LIVE PROJECT 03 2011
PORTLAND WORKS...
...A VISION
CONTENTS
foreword by Julia Urdall
9
01
INTRODUCTION
13
portland works
16
live project
17
purpose of the document
19
methodology
21
02
HISTORY OF PORTLAND WORKS
by Vicky Ryves
23
timeline
30
03
ANALYSIS
33
understanding portland works
37
diagrams
43
inhabited cad plans
57
04
STRATEGIES
61
creative publicity
65
event marketing case study
73
portland works as educator
83
05
VISIONS
93
creating a vision through participation
95
using the ‘model’ as a decision maker
105
06
REFLECTION
111
07
THE BEGINNING
117
bibliography
129
the live project team
130
acknowledgements
131
foreword
9.
foreword
Portland Works is a Grade II* Listed integrated cutlery factory situated just outside Sheffield City Centre. A hundred years ago, it was the birthplace of stainless steel manufacturing; today it is a hub of craft and innovation, home to a community of diverse and thriving businesses including metalworkers, engravers, artists, wood workers and musicians. Over two years ago, the landlord made a planning application to close the works and to convert it into flats; this would have been the end for many of the businesses based there who could not afford to relocate machinery or could not find alternative suitable space in the city. As a response to this a campaign grew form tenants and local activists, first to oppose the closure and then to propose alternatives that would retain Portland as a place of making. We have now formed an Industrial and Provident Society (BenCom) and launched a community share issue for the purchase and refurbishment of the works. Through the IPS structure, tenants and campaigners plan to develop Portland Works for the benefit of the local community, retaining it as a place of work and developing opportunities for heritage and education on site. This will involve social and physical development; of networks, relationships and the building itself to enable this to happen. In order for this to be
foreword
10.
meaningful, sustainable and successful, this ongoing process will require a careful understanding of the potentials of this rich and unique place. By initiating the Portland Works Live Project we sought to take advantage of a unique opportunity to collaborate with Sheffield University MArch Architecture Students to design proposals for the conservation and development of the Grade II* listed building. The Portland Works project is at a critical point; shares have been issued for the purchase of the building and a business plan has been developed that proposes how it will be managed for the benefit of the community. However, a vision for how Portland Works contributes to this future as a building is still at the early stages. We need to explore how our rich understanding of the potential of the people and place can become more tangible and durable over the next few years, expressed through the infrastructure we provide, the spaces we create and our priorities for conservation and repairs. The Live Project is a major step forward in this process. The LP team have worked closely with the PW Buildings Working Group and the tenants at Portland Works to understand the concerns,
foreword
11.
desires and potentials of this place in a way that would not be possible in many architectural projects. They have devised a series of tools that will enable us to develop a meaningful and sensitive vision for the site. We envisage that these tools will allow us to speculate on this future together, bringing our concerns and creativity, be it round a model, a collage or a skills audit; each offering a new way to see Portland Works and its possibilities. The LP team have also contributed their ideas, time and care to the campaign, often being based at Portland Works and becoming part of the wider project and friends with many of the PW team. We hope that this process has allowed us to grow together, sharing and developing skills, understandings, meanings and values... ...and the Live Project team didn’t get dripped on too much in the meeting room at the ‘Works!
Julia Udall On behalf of the Portland Works Committee
01
INTR ODUC TION
“The outcomes of these student projects have been and will be used as source material for the development of the website, marketing strategy, business plan and ‘vision’ for the works.”
P76, “Reimagining Portland Works” e-book
introduc tion
16.
por tland wor ks
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4
Portland Works is a Grade II* Listed cutlery factory and the first place in the world stainless steel cutlery was manufactured, almost 100 years ago. Over the past 40 years its use has diversified and is now home to metalworkers, musicians, artists and heritage crafts people. it is an affordable, dirty, noisy and messy place that allows for innovation and creativity. Tenants range from knife makers to artists,musicians and chastity belt makers. Two years ago the landlord made an application to close the works and convert it into 77 bedsit flats – for many this would have been the end of their business. Tenants and activists fought first to oppose this and then to propose alternative futures that would allow it to continue as a place of making. Portland Works is now Sheffield’s first ever community share issue – the aim is to purchase and refurbish the building, developing heritage and educational opportunities on site.
e nt ra n ce to p o r t l a n d wo r k s
introduc tion
17.
the live projec t
The Live Project collaborated with the “Save Portland Works� campaign and tenants of Portland Works. Portland Works is an important part of Sheffield’s history: the Works were the first place in the world to produce stainless steel cutlery and manufacturing continues there today. The campaign is in the process of raising the funds to buy the works as a Community Benefit Society, aiming to preserve the building, develop the skills and businesses that exist within it. The project fitted into the framework of strategies the client was exploring for an environmentally, socially and economically sustainable future for Portland Works. The Live Project investigated long and shortterm strategies to imagine a future for the building by developing a tool to explore how the building could be managed and through engaging with the local community.
l i ve p ro j e c t information sheet p o s te d o n t h e n o t i ce b o a rd
introduc tion
19.
pur pose of the document
RIBA PW cover:Layout 1 12/05/2011 11:12 Page 1
this vision d o c u m e nt s builds on the ex i s t i n g “ R e I m a gi n i n g Po r t l a n d Wo r k s” e-book. I t i s re fe re n ce d to t h ro u g h o u t t h i s d o c u m e nt and can be a cce s s e d h e re :
ISBN 978-1-908441-00-3
ht t p : / / w w w. p o r t l a n d wo r k s. co. u k / re s e a rc h / re i m a gi n i n g p o r t l a n d -wo r k s the-book
Re-Imagining Portland Works
This Vision Document is the start of the preparation of more detailed development proposals for Portland Works. It builds upon the previously published “Re-Imagining Portland Works” e-book and propose a set of tools in order to enable the social and environmental sustainability of the Works. This document will act as a guide for briefing for professionals involved in future planning proposals at Portland Works. It provides further information about future developments and additional tenants could support the allocation of Portland Works as community share space. This Vision and Development document is being brought forward under the auspices of Sheffield University’s School of Architecture Live Project. The Live Project group has worked closely with Portland Works’ Steering Committee, Building Works Group, Marketing Group and tenants themselves to ensure that the document’s preparation meets the community’s aspirations for this important area.
introduc tion
21.
methodology
The methodology conceived for this project considers architecture as a social construction and was designed to initially uncover the hidden, everyday narratives of Portland Works. This project is a step towards using architectural and sociological methods to create a set of tools with which to further interrogate the redevelopment of Portland Works. The stories that unfolded reveal the importance of our insider status within the workers’ collective. Initially the Live Project group used methods of participant observation. Basing themselves primarily at Portland Works during the project, the team was able to investigate and observe the everyday working practices at the Works. The benefit of this approach is that it is not a method that a traditional architect would use when collecting information and surveying the building. As The research took the form of informal conversations, participation and observation of the everyday occurrences at Portland Works. This was followed by discussion, analysis, diagramming and self reflection.
02
HISTORY OF POR TLAND WORKS
Vick y R y ves
“Many similar buildings and associated working class housing were demolished within the city centre throughout the 1950s and 1960s as part of a national ‘slum clearance’ program.”
P20, “Reimagining Portland Works” e-book
John Street Triangle
Stag Works
Portland Works
histor ical introduc tion
(left) p o r t l a n d wo r k s i s s i t u ate d n ex t to s t a g wo r k s a n d within the john s t re e t t r i a n g l e ( r i g ht ) ex a m p l e o f e a r l y s t a i n l e s s s te e l c u t l e r y m a d e at p o r t l a n d wo r k s
27.
As part of Sheffield’s cultural heritage, Portland Works demonstrates everything exciting and innovative about the Steel City’s tradition of industry. Still a working environment Portland Works opened one hundred and thirty five years ago and was at the absolute centre of the steel industry boom for over a century. Commissioned by R. F. Mosley, it was the first factory to produce stainless steel cutlery that established Sheffield as not only at the heart of the Industrial Revolution but as a world leading production centre. Stainless steel was discovered by Sheffield born Harry Brearley. He created‘rustless steel’ during his time at Firth and Brown Research Labourites in 1912 during a commission to created an erosion resistant steel for gun barrels. Harry’s material was disregarded for use in the armaments trade but Harry suggested it could be used in Sheffield’s cutlery industry. Initially, Sheffield’s cutlers claimed that Harry’s steel was unusable as it was too difficult to forge, grind and harden. This is where Portland Works came into play. Harry purchased some of the steel from his employer and arranged for cutlery to be made, under his supervision, at the works. He worked closely with Ernest Stuart, the cutlery manager at R. F. Moseley, and during corrosive tests on the cutlery Stuart suggested the name “stainless steel.” Portland Works really is the birth place of stainless
Players, Band
Singing Knives Records Sequoia Sound Studio Scrap Studio The Gentleman, Band Big Eyey Family Players, Band Leslie Wilson, Artist Mary Sewell, Artist Nuala Price, Artist Clare Hughes, Artist Shelley Hughes, Artist RJS Joinary Walmar Products Lynthorpe Woodworks Quality Cabinetry PLM Silver Plating Squarepegs PH Engineering Portland Electrical Stuart Mitchell Knives Shaw Engraving Iron Anchor Wigfull Tools 1979 1978
1879
1883
1888
1893
1898 1901
1905
1912
1919-1920
1934
Ellis Frost, caretaker John Thomas Johnson & Son, steam manufacturing joiners W. Mammott & Sons, electro-plate manufacturers George Gill, spring knife manufacturer John Green & Sons, Spring Knife manufacturers
1957
Clark Company Ltd. (The Alexander Cutlery Works)
R. F. Mosley, cutlery manufacturer
R. F. Mosley & Co. Ltd., silverstmiths & cutlery manufacturer R. F. Mosley & Co. Ltd., cutlery manufacturer
1988 19911993
1970 O. Hobson (engineers), general & precision engineers Hado Litho Ltd., lithografic offset machine plate manufacturers Fabricated Products, fabrication in steel Swales & Hobson, tyre pressure gauge manufacturers Wardle & Mathwes Ltd, pewter-ware manufacturer Allen’s Silversmiths (L. Allen proprietor)
George Gill, cutlery manufacturer William H. Green, spring knife manufacturer
R. F. Mosley, manufacturer of table cutlery
1984
R. F. Mosley & Co. Ltd., cutlery manufacturer
2011 2010 2009
histor ical introduc tion
29.
steel. This type of innovation continues to be seen at the Works today as they remain home to a series of workshops and small businesses as in 1876. The Works provide inspiration to several artists and musicians and are home to the exciting creations of Stuart Mitchell Knives and the unique patented designs of Square Pegs. The Works’ industrial heritage can still be witnessed on site today, as the 1870’s forge is still in action on a daily basis during production of Wigful Tools products. The site also boasts the original line shafts that powered R.F. Mosley and Co.’s hammers and drop stamps, as well as an old grinding wheel in the courtyard. Even the chimney has an historical story to tell. The chimney was halved in size during the Second World War to avoid attacks from Hitler’s Luftwaffe. The Grade II* listing demonstrates the national, and more importantly, local significance of the building. On a recent tour of the Works I was stuck by the many personal connections held by those visiting, as ex-workers, granddaughters of buffer girls and members of the community shared their memories. This is what makes Portland Works so integral and imbedded in Sheffield: it is our history. (left) t i m e l i n e s h ow i n g te n a nt s at p o r t l a n d wo r k s t h ro u g h o u t i t s h i s to r y
Vicky Ryves MA History student at The University of Sheffield
LIVE PROJECT TIMELINE
2
WEEK 1 MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
SUNDAY
3 MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
SUNDAY
MONDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
PARTICIPATION
CHRISTINA’S BIRTHDAY
PAM
ANDY COLE
PECHA KUCHA EVENT
REACHING OUT
PAUL
MEET & GREET
RICHARD
STUART
LESLEY
JIM
GENTLEMEN
PAM
SHELLEY COLE
ANDY COLE
EXPLORATION AND INVESTIGATION
JIM
PORTLAND ELECTRICAL
MEET & GREET
PAM
TRAYS PAUL
ANDY COLE
LIVE PROJECT MEETING MEETINGS
MICK
SANDWICH BOARD
COURTYARD ACTIVITIES
STUART
PAUL
PAUL
CLIENT MEETING
CLIENT MEETING
LIVE PROJECT MEETING
LIVE PROJECT MEETING
LIVE PROJECT MEETING
MARKETING MEETING
CLIENT MEETING
LIVE PROJECT MEETING
LIVE PROJECT MEETING
STEERING MEETING
LIVE PROJECT MEETING
CLIENT MEETING
SATURDAY
VIP
4 SUNDAY
5 MONDAY
TUESDAY
MICK
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
SUNDAY
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY
SATURDAY
SUNDAY
MONDAY
JIM
PORTLAND ELECTRICAL
SHELLEY COLE
LESLEY
EVENING EVENT
GENTLEMEN
STUART
FORGE PRESS
LIVE PROJECT MEETING
CLIENT MEETING
Workshop
Drink
VIPVisit
Research
CaseStudy
University
Conversation
Interviews
Media
Meetings
Surveys
Reports
Events
TenantsNeeds/Desires
Food
Cake
Modelling
TUESDAY
WEDNESDAY
THURSDAY
RICHARD
SHELLEY COLE
LESLEY
PORTLAND ELECTRICAL
GENTLEMEN
LIVE PROJECT MEETING
LIVE PROJECT MEETING
FRIDAY
FINAL PRESENTATION MODEL WORKSHOP
WHAT’S ON SHEFFIELD
DESIGN DAY
FINAL PRESENTATION
OPEN EVENT
OVERVIEW
VIP
JIM
Exhibition
EVENING EVENT
YOUNG PEOPLE VISIT
MICK
LocalConnections
PW’s SIGN OPEN EVENT
YOUNG PEOPLE VISIT
Marketing
6 MONDAY
RICHARD
STUART
Photography
POSTERS
CASE STUDIES
CASE STUDIES
CASE STUDIES
NETWORKS
NETWORKS
NETWORKS
MODEL MAKING
MODEL MAKING
LIVE PROJECT MEETING
MODEL MAKING
DESIGN DAY
HANDOVER
HANDOVER
ARTISTS
MODEL MAKING
LIVE PROJECT MEETING
CLIENT MEETING
MODEL WORKSHOP
CLIENT MEETING
MODEL MAKING
HANDOVER
LIVE PROJECT MEETING
LIVE PROJECT MEETING
LIVE PROJECT MEETING
CLIENT MEETING
SATURDAY
SUNDAY
03
ANALYSIS
35.
“In some cases Portland Works is perceived in terms of its heritage and architectural significance, in others it was considered in terms of the contribution the building made to culture or to business in the city”
P34, “Reimagining Portland Works” e-book
understanding por tland wor ks
39.
MEET AND GREET
analysis
About: Understanding the people, processes and equipment at Portland Works was of upmost importance to the Live Project team. This was achieved through the organisation of events, workshops and activities. These active and engaging data collection methodologies were explored in addition to other objective studies of movement and use patterns. This section documents these investigations. The diagrams, maps and technical drawings that resulted from this research are introduced and explained in the next sections.
On-site studio: (left) te n a nt s d raw i n g p o r t l a n d wo r k s co n n e c t i o n s m a p at ‘m e e t a n d gre e t ’ ( r i g ht, to p) ex a m p l e s o f te n a nt d raw n co n n e c t i o n m a p ( r i g ht, b o t to m ) ‘m e e t a n d gre e t ’ f l ye r
In light of the teams desire to understand the tenants and other users and stakeholders as a starting point, the Live Project set up a studio in the campaign room at Portland Works. This gave the group an immediate non-invasive position from which to get to know the tenants and their interactions within the works.
‘Meet and Greet’ tea and coffee morning: This was an informal initial attempt to get to know people at Portland Works. Tenants were invited to the campaign room for tea and
s k i l l s wo r k s h o p with andy
analysis
41.
coffee on 6th October 2011.
MATERIALS AND PROCESSES: INTERVIEW QUESTIONS MANUFACTURERS 1. What product(s) do you produce? -or- What services do you offer? 2. Which raw materials do you use for the manufacture of your product? 3. Where do you source your raw materials from?
This was an opportunity to explain the Live Project and introduce the team. Each tenant was also asked to complete a map outlining their social and professional links within the Works, which helped to compile an extensive set of Portland Works connections.
4. Could you provide the details for a representative sample of your customers? a. What type of customer do you supply to? (Individuals/retailers/wholesalers etc.) b. (If customer is wholesaler/retailer) Who do they supply to? c. Please provide the locations of a sample of your customers. 5. Please could you outline your production process step-by-step (request explanation/elaboration) if necessary). 6. Do you provide services/advice for any of the other tenants in Portland Works? Give details. 7. Do other tenants provide services/advice for you? Give details. 8. How long have you operated out of Portland Works?
ARTISTS 1. What type(s) of art do you produce? 2. Please name a representative selection of your artistic influences. 3. Do you collaborate with any other artists? Give details. 4. Are there particular places or people which provide inspiration for your work? Give details.
Skills workshops: The skills workshops were introduced at the ‘meet and greet’ and took place between 7th-14th October. Spending six weeks in Portland Works gave the group the opportunity to examine some of the tenants’ skills in greater depth, rather than simply having a superficial knowledge of the goods which they produce. Members of the Live Project group spent several hours, sometimes over the course of a few days, with a cross-section of the tenants.
5. What do you do with your work once completed? (exhibited/sold/kept by artist) 6. Could you provide the details for a representative sample of your customers/exhibitions?
(left) s k i l l s wo r k s h o p w i t h An d y Co l e ( r i g ht, to p) ex a m p l e o f te n a nt q u e s t i o n n a i re ( r i g ht, b o t to m ) i nte r v i e w w i t h artists
a. What type of customer do you supply to? (Individuals/retailers/wholesalers etc.) b. (If customer is wholesaler/retailer) Who do they supply to? c. Please provide the locations of a sample of your customers/exhibitions.
Tenant questionnaire: Some tenants showed an interest in the Live Project study but felt that their work could not accomodate a skills workshop. This was the case for some of the artists and tenants using hazardous substances.
diagrams
courtyard uses 5a 5b
1
1
5b
5b 5c
3 5a
3
5b
5b 5a
4
7
4 4
5b
4 5b
5b 5b
5a
5a
5a 4
5a
i
l
En
5b
l
y
S
4 5b
t
r
e
e
4
4 5a
tr
4
5b 6
up
H
5b
5c 5c 5a 5a
2
5b
5b
5a 4
t Entr y
Entr y
l d a l n a R
e e t S t r
1 2 3 4 5a 5b
drying painted / glued wood skip burning waste delivery and parking long term storage storage of materials in use
5c 6
short term storage cleaning equipment
7
powder coating
analysis
45.
About: This section introduces and explains the analytical work that resulted from the active, investigative methodologies previously explained. This section is not intended to be a complete set of diagrams; rather each different type of analysis is described alongside a few examples. A comprehensive set of work accompanies this document for each study.
Movement analysis: The communal spaces such as the yard are used in a number of different ways. This study looks at movement during everyday activities as well as on special occasions such as events and parties, when the yard taken on a very different role. This work is valuable for anyone suggesting changes within the communal spaces. The diagrams can be used to check whether proposed changes are likely to unintentionally affect existing practices. (left) ex a m p l e o f gro u n d f l o o r i n h a b i te d p l a n . see a cco m p a ny i n g m ove m e nt p at te r n b o o k fo r co m p l e te s e t
PROCESS
analysis
47.
STUART MITCHELL PRODUCTION PROCESS high quality steel imported to uk
1 CRUSTEEL USA
- Damascus Steel - RWL34
2
IMPORT
1 2 DAMASTEEL
Skills workshops:
SWEDEN
MANUFACTURE knife outline marked on steel billet
knife shape cut out of steel billet
Group members spent time observing the tenant at work and asking for further information where necessary. In some cases, group members were allowed to take part in the production process in order to gain a better understanding of the skill, precision and experience required. The workshops also documented the ways in which the tenant organised and used their space based on their working methods, noting in particular the proportion of time spent using various pieces of equipment as well as the sequence of movement between machines and other work stations. This approach carried several benefits:
blade and tang formed
blade is sharpened knife assembled handle is shaped
STUART MITCHELL
PORTLAND WORKS FIRST FLOOR
RETAIL GM JEWELLERS LONDON
finished knife
HOLLAND & HOLLAND LONDON
STEEL IMPORTER / PRODUCER SMALL STEEL SECTION PRODUCER RETAILER
1. A better understanding of the specialist skills and usage of space present in Portland Works would give the group a more informed viewpoint when formulating future strategies, such as relocation of tenants spaces. The information would also be made available to members of other professions working with Portland Works in order to further their understanding of the day to day workings of the various tenants. 2. Making the information available for tenant usage would help to identify areas of overlap between tenants with the potential to combine similar processes and increase efficiency.
DOMESTIC CUSTOMER INTERNATIONAL CUSTOMER
3. Tenants could also use this information to identify the potential for future collaborative projects.
analysis
49.
Process diagrams
( p re v i o u s p a g e, left) s k i l l s wo r k s h o p d i a gra m ex a m p l e ( p re v i o u s p a g e, r i g ht ) p ro d u c t i o n p ro ce s s d i a gra m ex a m p l e (left) co m p l e te s e t o f p ro d u c t i o n p ro ce s s d i a gra m s f u l l s i ze p r i nt o u t s fo r a l l te n a nt d i a gra m s a cco m p a ny t h i s d o c u m e nt
Whilst researching information for the materials and product maps, valuable information was acquired about the manufacturing processes of the tenants interviewed. This information was combined to create diagrams which outlined not only the process of manufacture itself, but also the location of the raw materials acquired and the eventual destination of the product with both the nature and location of a representative sample of customers. The diagrams were created to serve several purposes: 1. When considering the potential reconfiguration or relocation of tenancies in Portland Works, the diagrams would inform the designer of the spatial requirements of the tenant for their work. 2. For marketing purposes: these diagrams could be displayed on open days and other events to give visiting potential shareholders a better idea of the entire process of the tenant. 3. For educational purposes: students and other visitors to Portland Works would be able to understand more about the work processes taking place.
analysis
51.
Maps One key aspect of the campaign is the more recent diversification of the types of businesses operating out of Portland works.
CONNECTION MAPS
Initially constructed to house companies working solely within the steel industry, the Works has been able to adapt since the decline of Sheffield as one of the centres of the global steel industry. Whilst steel still figures prominently in the form of several specialist companies working with the material, other more diverse businesses and individuals have taken up residency in the Works, including carpenters, artists, musicians and electrical repair services.
(left) p o r t l a n d wo r k s l i n k s to s h e f f i e l d ( r i g ht ) p o r t l a n d wo r k s l i n k s to t h e wo r l d
During the interviews, tenants were asked about where they sourced their raw materials from, or in the case of artists and musicians, their inspiration and artistic influences. They were also asked about where their products ended up. These locations were plotted onto maps at four increasing scales, ranging from central Sheffield, to the Sheffield city extents, to a national scale and then onto the global scale. Constructing a map comprising the raw materials coming into each business as well as the destination of the finished product would visually demonstrate the way in which Portland Works is embedded into its surroundings, be it local, national or global. This study was also carried out for the historical manufacturing process to see how this network has grown and changed over during the time in which
analysis
53.
Portland Works has been open. The maps revealed some interesting trends: 1. Since the addition of artists and musicians to the Works, there is a far greater deal of interaction with the local community. Whilst they may necessarily gain inspiration from a global selection of artists, the work of the artists is often exhibited in galleries located in the immediate area. Likewise with the musicians, many of the performances take place in local venues. This could be used to demonstrate that since its diversification, Portland Works has actually further embedded into the local community. 2. Several companies purchased raw materials such as steel from the same companies. If these companies ordered materials together, they could benefit from basic purchasing economies of scale and reduced delivery costs.
(left) p o r t l a n d wo r k s l i n k s to s h e f f i e d c i t y ce nt re ( r i g ht ) p o r t l a n d wo r k s l i n k s to t h e u k
3. Certain artists or musicians had overlapping inspirations which were unknown to them prior to the interviews. This opens up the possibility of the pooling of resources and the possibility of collaboration to further enrich their work. 4. Certain businesses tended to sell to particular areas local to Sheffield. These areas could be identified and marketed to more aggressively by businesses of a similar ilk.
analysis
55.
The map was also used on the open day to chart the locations of the visitors and the capacity in which they were there. This was a useful way to find out the general radius of visitors coming to the Works.
Construction case studies: SSOA Live Project 2011
Construction Case Studies
(left) case study ex a m p l e p a g e, b u tc h e r wo r k s, sheffield ( r i g ht ) cove r o f a cco m p a ny i n g case study d o c u m e nt s
More about Portland Works at www.portlandworks.co.uk
A series of technical case studies were identified to provide inspiration and help develop an attitude towards the renovation of Portland Works. This information is contained in an accompanying document. This is an extension of the existing case studies examining the business models of various comparable examples. It is intended to be used in briefing future consultants.
inhabited cad plans
Key Fixed equipment Moveable equipment Furniture
up
P O RT L A N D Â WO R KS Randall Street, Sheffield Inhabited Plans - Ground Floor Scale 1:200@A3 LP2011_IP_001
59.
analysis
The drawings As a part of their analysis the Live Project group improved on the existing survey information of the building. As part of this process they identified inconsistencies in the existing information and highlighted changes. This information will be useful for any future building survey or design proposals. In addition to this work they created a set of drawings showing the equipment in each unit indicating to what extent it is fixed or moveable, thereby indicating which units could potentially be easily relocated during any building work. Please refer to accompanying drawing package for complete set.
(left) p l a n s h ow i n g f i xe d a n d m ove a b l e equipment within the building ( r i g ht ) p a r t o f s u r ve y d raw i n g i n d i c at i n g i n co n s i s te n c i e s i n t h e ex i s t i n g s u r ve y d raw i n g s
P O RT L A N D Â WO R KS Randall Street, Sheffield Existing Revised Ground Floor Plan Scale 1:200@A3 LP2011_RP_001
04
STR ATEGIES
63.
“It was agreed that Portland Works should be seen as for the benefit of the community”
P42, “Reimagining Portland Works” e-book
creative publicit y
strategies
67.
About: The campaign has been very successful in opposing the planning application and it is important to sustain and invigorate the momentum created so far to ensure long term security. The aim of this section is to propose creative methods to raise the Portland Works profile, local awareness and share offer. Handing out flyers to untargeted passers-by is generally a very inefficient way of publicising a cause. This is especially true if attempted on a relatively small scale with constraints on time and costs. It is important to find ways to engage with the public, in a more creative, proactive and conversational way. Some ideas that the Live Project group have explored are outlined below.
Portland Works Sandwich Boards:
(left) sandwich b o a rd s t u d y and publicity in sheffield city ce nt re ( r i g ht ) re s u l t s o f s a n d w i c h b o a rd study
One idea that was taken to the streets was the Portland Works Sandwich Board. People were approched with the question ‘Have you ever heard of Portland Works?’. They were then asked two questions; which postcode they lived in and what they thought Portland Works was. Both questions were answered by placing a coloured dot on the boards, colour coded according to whether or not they had heard of the works. As well as gauging public awareness, everyone who participated was given a bit of information about the building and campaign.
cake being cut
cake being cut o n 3 0 t h O c to b e r o p e n d ay
analysis
‘ ‘ As business is hidden behind shabby façades a shor t walk around the area would not make the vibranc y immediately visible ‘ ‘
69.
The novelty of wearing the boards helped to make people receptive to the exercise. Conversations often continued and many showed a genuine interest in Portland Works. Some inquired about the share scheme. It also revealed some interesting findings: 20% of people asked had heard of Portland Works. However, out of those 20% opinions about what Portland Works was or is were very mixed. It was a simple, cheap exercise that could be repeated in whole, or with a different set of questions or agendas.
Portland Works Cake:
q u o te f ro m “re -imagining por tland wor ks” e-book. P23 ( b o t to m ) p o r t l a n d wo r k s cake and bespoke base
cake image
Portland Works is hosting an increasing number of events. It is important that while everyone is having a good time, the wider campaign message is spread. The Portland Works cake and ceremonious first cut is a way of grabbing everyone’s attention for a few minutes, telling them a bit about the campaign and getting people talking about the works. The first cake was made for the 30th October 2011 open day. The recipe can be used for future events. Enjoy! This also links to the event marketing case study, explored in the next chapter.
BADGE MAKING badge making
analysis
71.
Christmas thank you card: There was concern that those who have already contributed towards the share offer have very little to show for it, especially as official certificates cannot yet be released. A thank you card to give out to shareholders has therefore been designed. See opposite. A print friendly pdf of this card is included on the CD.
Badge making: A set of Portland Works themed badge designs were made. A ready to cut print-out set is on the CD. The badges were given out at the open day for a small suggested donation. ÂŁ80 was raised as a result!
( to p) p o r t l a n d wo r k s badges ( b o t to m ) c h r i s t m a s c a rd fo r p o r t l a n d wo r k s s h a re holders
event mar keting
analysis
75.
About: The Live Project recognised that the marketing demands of hosting an increasing number of events are beginning to put an unwanted strain on volunteer’s time and resources. On October 30th the Live Project ran a stall and activities for an accompanying Portland Works open day. A considerable amount of marketing and promotion was carried out by the team for this event. In order for Portland Works to benefit from this in future, this chapter documents how the event was promoted. It also includes a set of ready to use marketing templates. There will of course be events for which a bespoke campaign will be required but this section is intended to save time and provide quick solutions for other occasions. It also frees up more time to bake Portland Works cakes! (left) o p e n d ay e ve nt stall on 30th o c to b e r ( r i g ht, to p) p o r t l a n d wo r k s s i gn m a d e f ro m s q u a re p e g s o f f cuts ( r i g ht, b o t to m ) s i gn b e i n g h u n g outside go o u td o o r s
Go Outdoors: The ‘Go Outdoors’ megastore neighbours Portland Works and obscures the view of the wo ks’ entrance. The Live Project negotiated an agreement to hang signage indicating the direction to Portland Works on the stores railing on the day of the 30th October. A sign was then constructed using off-cuts from the Squarepegs
p re s s cove ra g e o n ‘ we l co m e to s h e f f i e l d we b s i te’
analysis
77.
workshop. These thin metal pieces were wired together to spell out ‘Portland Works’. For the event these were tied back to waste meshing. The Live Team subsequently agreed that the letters would be welded by Mark so each one was rigid and self supporting. It is hoped that these letters can be used again for future events, or possibly find a permanent home somewhere on the facade of the building.
Press: Coverage in a number of local newspapers and online forums was secured, including the University of Sheffield staff newsletter. A colour double page spread in the next issue of Sharrow Today will also be dedicated to the Live Project at Portland Works.
Website:
s c re e n s h o t f ro m the portland wo r k s we b s i te. an additional tab wa s s e t u p fo r t h e l i ve p ro j e c t
The Live Project set up a new section on the existing Portland Works website. This meant that all online interest in the Live Project stall at the open day was also directed to the wider campaign. This was updated throughout the project. Twitter was also used to drum up interest in the run up to the event.
u n i ve r s i t y homepage ex a m p l e
analysis
79.
University Homepage: Following the event a request for the Portland Works campaign, and its unique link to The University of Sheffield, to be published on the university website homepage was made. The final decision on this has not yet been made.
Templates: An event poster and flyer template was set up by the Live Project group. These were used for the 30th October marketing and are intended to save time and costs in the future . Versions of each, editable using Microsoft Word, are included on the accompanying CD.
t w i t te r a c t i o n
P ortland W orks
Open Day Sunday 30th October
Tours 11.00 -‐ 2.30 pm
Booking Essential – colin@portlandworks.co.uk
s ce e n s h o t f ro m wo rd
81.
p o s te r fo r l i ve p ro j e c t o p e n d ay stall
por tland wor ks as educator
7. 13:20
6. 13:00
1. 10:30 4. 12:00
5. 12:20
2. 11:00
3. 11:40
4. 12:00
analysis
85.
About: The share offer and long term security of the works relies on increased support from local residents. The best way to achieve this is by informing people of the valuable skills and crafts that are inherent to the building.
(left) d i a gra m d e s c r i b i n g h ow t h e t rays we re m ove d a ro u n d at d i f fe re nt t i m e s during the party
( r i g ht, to p) c h i l d re n i n a d ve r t a nt l y m i m i k i n g a n d y ’s p ro ce s s by w h e e l i n g t ray a ro u n d o n wheels! ( r i g ht, b o t to m ) c h i l d re n c re at i n g t h e i r ow n t ray c re at i o n i n t h e ya rd
An ability to teach people at Portland Works has been highlighted as a desirable addition by the tenants in the “Re-Imagining Portland Works” e-book and could also be used to increase revenue. Demonstrating that Portland Works serves an educational role within the community will also increase potential sources of future funding. It is however very important that this can be achieved without disrupting existing tenants. The ability to learn from the building need not take the form of a traditional classroom. The Live Project group explored ways in which teaching could be introduced into Portland Works through a series of small scale experimental, educational events.
Andy’s trays: The courtyard is full of interesting objects that give clues to the use of the surrounding tenancies. One such example are the metal trays stacked up underneath the stairs. They are used to store and transport the metal at various stages throughout Andy’s forging process. When unused they are kept in a cage in the yard.
s c h o o l c h i l d re n p a r t i c i p at i n g i n p h o to h u nt d u r i n g yo u t h e n g a g e m e nt d ay
analysis
‘ ‘ The large, derelic t look ing machiner y in the cour t yard is ac tually used for spare par ts for the forges and fur naces and other histor ic machiner y on site ‘ ‘
87.
Children’s games were created using these trays at a party at Portland Works. These games were a way of revealing a hidden Portland Works narrative and educating people about the material processes that exist within the Works. The diagram on the previous page shows how the trays were used by the children. Later on, having done the skills workshop with Andy we realised that there was a striking similarity between the children’s process of playing and the way in which Andy used the trays as part of the process employed when making his tools.
Photo hunt: The photo hunt followed on from the success of the previous tray experiment, but was tailored towards an older age range. On 25th October a small group of local school and college children were invited around to the works as part of a University of Sheffield outreach programme.
q u o te f ro m “re -imagining por tland wor ks” e-book. P40 ( b o t to m ) p h o to h u nt w i t h s c h o o l c h i l d re n
In order for them to gain an understanding of the Works during their quick visit, a set of Portland Works ‘photo hunt’ cards were made. Each card had a close up photograph from the works on one side and a few questions on the other. The school children attempted to
s c h o o l c h i l d re n p a r t i c i p at i n g i n p h o to h u nt w i t h o u t disturbing te n a nt s
f i r s t ye a r a rc h i te c t u re s t u d e nt wo r k , 2011
analysis
91.
STUDENT WORK
find the photographed objects and in the process explored selected parts of the Works. The questions then got them thinking about the Works. This worked well as a fun, interactive introduction to the objects, processes and people that exist within Portland Works. It also demonstrated how school children could learn from the Works without disrupting tenants or a designated on site ‘classroom’. A printed pull-out set of cards, for Portland Works to use, can be found in the ideas appendix. It is also included as a pdf on the CD.
Live Project, Future of the John Street Triangle, 2005
Links to The University of Sheffield: Of course the Live Project is also inherently educational. This body of work fits into a wider body of research at the university. Which includes previous Live Projects, first year architecture work, MA History and English students.
( to p) p re v i o u s s h a r row l i ve p ro j e c t ( b o t to m ) f i r s t ye a r a rc h i te c t u re s t u d e nt wo r k , 2011
The Live Project felt It would be beneficial to increase feedback between the University and tenants. This would ensure that the benefits of the work were visible as well as the occasional inconveniences. After the six week project the Live Project website tab will become a ‘student work’ tab. This serves as a public archive of student work and a way of feeding valuable research back to tenants. A digital copy of this document can be accessed from it.
06
VISIONS
creating a vision through par ticipation
analysis
97.
About: The success of Portland Works’ long term future relies on the establishment of effective participation with tenants and other individuals involved with the Works. Once the building is purchased by the local community, difficult decisions about the long term future will need to be agreed by the tenants and other stakeholders. This section looks at how this can be achieved in a non-exclusive manner through participation. Too often this participatory input is treated superficially by traditional professionals. The Live Project has therefore brought a few important aspects to the fore in this section. Therefore the Live Project explored ways to engage the tenants in democratic dialogue. start a dialogue with the tenants.. The following work builds on the events like the ‘meet and greet’, introduced in the Analysis chapter, which allowed the members of the Live Project to get to know the tenants and their links to and within the building.
(left) l i ve p ro j e c t te m p o ra r y p o s t b ox - p r i o r to Pa u l s re d e s i gn ( r i g ht ) ‘m e e t a n d gre e t ’
Post box: We added a temporary Live Project facia to one of the unused post boxes in the Portland Works entrance. The intention was that this would be a way for the tenants to leave comments or suggestions when the Live Project group were not at the Works.
te n a nt s a n d v i s i to r s m a k i n g t h e i r ow n v i s i o n s
analysis
99.
Although it was never used like this, it was useful as a device for signalling a temporary presence and a desire to develop dialogue. Interestingly, when it fell off Paul, one of the tenants, took it upon himself to fix our design.
Vision image set: After extracting information through the described participatory and analytical exercises, the Live Project produced a series of ‘vision images’. Some are deliberately provocative, whilst others are intended to help illustrate the ideas previously proposed by the tenants and steering group. Tenants and visitors were given the opportunity to propose their own visions during the open day on October 30th. This method can be used to involve people from outside of Portland Works in discussions about the future. The local school and college students who visited Portland Works on 25th October also made vision montages to describe their immediate thoughts. A selection of vision images are included in this section. The required images to repeat this exercise are included on the CD.
What if Portland Works was a secret garden?
This vision emphasises the social potential of the courtyard space. By incorporating raised vegetable patches, fruit trees and encouraging social use of the space, the courtyard becomes integral to Portland Works’ community.
What if Portland Works had meeting points in the courtyard?
vision images by l i ve p ro j e c t gro u p ( to p) s e c re t g a rd e n ( b o t to m ) cleaned and p a i nte d
Sheltered timber seating points in the courtyard mean that it is no longer a place that is travelled through, but a social space for all. Tenants and customers alike could meet here to talk or relax, thus forging stronger links and increasing the sense of community.
v i s i o n i m a g e s by local school and co l l e g e c h i l d re n ( to p) by d aw u d abdullah ( b o t to m ) by a a m i r ra h i m
model in arts towe r s t u d i o
analysis
103.
Strategic and complex spatial decisions: Whilst these two dimensional montage visions have been useful for re-imagining the courtyard and allowing large numbers of people to contribute, they are limited by their simplicity. Once the building is purchased important strategic and spatial decisions will need to be proposed, understood and evaluated in a democratic and inclusive manner. For this reason we made a physical model of Portland Works.
( to p) l a s e r c u t te r ( b o t to m ) l a s e r c u t p i e ce s
the model as a tool for discussion
MODEL ex p l a i n i n g m o d e l to te n a nt s
COMMUNICATION WITH MODEL
analysis
te m p l ate u s e d i n model
107.
About: The model began as an extension of the vision image participation exercises and was conceived as a tool for proposing, understanding and making decisions about the future of the Works. It can function as an empowering tool for tenants during the design process, allowing them all to have an immediately visible democratic and comprehensive voice on any future proposals or changes.
Using the model in discussions: The model can become the centre of communications regarding strategic and specific changes to the building, with users being able to take out relevant parts to aid discussions. For example it could be used to test out how different areas of the building might be repaired during different phases and how additional spaces might be opened up. Easily printable templates can be printed for each room, so that tenants can annotate the model with their thoughts. These templates are included with the model pack. However the room templates are just the beginning of this model’s potential use for the project. The tenants and committee members should take ownership of the model and develop new ways of showing their ideas. With the wide range of making expertise found on site at Portland Works, there could be no better place for this
COMMUNICATION WITH MODEL d e m o n s t rat i n g f l ex i b i l i t y o f model
analysis
109.
type of interactive and participatory model to exist.
Information guide: This section has introduced the model and positioned it within a wider context of tools created by the Live Project. Model Information Portland Works Introduction
The model ties together the work undertaken during the live project and will be taken on by the tenants and committee members to develop and communicate their vision for Portland Works. The idea for the model began as a multilayered map that would inform people about the many connections Portland Works shares with the wider context of Sheffield. It seemed more appropriate however that a model of the building was made. The model could then become a tool for the tenants and committee members to develop their vision in a visual and immediately understandable way. The model therefore became a central part of the live project, with a dedicated team to ensure it was constructed before the open day event on the 30th of October, 2011. The model had to be robust so that users could handle the different parts of the model and manipulate their designs within the walls of the existing building. It had to clearly represent each of the buildings within Portland Works so that each unit would be instantly recognisable by users and visitors alike. Designed to allow users to add extra layers of information sets this model apart from a typical architectural model.
Page 2 of Clever Model Information
u s e r i n fo r m at i o n fo r m o d e l
The model can become the centre of discussions about specific parts of the building, with users being able to take parts of the model to aid in a dialogue about the model’s representative part of the building. For example one can stand in the courtyard with the eastern wing in their hands and illustrate visually to other participants what issues could be addressed and how they might plan to go about repairing areas of the facade. The design of the model includes the surrounding context of Portland Works, with Stag Works adjacent and Go Outdoors to the North West; talking about the buildings position and orientation with visitors is visually reinforced. The base of the model contains a compartment for storing any information about the model or any parts of the model that could easily be lost. The concept was that easily printable templates could be printed of each room, so that users could draw into the building ideas relating to repair or any overall strategies, in order to intensify the use of the space.
The room templates are just the beginning of this models potential influence on the project. The tenants and committee members should take ownership of the model and develop new ways of showing their ideas. With the wide range of making expertise found on site at Portland Works, there could be no better place for this type of interactive and participatory model to exist.
A much more detailed and comprehensive ‘model information guide’ accompanies the model. As well as serving as a reference guide for anyone interested in using the model in participation, it also explores ways in which it can be used for education and marketing.
07
REFLEC TIONS
reflec tions
113.
About: The event on 30th October gave the Live Project group a chance to show tenants and visitors the set of tools and visions developed. It also offered an opportunity to gain initial feedback and test participatory exercises. This event took place at the beginning of the final week, providing valuable time to reflect upon the project progress and outcomes so far.
Consolidating areas of inquiry: The diagrams shown in this section are a result of this reflective process and aim to concisely communicate important branches of the broad, overlapping areas of inquiry. The vast potential of the model also became patently obvious once all strands of the groups work were viewed as an entity.
Using the tools: The final chapter explores and documents how the tools introduced in this document and accompanying work were used by the Live Project to design and construct a ‘quick win’ intervention.
(left) gro u p re f l e c t i o n !
08. THE BEGINNING
POTENTIALÊSOURCESÊ OFÊFUNDING
OBSERVE
Tenant links. Movement and flow within the building and individual spaces. Processes and methods of production.
ANALYSEÊEXISTINGÊ CASEÊSTUDIES
Analysis of business case studies. Business plan. Re-imagining port land works - the beginning. Re-imagining port land works - the book. John street triangle business audit.
LOCALÊEVENTS
LIVEÊPROJECT
DISCUSSÊIDEAS LISTENÊANDÊLEARN
A lot of knowledge and information is currently locked in the users of Portland Works, listening and observing is essential in order to accurately represent and reimagine Portland Works.
ATTRACTÊMOREÊ INVESTORS
AÊSTUDYÊTOÊAIDÊNEWÊANDÊ EXISTINGÊTENANTSÊBYÊ PROVIDINGÊAÊCLEARERÊ UNDERSTANDINGÊOFÊTHEÊ BUILDINGʼS POTENTIAL FOR PROMOTINGÊEDUCATIONÊ ASÊWELLÊASÊINCREASEDÊ WORKÊSPACEÊANDÊ OPPORTUNITYÊFORÊSMALLÊ BUSINESSESÊANDÊ INDUSTRIES.
Hosting local events is a good way to increase the income generated by the building, by increasing the intensity of activity. It also raises awareness amongst both potential clients, colleagues and the general public.
Own and operate the building as a community-owned social enterprise which lets out workspace at fair rents. Benefactors could include the long-term unemployed, people looking for a career change, people with learning disabilities, ex-offenders, minority ethnic groups, young people.
PORTLANDÊWORKSÊ LITTLEÊSHEFFIELDÊLTD
Portland Works will provide affordable workshops and studios for craftspeople and the creative industries and for small business start-ups. The management will be responsive to their needs, fostering opportunities for education and promotion of the heritage values of the Works, along with support for workplace training and apprenticeships. Portland Works will play an important role as the centre of a hub of similar developments in the neighbourhood of Little Sheffield and beyond.
UNIVERSITYÊOFÊSHEFFIELDÊKNOWLEDGEÊ TRANSFERÊPROJECTSÊFUND
£
POTENTIALÊBENEFACTORSÊOFÊ SOCIALÊENTERPRISE
LOCALÊBUSINESSES
LOCALÊGRASSROOTSÊ MOVEMENTS
MEET,ÊTALK,ÊADVISE
EDUCATE
RESEARCHÊ
Background and history. Case studies for both business strategy and building development. Tenants and social connections.
PURCHASEÊBUILDINGÊ LANDTASKÊLTD
CELEBRATEÊSUCCESS
It is important to celebrate developments, successes and key milestones in order to keep morale high and reinvigorate activity.
INVESTIGATE
Local and national funds, trusts, assemblies and councils. Shares bought as part of share offer. University of Sheffield ÒKnowledge Transfer Projects FundÓ. Potential for joining the ‘at risk’ register.
ADVOCATE
£
£
M
SHEFFIELDÊHERITAGE
Develop the heritage potential of the site within the context of a working environment, to enable the public to see 'how things are made'.
OPENÊDAYS
Offer public access to the Works through open days and training events. Workshops and studios open up to a full house of visitors who can observe the wealth of skills, talent and creativity that is Portland Works.
LIFELONGÊLEARNING
Develop a centre of excellence for traditional crafts. Those wishing to learn a trade in the range of industries work at Portland works: apprenticeships, centre for vocational training and qualifications.
Constant discussion, critical reflection and advocacy is an important part of developing an integral management and marketing strategy.
MARKETING
Developing a ‘brand’ for the project and to raise awareness amongst both potential clients, colleagues and the general public. Attract more tenants into the renovated areas and support start-up businesses.
PORTLANDÊWORKSÊLITTLEÊSHEFFIELDÊLTD
PORTLANDÊ WORKSÊ ASÊ AÊ FACILITYÊ FORÊ LOCALÊ INDUSTRYÊ ANDÊ SKILLEDÊTRADES,ÊEDUCATIONÊANDÊFUTUREÊDEVELOPMENT.Ê PORTLANDÊ WORKSÊ JOINSÊ AÊ NETWORKÊ OFÊ OTHERÊ SCHEMESÊ ANDÊ OFFERSÊ GUIDANCEÊ ANDÊ RESOURCESÊ FORÊ OTHERÊ INITIATIVES.
SURVEYÊ
SOCIALÊCONNECTIONS
COMMUNICATEÊRESULTSÊOFÊ ANALYSISÊANDÊAPPLY
Intensifying social networks.
SKILLSÊAUDIT
A comprehensive knowledge of all skills creates greater opportunity for collaboration.
TENANTÊDESIRES
An awareness of needs / desires of tenants with regards to the future development of Portland Works.
ANALYSE
Analysis of the data collected is imperative in order to implement it in the future design and strategy development of Portland Works. Reflecting on this data and process also provides an opportunity to further explore the potential of the site.
PORTLANDÊ WORKS
the beginning
119.
About What if Portland Works was a secret garden?
Throughout the project it was only natural that members of the group would develop their own ideas about potential physical and spatial changes that could benefit the Works. After five weeks of intensive work, the Live Project felt qualified to use the tools for the very first time in order to design and construct a small intervention for the communal space of the Works.
(left) l i ve p ro j e c t f i t s i nto f u t u re o f t h e wo r k s ( r i g ht, to p) v i s i o n m o nt a g e ( r i g ht, b o t to m ) model vision
VISION THROUGH MODELLING
This vision emphasises the social potential of the courtyard space. By incorporating raised vegetable patches, fruit trees and encouraging social use of the space, the courtyard becomes integral to Portland Works’ community.
It was important that this final (post-reflective) outcome responded to the views and research of the Live Project group as a whole. The tools were therefore used not only to propose and evaluate ideas but also to resolve the conflicting interests of a substantial group of passionate individuals. The tools created and developed by the Live Project fit into, aid and influence a long term vision for Portland Works. In this sense the content of this, the final chapter, is just the beginning of a much longer more complex future of the Works.
Responding to participatory visions: The introduction of controlled green elements to the Works and a desire to make the communal spaces more sociable were two common themes which re-occurred in many of the participatory exercises using the montages and model . This therefore formed the focus for a design charrette.
DESIGN CHARRETTE d e s i gn c h a r re t te
the beginning
121.
Design charrette: This charrette was organised to consolidate each member’s ideas and focus in on one small, achievable intervention. The charrette allowed every member of the group to participate in the conversation through drawings and additions to the Portland Works model. This ensured that the final built outcome could therefore be seen as that of the group as a whole, and not of any one individual.
The charrette took place on the morning of 1st November. It resulted in an agreement to build a planter on the roof area next to Stuart Mitchell Knives, a location informed by the movement analysis carried out at the start of the project. It would be constructed out of wooden pallets - a waste material found on site.
Design day:
L ive P roject D esign D ay d e s i gn d ay p o s te r
Wednesday morning 10am Campaign Room Come and get involved!
The charrette provided a position from which to start thinking about construction methods. The planter was built on 2nd November and included a detachable interlocking seat. The images on the following pages were taken at various points throughout the construction process.
DESIGN DAY
DESIGN DAY
DESIGN DAY
DESIGN DAY
DESIGN DAY
( fo l l ow i n g p a g e, l e f t ) St u a r t re l a x i n g ( fo l l ow i n g p a g e, r i g ht ) p l a nte r p ro ce s s d i a gra m
DESIGN DAY
DESIGN DAY DESIGN DAY (this pages) d e s i gn d ay
the beginning
125.
PALLET PLANTER PRODUCTION PROCESS 2 TIMBER PALLETS 1 2 3 4
WHOLE TIMBER PALLET HALF TIMBER PALLET INDIVIDUAL PIECE WITH SPACER INDIVIDUAL PIECES CUT TO SIZE
1
1
3
1
Collaboration:
4
MANUFACTURE
Pallet halves are arranged to form shape of planter. Pieces are nailed into place. Base is secured
1
Collaboration is central to the ethos at Portland Works. The planter design is no exception, as the material process diagram for the planter shows. Collaboration was made easy because of the relationships established during our time at the Works. The makers offered their tools and facilitated the construction process by providing necessary power outlets and waste materials.
Final outcome: 2
CONNECTIONS 1 LYNTHORPE WOODWORKS 2 PORTLAND ELECTRICAL
3
3 QUALITY CABINETRY
LYNTHORPE WOODWORKS
3
Seat is formed by joining 16 individual pieces. This is supported by a structure created from stacked individual pieces with spacers still attached. Seat is capable of standing alone, or joined to planter
PORTLAND WORKS
USAGE
The planter provides a desirable green addition to the roof space, responds to the artists’ interest in gardening and provides a point of conversation and relaxation. It is also positioned above one of the leaks in the roof; the intention being that the planter will reduce the amount of standing water and slow down the build up of water during heavy rain. It is hoped that the planter will be the first of numerous considered additions and improvements to Portland Works, facilitated by the tools explained and explored in this document.
Natural fibre lining fixed to planter. Filling for planter comprises sawdust base layer with a compost top layer
PORTLAND WORKS TENANTS
Finished planter with removable seat
“Our involvement within this lengthy process is was modest...We hope that the actions and methods we used will be carried forward in future projects.�
Guy Moulson, Speaking at a public exhibition in the Arts Tower, sheffield 5th November 2011
129.
bibliography
Bell, B. and Wakeford, K. (eds.), Expanding Architecture: Design as Activism, New York : Distributed Art Publishers, 2008. Cerulli, C. and Udall, J., Re-imagining Portland Works, Sheffield: Antenna Press, 2011. Latour, B., Reassembling the social: an introduction to actor-network-theory, Oxford: Oxford University Press, 2008. McNiff, J. and Whitehead, A., All You Need to Know About Action Research, London: SAGE Publications, 2011. Spradely, J., Participant Observation, South Melbourne: Wadsworth, Thomson Learning, 1980. Tweedale, G., Steel City: entrepreneurship, strategy and technology in Sheffield 1743-1993, Oxford : Clarendon Press, 1995. Udall, J., ‘Opposing practices: Making claims to the ‘Works’ in a post-industrialised northern English city’ in Doina Petrescu, Constantin Petcou, Nishat Awan (eds.) Trans Local Act, Cultural Practices Within and Across, aaa- peprav , 2011.
the live projec t team
This document was compiled by Live Project 03 2011 for the Portland Works building works committee. We are a group of twelve students from the University of Sheffield, studying MArch Architecture, MA Urban design or MA Architectural Design. We are: Adrian Judt Benjamin Baliti Bryony Spottiswoode Caroline Gore-Booth Chen Guo Christopher Carthy Ewan Tavendale Guy Moulson Jonathan Orlek Mersedeh Ghyravifard Qi Mingyu Scaria Njavally
ak nowledgements
Portland Works has provided a context within which to explore theoretical and practical ideas. Over the last six weeks we have had contact with many of the tenants who have all played a role in the project’s development. Many thanks to all for their encouragement, advice and input. We are also grateful for the additional technical information from Aidan Hoggard, and the historical knowledge provided by Vicky Ryves. A special mention must go to Julia Udall, Derek Morton and members of the Building and Marketing Groups for accepting us into their midst and allowing access to the innermost workings of the campaign. Their continued patience and generosity never ceased to astound. We are of course grateful to all those who have worked tirelessly to make Portland Works campaign a success. Most of all, however, we would like to thank our mentor from Sheffield School of Architecture, Cristina Cerulli, without whom this study would not have been possible.