

The polished finish of the eggs reflects an 'inside looking out' view of the faces and

the immediate environment of those who gaze upon them. The eggs represent the people, and that potential is within and around the visitor.

Two or more people viewing the same egg simultaneously will each see a slightly different view those around them, themselves and their surroundings, in this way it mirrors life and how we all view it differently

The two larger snakes are each coiled around

an egg in a nesting position. They extend the metaphors above, indicating the community's protection & nurturing of positive hope & dreams for the future of the community.

Drum Seating

The drum seats are dedicated to three of the indigenous trees of this area viz Oak, Ash and Holly.

The script carved into the pieces is written in English to reflect the working language of the contemporary people; Gaelic to represent the culture and heritage of the area; and, Ogham to represent the trees themselves and their ancient connection to this land.

Aside from the practical aspects of the seats, they function as drums. Using stainless steel delivers a particular metallic and bright sound. Each seat has a distinct pitch providing elements of the sound palette.

More images below...

Sonic elements designed by Paul Marshall

Stainless fabrication by George Adams Engineering, N'ards; PF Copeland, Mallusk and Jordan Metalwork N'Ards.

Landscape Architect Peter McDonald, Groundwork NI

Project Management Conor Heaney Bogside and Brandywell Initiative

Site Contractor Robert Todd, Boyd Landscapes, Ballyclare.

This project was funded by the Department of Social Development. It would not have been possible without their support.

BBC Dragons Den - Series 3 - Episode 7

Paul's Dragons' Den mini-blog (c)2006 Paul Marshall

Yes it's true, I was brave (foolish) enough to put myself and bingbangbong in front of the infamous 'Dragons' in an effort to raise investment and gain partnership. I participated in series 3.

Having been a big fan of the show through series 1 and 2, I submitted an online application, went through a lengthy phone interview, a longer 'on camera' audition and various stages of detailed vetting and screening before being accepted to appear in front of the notorious Dragons. If you apply and get to face the Dragons you know that you and your business have been under the microscope.

In Series III there are three of the Dragons remaining from Series II, Peter Jones, Theo Paphtis and Duncan Bannatyne. In addition there were two new Dragons, Richard Farleigh and Deborah Meaden who replaced Doug Richard and Rachel Elnaugh. I had an idea what to expect from Peter, Theo and Duncan but Richard and Deborah were unknown quantities. I did buy Richard's book though which let me know quickly that he's a shrewd, strategic investor with an original perspective on risk, he is also a chess master which seems to fit well.

I made the decision to apply because although have built the business single handed from scratch I have reached the point where I needed to scale up the function and output to meet demand. The basic premise of my pitch therefore was to seek investment to increase my manufacturing capabilities in order that I could provide sound products to suppliers and to integrate elements into manufacturers own play & sensory equipment. I would continue to serve individual clients and maintain the custom design & consulting arm of the business, all still under bingbangbong.

To present the business properly, I had reviewed, updated and learned my Business Plan. I believed strongly that I had a viable investment proposition in bingbangbong which is an established and functioning business. I also believed that my future creativity in this field would be of value. My mind generates new and fresh ideas continually, that is of great intrinsic value to myself and the business. It's inconvenient when trying to sleep but if I can't stop it then I may as well use it, which is how bingbangbong got started in the first place.

Standing at the bottom of those infamous stairs, waiting for the signal to enter the Den and the time spent delivering my pitch were probably five of the most stressful minutes of my entire life. If you've not done it, you can only imagine it. I'm afraid that as a result, my pitch wasn't as smooth as I had planned however the rest of my Den-time was comparatively more comfortable as I was speaking of things about which I am passionate.

As an example of 'there's more to come', I mentioned at one stage that there were potential future patentable items that I had designed. In hindsight I would have done better to have not mentioned this at all. Despite having identified a specific, sizeable market and proven demand which I have been servicing for a number of years, the inability to discuss specific intellectual property on camera seemed to put off Deborah. It is understandable from an potential investor's perspective but under a confidentiality and non-disclosure agreement I would have been able to have shared more detail.

Peter's comment about the business being based around me is fair insofar as it reflects my central critical role in designing products and shaping the business, however the areas intended for expansion such as marketing and manufacturing are those not requiring my individual input. I suspect that I could have presented in such a way as to have made this clearer but it was what it was on the day.

Overall though, the Dragons really liked my ideas, as the broadcast commentary said, "the Dragons loved it". Peter said "this is great, children all over will really go for this" Richard and Duncan said they would have considered investing just for the fun of it if the investment amounts were smaller, all were complimentary.

They did individually offer me some very relevant business advice for which I am very grateful, Peter Jones particularly, who advised me to work with individual play equipment manufacturers to create new and innovative sound play items and license those designs to them. Individually they wished me well with my business and asked for my website address.

The edit, I imagine for reasons of brevity, said that 'the pitch fell flat when I was quizzed on my cashflow' respectfully I disagree with that presentation, the small turnover reflects the fact that I am one person doing all the functions - to quote another dragon's previous advice "do as much as you can, with as little as you can, for as long as you can." I was there primarily because of that exact reason, the need to move forward and scale up.

Having now seen the first number of programmes of series 3, I believe that the Dragons are being much tougher and more candid than they were in previous series, if that is possible. I felt that I personally came away with more positives than negatives and I definitely feel that I got a supportive boost, I now know that others who were at my day of filming did not fare so well.

Am I glad that I did it? Yes, absolutely. I once walked barefoot through fire for real and I did it again here, feeling the same sense of baptism. It has been one of my life's enriching experiences and certainly forced me to become intimate with every aspect of my business. Would I recommend it to others? Yes in terms of the potential gains but I'd advise that you know your business and your market inside out, upside down & backwards and that you are prepared for them to poke holes in your business in unexpected places.

If this wee blog is read by any of the Dragons themselves then I thank you for your positivity and your encouragement. It does make a difference! I'll be happy to place sound in all your premises, at a discount naturally, but not too much, after all this is business :)

At least I wasn't toasted!

Paul

Many thanks to Steve McNicholas of Stomp for his generous permission to use an image from the Lost & Found Orchestra in my presentation.

I also want to say a big thank you to the Dragons Den production teams in Manchester and London. The people you see credited at the end of the programme, and some who aren't, all do a tremendous job. I had lots of fun with researchers Janine and Charlie in the preparation period and Charlie who worked most closely with me on the day itself was amazing, thank you. I'd also like to say a big thank you and hey to Stu, Sue, Serge, Julian, Ronald, Ian and others. The entrepreneurs formed a very supportive group of tremendously creative people - that's an instant business think tank in which someone should invest!

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Alpha

Snake1 (Male) - From Brandywell interactive Park - 4 of these connected underground to a 2m wide x 1m deep bespoke echo chamber / earth drum ©2005/06