EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS PROPERTY The ‘I Love You’ Bridge, Park Hill, Sheffield.
2016 Studies in Contemporary Architectural Theory Text and the City: Course Essay S1575010
Postcard Series: A Sea of Text Elizabeth Minchener, Decline. n.d. Available from: http://www.elizabethminchener.com/decline#1
Author - Varies. See reverse of each image.
- See End of Document Postcards were submitted as hardcopy.
Amber Richardson S1575010 Studies in Contemporary Architectural Theory University of Edinburgh Images on cover: Left - The I Love You Bridge, retrieved from Hawkins/Brown Architects (April 15, 2016). Right - EVERYTHING OF VALUE (April 2014.) Photographed by David Sillitoe. https://www.flickr.com/photos/david_nimrod/sets/72157641397213193/
Contents
p. 4-5
Introduction
p. 6-7
Context: Sheffield
p. 8-9
Context: Parkhill
p. 10-11
Context: The Bridge
p. 12-15
A Sea of Text
p. 16-19
Graffiti as Art
p. 20-23
The Role of the Architect
p. 24-25
The ‘I Love You’ Brand
p. 26-27
Summary
p. 28
Photo Credits
p. 29
Bibliography
p.30-33
Postcard Series
3
Introduction
In Park Hill social housing scheme, Sheffield, situated roughly 25m above the ground is a concrete bridge which provides the backdrop for the famous urban scrawl that reads: ‘CLARE MIDDLETON I LOVE YOU WILL U MARRY ME’ The text was immortalised with a neon overlay in 2012 (Woolcock 2012) as part of the Hawkins Brown/Urban Splash renovations, seeming to paradoxically broadcast the words whilst protecting them. A short distance away, on the face of a boarded-up door is a stencilled message stating: “EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS PROPERTY” The difference in presentation between these two messages is striking and will be a recurrent theme throughout the following essay. The juxtaposition between them, one memorialised during the renovations and the other simultaneously acting as a piece of prosaic information throws up profound questions regarding the interpretation of graffiti in an urban context. I aim to examine the significance of ‘I Love You’ in context on three levels: Park Hill within Sheffield, the bridge within Park Hill and the bridge as the canvas/frame. Progressing on from this, I will also seek to critically analyse the metamorphosis of the graffito into public art, as well as the role of the architect in this process.
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
4
Image reference [1] 1980 during the national steel strike, showing the extent of the picketing on Vulcan Road. The article appeared in The Times dated February 20th 1980 (page1 Issue 60555). The steel industry in Sheffield was decimated and two years later Hadfields (a key employer) was shut down. 5
Context: Sheffield, UK
1
Following on from the Industrial Revolution, Sheffield was a city centred on the production of stainless steel. In the promotional film City on the Move we see Park Hill in the context of Sheffield within the first 30 seconds. The film places us in the immediate surroundings of early 1970s Sheffield, a time of conscious cultural change from the smoky, industrial city of 1800s Northern England to the green, cosmopolitan one described by Wilfred Harrison. Sheffield’s strive for 2
modernity is similar to scenes in Jacques Tati’s Mon Oncle , where we see the comical contrast between archaic Monsieur Hulot and the modern, clean and anxious consumerist city. The humor within this snapshot of daily life was rapidly transformed into tragedy by the subsequent economic downturn in Sheffield during the late 1970s - 80s. Today, Sheffield’s once thriving heavy industries have almost completely disappeared. The Steel City lost its core economic identity and with it, it’s prosperity. A swathe of empty shop fronts and factories remain scattered across the city awaiting Sheffield’s current regeneration programme (Minchener n.d.). Examples can 3
be in the attached postcard series, ‘Decline’ , where artist Elizabeth Minchener extracts the forgotten faces of the city’s derelict architecture. In some instances, graffiti has awakened these monuments of economic decline. The spaces of past-activity have become non-places, just a backdrop to present life.
1 City
on the Move. Film. Directed by Jim Couthard and Marie Luise Batzner-Coulthard. Produced by Jim Couthard. Performed by Wilfred Harrison. Sheffield
Publicity Department, 1972. The film reached fame from it’s use in opening titles of the 1997 comedy, The Full Monty. 2
Jacques Tati, Mon Oncle. (1958)
3 Minchener, Elizabeth. Decline. Sheffield. http://www.elizabethminchener.com/decline#1
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
6
Image reference [2]
Image reference [3]
Still image taken from Jacques Tati, Mon Oncle (1958)
Still image taken from City on the Move (1972)
7
Park Hill, Sheffield
4
Park Hill opened as a council housing estate in Sheffield, South Yorkshire in 1961 in a period of post-war obsession with modernity. Built on a site previously home to back-to-back housing, waste ground, quarries and steep alleyways, it was nick-named “Little Chicago” in the 1930s by surrounding residents due to the violent gang crime known to occur within. Like all around it, this model estate was subject to the chill wind of industrial decline blowing throughout the 1970s and by the end of the 1980s, Park Hill had become synonymous with Sheffield’s social decay. As the city struggled, tensions and frustrations began to show on the face of Park Hill. The streets in the sky were no longer a place for the morning milk float, but instead an advantageous location for overhead snipers; the pockets of open space leant themselves to quick getaways and the scheme became home to 5
extremes of human experience: from marriages to murders . With work commencing in 1998, today we see a site of regeneration and renewal with developer Urban Splash and Architect Hawkins Brown working to refresh the façades and modernise the flats for predominantly private rent. Echoes from its past are still visible today, as seen in the Park Hill postcard series. At this point I seek to highlight the significance of the ‘I Love You’ bridge in amongst the sea of politically and socially charged text not only within Sheffield, but Park Hill itself. I would like to bring your attention back to the title text within Park Hill that reads “EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS PROPERTY”. At this stage it could be said to relate to the loss of socially rented apartments and the vibrant South Yorkshire culture within the newly renovated scheme, and the resultant “class-cleansing” (Hatherley 2011).
4 Original 5
design by Jack Lynn and Ivor Smith, (1957-61), renovations and remodelling by Studio Egret West and Hawkins Brown (1998).
“The I Love You Bridge,” narrated by Penny Woolcock, BBC, Mar 23, 2012, http://www.bbc.co.uk/programmes/b01302s4 Caretaker for Park Hill accounts how one day he was moving a body from a flat, the next he was helping a bride into the service lift.
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
8
Image reference [4]
Image reference [5]
Park Hill in the 1960s as a well-designed and maintained scheme.
One of several pubs located within the Park Hill complex.
9
The Bridge
The selection of the bridge by the graffitist, Jason, to paint his declaration of love is in some ways predictable. Firstly, it can be described in Michel de Certeau’s 6
terms as an example of Spacial Syntax: a space that isn’t a place, but has become movement . This kind of ‘non-place’ is where graffiti is most likely to occur. 7
Secondly, its location at around 25m above ground makes the text visible from further afield . Park Hill’s complex journey from optimistic Le Corbusier-inspired post-war housing to a site of dereliction and disrepair is visually represented by the scrawls of text scattered across the scheme, but none more blatantly so than the ‘I Love You’ bridge. Written in full view of the city, the graffitist’s disconnection and lack of respect for the estate couldn’t be more obvious. 8
As Sonja Neef states: “by tattooing the walls [we] free them from the architecture and turn them once more into living, social matter”. This is reflected in Minchener’s series Decline (Minchener n.d.) The text reanimates the forgotten façade into an exhibition space, giving what had become a generic (or cliché) place of passing, distinction. Clearly the significance attached to graffiti is dependent on the perspective of the viewer.
6 7 8
Sonja Neef. Graffiti: “Passages of Writing”. (2008): 271. Neef quoting Michel de Certeau “The I Love You Bridge,” As the graffitist Jason explains, he wanted Clare Middleton to view the writing from the Odeon around 500m away. Sonja Neef. Graffiti: “Passages of Writing”. (2008): 275 from Jean Baudrillard, ‘KOOL KILLER, or The Insurrection of Signs’ in Symbolic Exchange and Death, trans,
Iain Hamilton Grant (London 1993): 80,82 EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
10
Image reference [6] Park Hill ‘ I Love You’ before the neon installation.
11
A Sea of Text
9
10
Once our attention has been drawn to the spread of graffiti scrawls , considered artwork and gang tagging within the scheme , an initial query is raised: what makes ‘CLARE MIDDLETON I LOVE YOU WILL U MARRY ME’ worthy of memorialisation over the other fragments of text? Firstly, the well-chosen location of the scrawl lends itself to preservation as it is visible from afar, aiding in publicising the rebranding of Park Hill. In addition, ‘I Love You’ is one of the few examples of impulsive criminality that didn’t aim to hurt, harm, offend or challenge. It did not seek to change the status quo within Sheffield, but merely convey a message from one lover to another. The tensions between districts in Sheffield are visible in the text on the walls. Gang tagging is particularly prevalent throughout Sheffield, with the S3 and S4 postcode tags being some of the most well-known. It is broadly regarded that these gangs form as a way of establishing a sense of belonging, with the tags themselves serving as a territorial mark. This further highlights the context that I love you sits within: the socially charged text that is a mark of ownership or warning to others. In contrast, ‘I Love You’ seems to almost stand oblivious to this – a beaming scrawl of promise as the inscriber makes a declaration of his future to the world. The process in which the architect selectively isolates a memory to preserve is explained within Herscher’s text: In Ruins: Architecture, Memory and Countermemory. Herscher describes how monuments are vessels transforming memories into physical form, allowing the individuals surrounding the event to move on. In contrast, a countermonument Is designed to stimulate the memory of the event itself. The process in which Hawkins Brown has selected the ‘I Love You’ text would be a key example of this process of memory isolation and preservation, and call me to define it as a monument seeking to put past events behind us.
9 Attached 10 Gangs
Post Card Series – Park Hill
of Britain: Sheffield (Kemp and Kemp 2013) explains George Mooney and Sam Garvin’s gang wars in 1920s Sheffield to modern day turf wars.
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
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Image reference [7] Sheffield S1: Word Up #12. It’s never too late.
Image reference [8] Sheffield S7: Orange No.3. April 2013
13
11
This destruction of personal voice is taken to the extreme by the omission of Clare Middleton’s name. The hidden tragedy
of the mark is left to fade
into the concrete. Skimming the story from the text, and replacing it with a false narrative echoes WG Sebald’s use of graffiti in his cover. It is a bold move in burying Park Hill’s past, and instead replacing it with a narrative of optimism and love. It feels as though we have been transported into 1970s Sheffield as seen in City on the Move, as Sheffield once again pushes to redefine itself as an up-and-coming location, rid of the 1960s industrial smoke in the air and 2000s gang crime on the streets. Herscher’s construction and destruction of architecture debate presents itself here in the sense that by creating the art we lose the graffito. The construction of the neon overlay could be regarded as counter intuitive as we create a monument by destroying the the personal voice. Turning I Love You Will You Marry Me into a monument by the parasitic-fixing of neon lights over the text could be seen as a way of enshrining the memory of Park Hill’s disrepair, but by anonymising the text a very blatant omission is being made of the true reality of how the text came to be, and at the same time the wider social situation within Sheffield. The text was written in April 2001, not from the darker days of factory closure and unemployment but during the more recent days of renovation.
11 Clare
Middleton passed away in 2007 at the age of 30 from cancer after what can only be described as a difficult life. Graffitist Jason accounts how Social
Services actively discouraged their association whilst her children were on the child protection register (Middleton was known to be an amphetamine user) as the graffitist was known to them from his personal upbringing in care. BBC Radio 4.
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
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Image reference [9] The immortalised display versus Clare Middleton.
15
Graffiti as Art
12
“When inscriptions cease to be seen as polluting (in the sense of Mary Douglas 1966) they cease to be graffiti and instead become public art”.
The aggressive overlay of neon lights has done something radical – it has transformed what was once an inscription specific to place, the action of an individual writing oneself into the landscape, into public art. The scrawled handwriting of the painter has been mimicked by the bend of the glass tube in a way that the architect must have deemed sensitive but could be described as the art inserting itself parasitically, whilst severing the connection between inscriber and the inscribed. As Neef explains, the text has been moved from the ‘ghetto’ into the museum.
13
Yet this mimicking of the original scrawl calls to question the gesture,
much like a signature, graffito is an unrepeatable mark – “simultaneously familiar and exceptional.”
14
15
Manipulating the handwritten scrawl into an illuminated display echoes the Pips:Lab light performance graffiti , but a key element differs - graffiti’s role as live 14
performance rather than permanent inscription . The Graffitist never intended the writing to remain as a permanent feature within Park Hill, he didn’t inscribe or carve the words into the concrete but instead it was the momentary sweep of the arm to voice an urgent concern. In fact, he believes that the loss of 16
Clare Middleton from the memorialisation of the text is a betrayal to the mark’s true origin. The illuminated lettering is overlaid on “unspecific ruin”, highlighting the aesthetic quality of the graffito. As Neef believes, this “does not contribute to [the graffito’s] ‘force’ but is a ‘sign of weakness’.
12
merely
17
David, Bruno, and Meredith Wilson. Spaces of Resistance. (David and Wilson, Spaces of Resistance: Graffiti and Indigenous Place Marking in the Early Euro-
pean Contact Period of Northern Australia 2002): 43 13
Sonja Neef, “Graffiti: Passages of Writing”: 278
14 Beatrice 15 PIPSlab
Fraenkel, “Signatures” in A-M, Christin (Ed), A History of Writing: From hieroglyph to multimedia. (Paris: Flammarion, 2002): 315.
Light Graffiti. Available from: https://www.youtube.com/watch?v=5BcX6YA2VeU
16 Sonja
Neef (In Fleisser’s sense): 281
17 Sonja
Neef: 278
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
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Image reference [10] Installation of neon.
Image reference [11] The illuminated display.
17
So is the text still considered graffiti? In order for the text to be considered graffiti in the eyes of David and Wilson it must fulfil the following criteria: 1. Threaten the status quo. 2. Outside the censoring arm of the power elite 3. Polluting/vandalistic quality Therefore, when inscriptions neither challenge the status quo whilst simultaneously ceasing to be seen as polluting they cease to be graffiti and instead become 18
public art. Again, I would like to bring you back to the attached Park Hill postcard series that reads: EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE. At this stage, it could be said that Park Hill is denying the identity of the past residents, in
effect it has been stripped of its soul. I would argue that
the memorialisation of this stencilled message would be of equal significance and rhetorical power. In some respects, the conversion of it into public art would be more effective as a countermemorial in stimulating memories of Sheffield’s journey. 18
As graffiti offers insight into the relationship between inscriber, inscription and societal power relationships:
“inscriptions are not simply writings in place, but
the actions of people who write themselves into the landscape and in the process encroach on the sanctuary of other personal spaces”.
19
I Love You was at one level
a message between two doomed lovers, but is no longer. The relationship between inscriber and inscribed has been severed and replaced with a wider message from the inhabitants of Sheffield to Park Hill – I LOVE YOU WILL U MARRY ME.
18 David, Bruno, and
Meredith Wilson. Spaces of Resistance. (David and Wilson, Spaces of Resistance: Graffiti and Indigenous Place Marking in the Early Euro-
pean Contact Period of Northern Australia 2002):43 19 Ibid
: 44
20 Ibid
: 42
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
18
Image reference [12] PIPSLab - captures the fleeting temporality of the marks. Light Writing Guide - still from video - 2.11
Light Writing Guide - still from video - 2.15
19
The Role of the Architect in Graffiti Preservation
The Reichstag building in Berlin originally housed the Imperial Diet of the German Empire, but following severe damage during WWII was reduced to unoccupied ruins. In October 1990, architect Norman Foster began to reconstruct the building, selecting to use the politically charged ruins as a key driving force in his design: “the layers of history were peeled away to reveal striking imprints of the past - stonemason’s marks and Russian graffiti − scars that have been preserved as a ‘living museum.”
21
Within Foster’s Reichstag remodelling, the significance of framing text is illuminated. Firstly, the way in which Foster uses the design of the renovations to outline 22
graffiti pieces: “fragments of the older walls act as shields signaling territorial boundaries”. This proves a successful way of displaying the fragments of history he wishes to preserve whilst weaving memories into the fabric of the new construction. In this way, architects can appropriate graffiti in order to voice a specific narrative. By manipulating the context within which the graffiti sits, one can manipulate the message. The decision to embed the Russian scrawls into the modern scheme was done as a “mechanism to guarantee that critical voices stay at bay”
23
. This referencing
of World War II and the massive losses suffered could be deemed as culturally appropriate within the setting of the German Parliament. However, the inclusion of such intense suffering would be wholly inappropriate within the residential setting of Park Hill, where developers seek to offer a blank canvas to new homeowners. For this reason, I believe Hawkins Brown aimed to preserve only part of original text - fragmenting the memory. Rather than allowing the renovations to slavishly echo the text, the designer has superimposed lighting over the original inscription. Where Norman Foster sought to frame and preserve a collective German memory, Hawkins Brown is manipulating the material they have to construct a new one. 21 Foster 22
on the Reichstag Reconstruction. Source: http://www.fosterandpartners.com/projects/reichstag-new-german-parliament/
Ella Chmielewska analyses Foster’s use of the Soviet scrawls in the Reichstag renovations. See “Writing on the ruins: Graffiti as a design gesture”. EAR, no.31,
2008: 8 :8
23 Ibid
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
20
Image reference [13]
Image reference [14]
Norman Foster’s renovatios and the Soviet scrawls.
Norman Foster’s renovatios and the Soviet scrawls.
21
In summary, there seem to be differing approaches and degrees of consideration in both schemes. A criticism of Hawkins Brown would be their use of graffiti as a design gesture within Park Hill as it done in a way that makes the text appear as branding for the scheme, whereas in Foster’s Reichstag, the fragments of text are woven into restored walls, using the historic stone as a frame. The decision of London-based firm Hawkins Brown to use neon lights is an attempt to brand the place as ‘high art’. With no cultural or contextual connection to Sheffield, it is as if the bright lights of the capital are soaking into Park Hill. The addition the of neon layer in memorialising I Love You Will U Marry Me is a violent display of “architectural palimpsest”.
24
The revelation of the true story behind ‘CLARE MIDDLETON I LOVE YOU WILL U MARRY ME’ highlights the extent and depth of the false narrative surrounding the words. In this respect, ‘CLARE MIDDLETON I LOVE YOU’ and ‘EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS PROPERTY’ are actually two examples of the same narrative.
24
Chmielewska, TEXT and the CITY: Writing on the Ruins. (Vol. 31. Edinburgh: Edinburgh Architecture Research, 2008): 12
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
22
Image reference [15] “INSCRIPTIONS ARE NOT SIMPLY WRITINGS IN PLACE, BUT THE ACTIONS OF PEOPLE WHO WRITE THEMSELVES INTO THE LANDSCAPE AND IN THE PROCESS ENCROACH ON THE SANCTUARY OF OTHER PERSONAL SPACES” (Spaces of Resistance, Bruno David & Meredith Wilson p.42). The poignant loss of Middleton is a very conscious decision by Hawkins Brown.
23
The ‘I Love You’ Brand
The next segment highlights the extent to which ‘I Love You’ has been stripped of its material surface and context. Much like the Reichstag graffiti, I Love You has grown to become a symbol of the city’s conflicted history . ‘I Love You’ could be said to represent Sheffield’s resilience in the face of adversity. As I have already stated, the graffito is a fleeting mark, a momentary impulse that cannot be repeated but remains locked in that specific place in time. For this reason, one must challenge the authenticity and ethics of attempting to freeze-frame the event by stripping the words from their frame and retelling them in various forms. I’m talking about the ‘I Love You’ brand – from pillow cases to strawberry beer. Extracting the text as an aesthetic leaves the viewer without the “original grounding in the marked surface and larger spatial context the text”
25
. The severing of the
connection between the material and the fragility of the surface translates the graffito into something else entirely: a detached rhetorical device. As described by Chmielewska: “once an inscription is transposed into an image – whether in a designed script, a photograph, or an exhibition – it transforms into an aesthetic statement or a record set within the new frame”. Carefully selected and re-produced on each bottle – the graffiti is forced into a different site of display and is another example of 26
overlaying text on unfamiliar ruins.
25 Ibid: 13 26
Ibid: 4. Ella Chmielewska on the illustration for the featured interview with W.G. Sebald from the February 22, 2003 issue of BOOKS, The Globe and Mail’s
(a Canadian English-language nationally distributed newspaper) weekend supplement. The credits provided on page 2 indicate CORBIS/MAGMA and Cinders McLeod/Globe and Mail. EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
24
Image reference [16] ‘I Love You Will U Marry Me’ pillows inside one of the renovated apartments.
Image reference [17] Thornbridge Strawberry Blonde Ale
25
Summary
As described by Woolcock during her investigations: “we thought this was going to be quite a lighthearted little piece…”
26
The context that the graffito sits within is
essentially the page on which we read, the frame that gives the text a voice. When rewriting the context surrounding the marks, we lose the loud, personal voice and replace it with a muted and manipulated version of ‘high art’. The revelation of the tragic love story between two individuals has removed the innocent anonymity of the text and called it to represent something much more true to the citizens of Sheffield, whilst the cleansing of Park Hill into a cosmopolitan, modernised housing complex comes hand-in-hand with the simultaneous white-washing of Park Hill’s past. So, if we assess this from Herscher’s perspective, ‘I LOVE YOU WILL U MARRY ME’ functions as a monument with ‘EVERYTHING OF VALUE’ a countermonument – a brutal and honest reminder of those darker days within the Park Hill estate, and Sheffield.
26 Penny Woolcock, The
I Love You Bridge. BBC Radio 4. (2012)
EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill.
26
Image reference [18] Connection between new Park Hill and old: the ‘I Love You’ bridge
27
Photo Credits (All images were accessed on April 5, 2016)
[1]
Gordon Clement Hobbs (1920-1999) - The Hadfield Years. Source: Chris Hobbs. Available from: http://www.chrishobbs.com/gchobbs2.htm
[10]
Joey Ramone, lighting up the Park Hill I Love You Bridge, 2011, Digital Image. Available from: https://www.flickr.com/photos/
[2]
Still image taken from Jacques Tati, Mon Oncle (1958).
joey7/5823900629/in/photostream/
Available from: http://www.archdaily.com/259325/films-architec
[11]
Hawkins/Brown. Available from: http://www.hawkinsbrown.com/projects/
park-hill-sheffield
ture-my-uncle [3]
Still image taken from City on the Move (1972) Sheffield Publicity
[12] PIPS:Lab “Light Writing Graffiti Tutorial by Pips:lab.” 2000
Department. Available from: https://www.flickr.com/photossheffli
Source: https://vimeo.com/6572437
braries/6820627176
[13]
Foster, Norman, Frederick Baker, Deborah Lipstadt, David Jenkins. Page
[4]
Park Hill 1960s. Source: Sheffield Salon.
spread from: The Reichstag Graffiti.” (Berlin: Jovis, 2003)
Available from: http://www.sheffieldsalon.org.uk/2012/07/our-house-
[14]
Foster and Partners, The Reichstag Graffiti. Digital Image.
park-hill-flats-and-the-housing-crisis/park-hill-1960s/
Available from: http://www.fosterandpartners.com/projects/reich
[5]
Matt G., Scottish Queen. May 31, 2008. Digital Image.
stag-new-german-parliament/
Available from: https://www.flickr.com/photos/crash
matt/2540061496/in/album-72157605358639184/
[6]
Park Hill ‘ I Love You’. n.d. Source: Broken Culture.
Available from: http://www.broken-culture.co.uk/park-hill-%C2%B4i-
love-you%C2%B4/
[15]
Hawkins/Brown. Screenshot from promotional film: “Park Hill, Sheffield”. YouTube Video. June 5, 2015. http://www.hawkinsbrown.com/projects/park-
hill-sheffield
[16]
In pictures: New Park Hill flats in Sheffield unveiled. September 2, 2011
Source: BBC. Available from: http://www.bbc.co.uk/news/uk-england-south-
yorkshire-14746712
[17]
Scott Merrylees, Brewery’s ale raises a toast to Park Hill. (Sheffield Telegraph
[7]
S1:Word Up #12. It’s never too late. Source: Little Bits of Sheffield. Available from: https://steelcitystatic.wordpress.com
[8]
Ibid. S7: Orange No.3. April 2013
June 11, 2015). Available from: http://www.sheffieldtelegraph.co.uk/news/
[9]
I Love You Will U Marry Me. Source: This is a designated graffiti wall.
brewery-s-ale-raises-a-toast-to-park-hill-1-7310448
[18] Joey Ramone. I love you, will U marry me, at Park Hill Sheffield 1. 2011, Digital Image. Available from: https://www.flickr.com/photos/joey7/5935216480/ in/album-72157627377306630/ EVERYTHING OF VALUE HAS BEEN REMOVED FROM THIS SITE: The I Love You Bridge, Park Hill. 28 Mar 25, 2014. Available from: https://designatedgraffitiwall.wordpress.com
Bibliography / Videography
Baudrillard, Jean. ‘KOOL KILLER, or The Insurrection of Signs’ in Symbolic Exchange and Death, trans, Iain Hamilton Grant. (London, 1993): 80,82 Bruno, David., and Wilson, Meredith., “Spaces of Resistance: Graffiti and Indigenous Place Marking in the Early European Contact Period of Northern Australia.” In Inscribed Landscapes: Marking and Making Place. (Honoluu: University of Hawai’i, 2002): 42-45 Chmielewska, Ella. “Framing [con]text: graffiti and place,” Space and Culture. vol 10 no 2 (2007): 145-169.
-
“Writing on the ruins: Graffiti as a design gesture”. (EAR, no.31, 2008): 5-13
Couthard, Jim. City on the Move. Film. Directed by Jim Couthard and Marie Luise Batzner-Coulthard. Performed by Wilfred Harrison. (Sheffield Publicity Department, 1972). Available at: https://www.youtube.com/watch?v=ta22CtZx7sw de Certeau, Michel. The Practice of Everyday Life. (Berkeley: The University of California Press, 1988) Foster, Norman, Frederick Baker, Deborah Lipstadt, David Jenkins. The Reichstag Graffiti. (Berlin: Jovis, 2003). Fraenkel, Beatrice., “Signatures.” In A History of Writing: From hieroglyph to multimedia, by Anne-Marie Christin, (Paris, 2002): 315 Gangs of Britain: Sheffield. Directed by Simon Lloyd, produced by Alaska, performed by Gary Kemp and Martin Kemp. (2013) Hatherley, Owen. “Regeneration? What’s happening in Sheffield’s Park Hill is class cleansing.” The Guardian, September 2011. Herscher, Andrew. “In Ruins: Architeture, Memory, Countermemory.” Journal of the Society of Architectural Historians, (University of Michigan, December 2014): 464-477. Hobbs, Chris. “The Hadfield Years.” 10 31, 2012. http://www.chrishobbs.com/ (accessed 03 15, 2016). Minchener, Elizabeth. Decline. Sheffield. Reproduced from http://www.elizabethminchener.com/decline#1 (accessed 03 04, 2016) Neef, Sonja. “Graffiti: Passages of Writing”, in Imprint and Trace: Handwriting in the Age of Technology, (London: Reaktion Books, 2008):267-295 PIPS:Lab “Light Writing Graffiti Tutorial by Pips:lab.” Vimeo video. 2000. https://vimeo.com/6572437 Sillitoe, David. The utopian estate that’s been left to die. (The Guardian, Mar 5, 2014). Tati, Jacques. Mon Oncle. (1958) Woolcock, Penny. “The I Love You Bridge,” produced by Frances Burns, BBC, Mar 23, 2012, http://www.bbc.co.uk/programmes/b01302s4
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