Re-Imagining Portland Works by cristina cerulli

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Re-Imagining Portland Works

ISBN 978-1-908441-01-0

90000 >

9 781908 441010 ISBN 978-1-908441-00-3

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Published in 2011 by Antenna Press, Sheffield, UK. Written by Cristina Cerulli, Julia Udall with material by many others that supported the Save Portland Works Campaign, as mentioned in the book. Designed and realised by Eleven Design. Printed at University Print Service, University of Sheffield. ÂŠ2011 Cristina Cerulli, Julia Udall, Portland Works IPS, University of Sheffield and Antenna Press. (Images by kind permission of the photographers, in support of Portland Works IPS). This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

ISBN 978-1-908441-00-3

Antenna Press is an independent publisher that promotes transformative practice in collaboration with Studio Polpo.

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Re-Imagining Portland Works Cristina Cerulli and Julia Udall with material by many others that supported the Save Portland Works Campaign

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Contents Introduction

Research intent

Timeline diagram

People and organisations involved diagram

Investigating the context

Precedents

Exploring futures

Reorganising

Reaching out

Researching with students

Academic dissemination

Acknowledgements

102

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Portland Works is a Grade II* Listed integrated cutlery factory. 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. This project was initiated when the landlord submitted a Planning Application for ‘Change of Use’: he proposed to close the Works and convert it into bedsit flats. Tenants, activists and local people worked first to oppose this, and then, to propose alternatives. The campaign started to stop Portland Works being wiped out, rather than preserving it, and in the process hatched a plan for how it might evolve in the future. This publication draws together and documents the research carried out by a number of people wishing to consider what these alternatives might be and how they might be achieved. The ‘Portland Works Industrial and Provident Society (IPS)’ is on the cusp of launching Sheffield’s first community share issue for the purchase and refurbishment of the Works. In order to get here we have explored options, research precedents, constituted as an IPS, produced a detailed business plan, developed networks with cultural and educational organisations, changed local planning policy and galvanised local and national support. We have also got to know each other much better; there have been thousands of hours volunteered, funds raised, skills shared and ideas debated. This activist research has taken numerous forms, including exhibitions, conference papers, audits, case studies, student projects, workshops, and films. It has been carried out collaboratively, led by our shared understanding of the project as it developed, with no predetermined outcome. The main aim of this research was the development and implementation of a framework for collective production and action where engaged scholarship, community activism and community economic development converged to Save Portland Works from speculative redevelopment. This book is a deliberately eclectic collection of fragments, traces and snapshots of a civic action and a research process that worked together to envision and implement equitable and sustainable community economic development for one Sheffield’s most significant pieces of heritage: Portland Works as spatial conduit and locus of manufacturing and craft, cultural production and civic engagement. We hope that it will be useful for others wishing to embark on similar processes to hear about what we did; our successes, our mistakes and explorations. Cristina Cerulli and Julia Udall

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Research intent

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Research Questions This project set out to address and explore the following issues: 1. What alternative futures are available to communities wishing to develop economies, and safeguard their assets, which are sustainable, just and equitable? 2. What strategies can be developed that empower people to take control of their resources and to engage in collective activities and actions to create wealth and prosperity? 3. What can the role of university based activist research be in supporting democratic community economics development? Whilst these questions are prominent within disciplines such as planning, anthropology, geography and political economics, they are rarely addressed within architecture.

Research Aims and Objectives The research questions were explored with and from a campaign to Save Portland Works (SPW), one of the outstanding examples of Sheffield’s industrial heritage that has became threatened by speculative development. The aims of this research are to: • Investigate the collective knowledge-production of strategies, tools and tactics available to economically threatened communities to enable the envisioning and enacting of sustainable futures. • Make a case for and creating a useful precedent of transformative and activist scholarly research within architecture. • Engage in the development and implementation of a framework for collective production and action where engaged scholarship, community activism and community economic development converged to actually Save Portland Works from speculative redevelopment. • Actively support the SPW campaign through our research, leverage and any resources that we are able to unlock. These aims were tackled by setting the following objectives: • Establishing and facilitating a process that allows for the co-production and co-evaluation of the vision, tools, programme and governance of Portland Works and a critical understanding of important relationships. • Facilitating events (for campaign supporters, tenants, local residents, politicians and local, regional, and national agencies), to positively explore and conceive alternative futures for PW. • Positively framing and supporting the multiplicity of approaches, voices, registers and ways of operating, valuing contrasts, discrepancies and divergences. This directly resulted in the deliberately diverse, inhomogeneous and often unconventional spread of research outputs. These include changes to planning

policy, exhibitions, audits, films, business plans, governance structures, case studies and a website; each funded from many different sources and developed by a range of researchers, both within and outside the academy.

Research Context “...a building cannot be defined by what it is and what it means...but only by what it does: what kind of disputes it provokes and how it resists to attempts of transformation in different periods of time and according to the variable geometry of different human and non human actors...it manifests agency in design; far from shaping social identities and relationships, it simply connects architecturally.” (Yaneva 2009) The project is concerned with helping the local community to imagine a future that is environmentally, socially and economically sustainable for Portland Works, which is the birth place of stainless steel manufacturing and a still vital part of the creative, small scale manufacturing and heritage industries in the city. This research has facilitated the exploration and appraisal of business models, legal structures, ownership and management options that are available. This has led to the production of a resource pack that not only documents the futures planning and options appraisal processes undertaken with the Portland Works tenants and interested parties, but provides also a concise and accessible guide for other groups undergoing similar processes. Innovative aspects of this architectural research include: • A focus on governance and management as design activities, with the architect in enabling role, in the context of collective production. • The broadening of the spectrum of architects’ involvement, beyond the usual participation or consultation approach, into other elements of the process, as participants, and with a view to understanding the spatial and relational implications of these other aspects. • Openness of the research process: rather than being predetermined or planned from the outset, it genuinely emerged, gradually, from conversations and collaborations. • Collective authorship and deliberate coexistence of multiple partial viewpoints • Range of active participants from a range of local, regional and national community organisations and agencies. • Extensive input from staff and students from the University of Sheffield from Architecture, English, Journalism, Urban Design, Management, and Town and Regional Planning.

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Research intent

Research Methods and Processes

Dissemination

“The question is to organise life according to a set of practical and theoretical hypotheses on ways to (self) emancipation... to establish a positive connection with the subaltern, dispersed, and hidden knowledges, and the production of a body of practical knowledges of counter-power.” (Colectivo-Situaciones 2003)

The research has been disseminated through a wide range of registers, media and audiences; this allows outcomes to be specific to their use, and to carry with them a particular type of knowledge and to be received by a broad audience. The project has facilitated the mobilisation of people from audience to active participant, and bringing thousands of volunteer hours and a broad skill set.

We consider this work a critically engaged activist piece of research. By this we mean a research where there is a declared commitment to engage with a shared political goal amongst participants, whilst remaining critical. This type of 'militant research’ is necessarily co-produced and collaborative. Our approach as university-based researchers has been to work with and from a campaign group, developing co-authored activist research that is deeply embedded into the civic action. The genuine openness to collective authorship determined the structure of research, with multiple ways of researching and multiple outputs, and the deliberate establishment of a framework to mediate multiple and partial understandings. Instead of trying to re-conciliate or conceal partial views we tried to make them visible and use them as a positive asset.

The immediate impact of this project has been the upcoming Community Share Issue for the purchase and refurbishment of Portland Works. Other outcomes include a change to local Planning Designation in the Sheffield Development Framework instigated by our audit, films, a website, extensive media coverage, the development of a range of networks between social, educational and heritage organisations, including the multiple strands that have emerged between Portland Works, the Sharrow Community and Sheffield University. We hope that by aiming to grow the project sustainably, the impact and outcomes of the project will continue for years to come.

“...at the same time our activism deepened because of our research” (“Engaged Scholarship and Scholar Activism” (J. Gordon Nembhard, 2008) Rigour in activist research is about it being appropriate to its aims. Methodological rigour in activist research is of paramount importance as the lack of it could damage the very cause that the research is working towards supporting. There is a mainstream association of methodological rigour with the absolute control over the research process by the scholar; this misconception is often a barrier in recognising rigour within activist research, where the commitment to collective and egalitarian knowledge production demand precisely the opposite: letting go of that control and engage in a research process that is open, responsive and horizontal. Activist research methods have also the built in test of validity of whether they are meaningful or they work for the participants that helped to formulate the research goals to start with. The conceptualisation of activities like holding an exhibition, organising an open day or an audit of businesses, as research but also as a spatial practice that either changes a space or the way it is perceived, dealt with and used allows this richness to become part of the proposals for the future of the Works. These activities crucially forge emerging relationships in a particular way and understanding how architecture is configuring particular kinds of relationships and space within community regeneration research as doing/making architecture. Without each of these partners this research wouldn't be feasible- it takes all to make it happen.

Colectivo-Situaciones (2003, September 2003). "On the Researcher-Militant." Retrieved May 10th, 2011, from http://eipcp.net/transversal/0406/colectivosituaciones/en Yaneva, A. (2009). The Making of a Building: A Pragmatist Approach to Architecture, Peter Lang Pub Inc.

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Project timeline From January 2009 to Present

www

VIP

www

VIP

www

PLANNING PORTAL

This diagram describes the research and actions carried out to support and develop the Portland Works campaign. It comprises the thousands of hours of volunteer support from of a number of actors, working with a range of approaches and networks.

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www

VIP

www

VIP

PLANNING PORTAL PORTAL

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People and organisations involved in the project A non conclusive list running from 2009 to the present day

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This diagram describes the many partners, people, and organisations who have contributed to the development of the Portland Works project through the sharing of time, skills, or funding.

Sheffield Community Enterprise Development Unit

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Investigating the context

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Portland Works History

Researched by Simon Parris and Frances Cole Portland Works, which is located to the west of Bramall Lane in the 'John Street Triangle' Conservation Area, is one of the city's last remaining examples of a purpose built light metal trades integrated works. 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. The works forms part of an important enclave of 11 nineteenth century industrial buildings. Commissioned by Robert F. Mosley (1841-1921) and designed by J.H. Jenkinson Architects, planning permission was approved for the building on the 15thÂ of September 1876 and it was built soon after in one phase. R. F. Mosley & Co. Ltd., manufacturer of cutlery and silverware, was the first firm in the world to produce stainless steel cutlery and it continued to operate on the site until the late 1950s. In typical style workshops within Portland Works were sublet immediately after construction and by 1879 the building also housed William H. Green (spring knife maker) and George Gill (cutlery manufacturer). R.F. Mosley & Co.'s Portland Works was described in an 1888 directory of Sheffield's industries as: "A well erected premises [that] provides every facility for the class of trade carried on. It comprises offices, handsome showrooms, systematically arranged stockrooms, well equipped packing, cutters, silver and electroplating rooms, forge shops and grinding mills. The different workrooms being provided with all the necessary steam power, machinery and appliances required. Messrs Mosley & Co. manufacture every kind of cutlery and have earned a high character for the quality of their productions. A valuable feature of their business and one, which has been made a speciality by them, is the manufacture of case goods of an exceedingly artistic and extensive scale. These cases are filled with satin and velvet linings for the reception of cutlery of the best and highly finished kind (mounted in pearl, ivory, silver metal and other choice mountings. A large quantity are always kept in stock and orders, owing to the resources of the firm and great numbers of hands employed, can be executed without delay. Mr Mosley and Sons are actively engaged in the management of the business and are to be heartily commended for the high position their establishment has attained under their guidance."

British Industrial Publishing Company, 1888

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Investigating the context

Thanks to the continuity of a number of successful metal trades businesses operating within the works, including Wigfull Tools, Stuart Mitchell Knives, Shaw Engraving and PML Plating, these details, indeed the entire forge area, continue to be both well used and preserved. The building even retains the original line shafts, which drove R. F. Mosley & Co.'s hammers and drop stamps.

Grade II* Listing Portland Works was awarded Grade II listed status by English Heritage in 1995, they summarised the importance of Portland Works in its 2003 listing upgrade description as follows:

Over one hundred years later the Pevsner Architectural Guide to Sheffield described the works' physical features thus: “On a corner site, the corner of the works is rounded with a two-storey entrance gateway with rusticated pilasters. Elaborate frontage, the works name flanked by panelled pedestals with ball finials. Round headed sash windows to the first floor and sill and lintel bands, that on the first floor cogged and in contrasting cream bricks. Ornamental panels of diagonal brickwork and an octagonal chimney. A three-storey rear range used for grinding has a room with four transverse fireproof bays, suggesting the presence of a central engine house with the position of hearths indicated by ridge stacks. On the ground floor of the [west] workshop range are the best preserved examples of hand forges in the city. These may have been let separately and retain combined stable-type doors and a window under a rolled steel lintel.”

Harman & Minnis, 2004

These characteristics, together with the degree of completeness of survival make this site of particular importance and justify its upgrading to Grade II*

“Portland Works is a large integrated cutlery works built in the 1870s. The complex is an extremely good and complete example of a large purposebuilt integrated cutlery works dating largely from a single 1870s building phase with a well designed layout for this building type. The works was mechanised, with evidence for a steam engine, but there are also unpowered workshop ranges, illustrating the fact that Sheffield based its reputation upon the supremacy of traditional methods; it was said in 1879 that ‘the highest excellence can be attained only by the employment of intelligent hand labour’. “This type of complex is very distinctive to the industrial identity of Sheffield, which, at this time was known throughout the world as a centre of excellence in the manufacturing and processing of steel. Portland Works is an important survival which demonstrates the layout of such a complex, highlights the limited use of power in the cutlery manufacturing process, and retains both hand forges and steam grinding rooms, extremely rare survivals of building types related to specific processes, with probably fewer than five sites in Sheffield now retaining evidence of both. These characteristics, together with the degree of completeness of survival make this site of particular importance and justify its upgrading to Grade II*.”

English Heritage - Listed Buildings Online (http://lbonline.english-heritage.org.uk)

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Stainless Steel On the 13th August 1913 Harry Brearley created a steel alloy with 12.8% chromium and 0.24% carbon, which is argued to be the first* ever batch of what became known as 'stainless steel'. His employers, Firth Brown Steels, were not interested in the armament potential of this new alloy, which Harry called 'rustless steel'. Therefore, he suggested alternative uses, in particular the utility of such an alloy to Sheffield's Cutlery Industry. However, his suggestion that rustless steel would be an excellent material for cutlery production was publically ignored, although privately Firth's are known to have sent two samples to Sheffield cutlers for their opinions. They reported back that the alloy was useless due to difficulties in forging, grinding and hardening. The cutlers took no instruction from Harry regarding the correct temperatures or specifications to produce rustless steel wares and declared both batches a failure. The talk of the town was that Harry Brearley was "the man who invented knives that won't cut" (ibid.). Being a man of considerable conviction Harry was unperturbed by this setback. Through an intermediary he purchased one hundred weight of chromium steel from his employer and arranged for it to be made under his own careful supervision into rustless steel cutlery by a local cutlery firm:Â R.F. Mosley & Co. of Portland Works, Randall Street. Working closely with the cutlery manager of R.F. Mosley & Co., Ernest Stuart, who recognised that rustless cutlery could be of considerable merit, Harry supervised the production of a number of batches of cutlery, which he gave to his friends, asking them to return them "if fruit, condiment or food marks them" (ibid.). None were returned. In the process of testing the corrosion resistance of Harry's new steel alloy with vinegar for himself, Ernst Stuart commented that stainless steel would be a more marketable name than rustless steel. Thus, 'stainless steel' was born in Portland Works! Harry returned to his employer adamant that this kind of steel had enormous potential. However, the conservative directors at Firth & Brown Steels proclaimed that "restlessness was not so great a virtue in cutlery, which of necessity must be cleaned after each using", and so he was again ignored to the point of reprimand for being over enthusiastic (Mittal Corp Ltd., 2010).

A case in Sheffield's Cutlers Hall still contains a set of ordinary looking table knife blanks and blades. These knives produced in Portland Works by R.F. Mosley & Co. and presented to Cutlers Company of Hallamshire by Harry Brearley Esq. - are the earliest specimens of stainless steel cutlery in the world. In his autobiography: 'Knotted String', which was published in 1941, Harry commented that his discovery of stainless steel was initially undervalued:

â&#x20AC;&#x153;...The people in authority saw nothing of commercial value and still less of scientific interest in it. The rusting of iron is universally accepted and no one seems willing to accept that it can be overcome. I hope I will not be taken amiss if I say that workmen are often much wiser than their mastersâ&#x20AC;?.

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Investigating the context

The John Street Triangle Conservation Area Business Audit

The John Street Triangle Conservation Area Business Audit (JSTCABA) was carried out by Caroline Jackson, a volunteer, during summer 2010. The brief was to interview all the businesses based in the John Street Triangle over the period of two months using questionnaires appropriate to either, Light Industry and Metalworking, Heritage Crafts, Art or Music. The audit was conceived to meet the following requirements of the campaign: Supporting Planning Application Objections and aiming to change the designation of the John Street Triangle Area in the upcoming Sheffield Development Framework

Davidsons Ray Gawthorpe Lynthorpe Joinery Mortimer Denby Silverware Laser 4 Thomas Meldrum Ltd. Magpie Accessories S. R. Tableware

The John Street Triangle is currently designated as â&#x20AC;&#x2DC;Flexible Useâ&#x20AC;&#x2122; under the Unitary Development Plan, but was to become an area of â&#x20AC;&#x2DC;Housing and Business â&#x20AC;&#x2122; under the Sheffield Development Framework. If housing is built within the area, noise regulations would come into force through Building Regulations and Planning Policy that would restrict the noise that could be made by the workshops and studios. There was concern by the Planning Officers that the area was largely vacant, in decline and could not continue to sustain industry and so therefore they felt that changing the makeup of the area would maintain its viability. However, those who worked in the area knew it as an active area for the creative and light industries. The triangle is home to a number of businesses- including the largest concentration of music studios in the north of England, a number of metalwork factories and small industries such as jewellery making, leather work, and heritage crafts. There was however, no formal record of this and as business is hidden behind shabby faĂ§ades a short walk around the area would not make the vibrancy immediately visible. Many of the businesses also work early in the morning, or in the case of the musicians, later in the evening and nighttime. We soon realised that in order to support our objections to the Planning Application we would required an audit of the businesses in the area.

Denby Silverware

Manufacturing

Business Name

Denby Silverware

Type of Business

Manufacture of silverware as well as repairs, makes candlesticks, punchbowls, cutlery trays etc.

Address

Kenilworth Works 85 Denby Street

Length of time at current premises Previous Address

11 years Established here

No of Employees Their Rolesâ&#x20AC;Ś? What are your reasons for being located here?

1, used to be a partnership of 2 but partner retired Soft soldering by hand, polishing, finishing, buffing I live near here, 5 minutes away, worked for a big manufacturer of silverware in Sheffield for 34 years and left to start own business, handy to be in this area as the plating shops are all around here â&#x20AC;&#x201C; platers in Portland Works, Luthco. Also, unit was available, rent was right, always lived here, quite flexible working space, works are open all hours â&#x20AC;&#x201C; I can spend all Saturday and Sunday working here if I want to. Rent

,Q 6KDUURZ DQG LQ WKLV SDUWLFXODU EXLOGLQJ 3RVLWLYHV QHJDWLYHV The majority of the manufacturing businesses surveyed have been at their current premises for between 10 and 20 years. The oldest, Davidsons, has been located on Harwood Street for 18 years, having been established in the Wicker area of Sheffield in the 1850s. Davidsons manufactures by hand identification equipment for marking and stamping cutlery and jewellery. Located within the same works as Davidsons, Ray Gawthorpe works alone performing the final finishing process on silver pieces. He has worked on famous items of silverware such as the coffin piece for the Queen Motherâ&#x20AC;&#x2122;s funeral as well as the World Snooker trophy for the Crucible and the Cheltenham Gold Cup trophy. Having been in the silverware trade for over 50 years, Ray is familiar with the network of silverware businesses and artisans across Sheffield and the UK. The works on Harwood Street are a compact set of units occupied by five manufacturing companies including Davidsons and Ray Gawthorpe. The owners of these businesses all know each other and some make use of the other businesses within the same works. For example, Laser 4, a laser engraving specialist, was surveyed as having contracted out some wood and metal polishing within the Harwood Street works. The practice of using local nearby sources for materials and products can be seen among many of the businesses in the John Street area, especially within the manufacturing sector. An example of this is Lynthorpe Joinery, manufacturers of doors and windows. Situated on Randall Street, the company uses the timber yard on Queenâ&#x20AC;&#x2122;s Road and the iron mongerâ&#x20AC;&#x2122;s near Sheaf Street. In fact, their close proximity to the timber yard was given as a reason why Lynthorpe Joinery was established in this area. The business is 30 years old and moved within the area from itâ&#x20AC;&#x2122;s original location on Charlotte Road 20 years ago.

CafĂŠ Euro Business Name

CafĂŠ Euro

Type of Business

CafĂŠ â&#x20AC;&#x201C; everyday breakfasts & lunches

Address

72 John Street

Length of time at current premises

5 Years â&#x20AC;&#x201C; first business

Previous Address

Established here

No of Employees

2 full-time, 4 part-time

Their Rolesâ&#x20AC;Ś?

Cooking, serving, cleaning

What are your reasons for being located here? ,Q 6KDUURZ DQG LQ WKLV SDUWLFXODU EXLOGLQJ 3RVLWLYHV QHJDWLYHV

Restrictive rents in town for start-up businesses. Too expensive. There was already planning permission for a cafĂŠ. Large customer base: Other businesses â&#x20AC;&#x201C; â&#x20AC;&#x2DC;Go Outdoorsâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;Forge Studentsâ&#x20AC;&#x2122;. Large no of staff/workers in the vicinity that use the cafĂŠ. Like the layout of the cafĂŠ. Location in the works and area fits in with ethos â&#x20AC;&#x201C; small, ethical, a mixture of students, musicians, bohemians.

Do you own your premises?

Rent

Do you have any ideas for expansion or relocation?

Established here, now looking to expand to town. Would keep this as figure head â&#x20AC;&#x201C; make food here, have other units in town and elsewhere

Would your business survive a move of premises?

Working on it â&#x20AC;&#x201C; within a year is the plan.

Where do you get your materials/products from?

Walkley bakeries on London Road, Wholesalers like Macro, Lembass on Valley Road, Heeley. No internet sales. Also use Sheffield Market.

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Costcutter, Waitrose, Imperial Signage, CCC towbars. Used Mash Production Company, Harland Works, to make a training DVD. Yes

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Had heard through Alan Deadman and PW committee meetings in here sometimes. In beginning business was bad as location is off the beaten track, no football. Business was helped by low level advertising, word of mouth, mentioned in papers, local business deals. Go Outdoors gave a % off deals on deliveries etc., which helped. Customers now include mainly locals for lunches on

Do you own your premises? Do you have any ideas for expansion or relocation? Would your business survive a move of premises? Where do you get your materials /products from?

Have been asked by Steve Wright to work for them to help them train some apprentices â&#x20AC;&#x201C; possibly next year. Other than that, I like the flexibility of working alone.

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Company in Nottingham, businesses in Sheffield â&#x20AC;&#x201C; Lathco., Wales Small scale machinery for polishing etc. This is just maintained and mended when necessary.

Do you use any other services or shops in the area?

I do work for Lathco. Use platers in Portland Works, I get work from British Silverware.

Are there any other businesses similar to yours in the area?

Chimoâ&#x20AC;&#x2122;s near Decathlon, Montgomery Collection, Steve Wrightâ&#x20AC;&#x2122;s

Contact Details (phone/email)

Yes

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Seen posters

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Providing evidence of demand for workshop and studio space for our business plan The audit covered information that will be useful in the development of our business plan. This included providing evidence of demand for the low-cost studio and workshop space available at Portland Works. Questions focused on why businesses were attracted to the area, previous areas/ premises they had been located, what their needs were in terms of services and relationships with other businesses and any requirements for expansion or relocation. Providing evidence of the cluster effect of small businesses in the area and networking Anecdotally we were aware that many of the businesses both within Portland Works and the wider area had strong networks, based on their trades, such as metalworking, heritage crafts, art and music. These were both formal and informal, either based on joint project work, purchasing supplies and services, or helping one another out with repairs and advice. This audit aimed to formalise this in order to make the case for the impact of Portland Works being lost going further than just the businesses based within it.

Publicising the campaign

Feedback

The process of conducting interviews for the audit gave us the opportunity to speak about the campaign with other businesses in the area and understand the impact of our current campaigning.

“The John Street Triangle Audit was useful in writing my policy response to the planning application and concluding that the proposal was not acceptable. I also passed on your report to the officer who was drafting the Planning Committee report before the application was withdrawn.

Gaps and limitations of the report Due to capacity the report was compiled relatively swiftly through interview/ questionnaire with those who were willing and available to speak with us. This means that for many of the businesses we might have got a fuller picture by speaking to a number of the employees/ other members of the firm. This can be followed up and developed as required/ capacity becomes available. We were also aware of a more significant problem associated with the more informal aspects of the area. Musicians, designers and artists were often either only onsite and night and so were omitted, or, even more frequently were unwilling to have this information recorded. This was due to the spaces they occupied being recorded by their landlords as storage space, or them sharing space or sub-letting. An awareness of these limitations of the JSTCABA led to the initiation and design of a further survey, complementary to this, with different focus and approach. The complementary survey became the brief for a project for students from the Department English at the University of Sheffield, who were asked to create a more qualitative survey of the music and art within the area (see page 88).

“Of course your report’s intention is to change the SDF designation. I've followed up on the evidence you've provided, done a little more myself and we're almost certain to propose to Councillors that the designation is changed. Not to exactly what you asked for but it'll largely have the same effect i.e. indicate that housing development is not acceptable. You'll get a formal response and the precise details of any proposed change in due course. “Please let Caroline know how effective her work has been. It allowed me to sit down in a meeting with 3 other, more senior officers, and provide really good evidence about why the proposed application wasn't acceptable in terms of policy. The SDF consultation process is very slow and laborious. Quite a lot of time is spent on bureaucratic matters rather than improving the plans, but I think this is probably the best example I have of where it has really worked.” Laurie Platt, Area and Forward Planning Officer (correspondence to Julia Udall, 27th April 2011)

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Investigating the context

“

Of course your report’s intention is to change the SDF designation. I’ve followed up on the evidence you've provided, done a little more myself and we’re almost certain to propose to Councillors that the designation is changed. Not to exactly what you asked for but it’ll largely have the same effect i.e. indicate that housing development is not acceptable. You'll get a formal response and the precise details of any proposed change in due course.

RIBA PW inners:Layout 1 12/05/2011 10:31 Page 26

RIBA PW inners:Layout 1 12/05/2011 10:31 Page 27

Precedents

RIBA PW inners:Layout 1 12/05/2011 10:31 Page 28

Case Studies

As part of the Knowledge Transfer Project Re-imagining Portland Works: Sustainable Futures for Sheffieldâ&#x20AC;&#x2122;s Industrial Heritage a number of case studies were developed around projects representing a range of models of management, ownership and funding or with an interesting vision and therefore with a to offer inspiring ideas for Portland Works. In particular, the case studies, funded through the Knowledge Transfer and Agency, were chosen to assist with the creation of a shared vision for Portland Works and to develop a governance model and business plan. Ten projects including Bank Street Arts, Stag Works, Â The Riverside, S1 Artspace, High Green Development Trust and Butcher Works in Sheffield, Coexist/Hamilton House in Bristol and The Woodmill in London, were looked at in detail and a draft of the case studies was used as the basis for one of the sessions for the Exploring Futures workshop, held in June 2010 (see 36). Each case study contains and introduction, location map, address and directory, an indication of the projectâ&#x20AC;&#x2122;s size and scope, a section on the ethos (people and goals), one on accommodation (occupancy and tenancy) and one on management ; each case study also included a chronological financial account of projects and a section on difficulties, disputes and failures. The information was gathered through interviews with a number of actors and through additional desk based research and site visits where required. The case studies were compiled by a number of researchers, individually credited, that worked collectively and iteratively on identifying issues to cover, questions to answer and gaps in their understanding of the projects. The case study questions and scope were developed collectively through the ongoing interview process- so learning something was crucial in one case often led us to try to understand it in another case. Following the Exploring Futures workshop the initial case studies draft were revised and they became a strategic vehicle to explore and research issues that had been identified of relevance fro Portland Works. We used them to find out specific things we felt crucial to the Portland Works project, such as how priorities of social benefit and economic viability could be balanced or more

practical things such as how people handled voting at the AGM. The Case Studies set out the process of development in terms of economic social and physical aspects and intend to show how these things are linked together and to the choices made about governance or business model. They also aim to flag up pitfalls and issues for concern to be aware of when embarking onto similar project.

Besides the value of the Case Studies as precedents, for Portland Works is also the very process of engaging in researching those precedents that is proving of value. In the development of the case studies we have created networks and new relationships with other similar groups and projects. This has proven useful (and will be in the future) for sharing advice and experiences and for the development of potential partnerships. As the Portland Works campaign and project gained momentum an eleventh case study on Portland Work was created to document and capture its story in the same format of the initial ten Case Studies, as a resource for other groups wishing to purchase and develop buildings for community benefit. The Case Studies are currently only available in the format of twelve page long stand-alone booklets, but are in the process of being compiled into a handbook to be published later in 2011.1

RIBA PW inners:Layout 1 12/05/2011 10:31 Page 29

Precedents

Knowledge Transfer Partnership 2010

Case Study 1 Bank Street Arts

Case Study Information Bank Street Arts

Location :OLMĂ&#x201E;LSK :V\[O @VYRZOPYL

Accomodation Accomodation Occupany Oc cupany a and an d Te T Tenancy enancy

Introduction

Site Information

Schedule Sc h e dul e o off A Accomodation ccomod odation

Bank Street Arts is a privately funded arts centre providing space for multidisciplinary exhibitions and live events and studios for a range of creative practitioners, including artists, poets, jewellers and designers. 7KH FHQWUH FRPSULVHV RIĂ&#x20AC;FH DQG VWXGLR space, galleries, project spaces, cafe and display areas, an education space and a shared jewellery workshop. They DUH VSUHDG DFURVV Ă&#x20AC;YH JURXQG Ă RRU gallery spaces, a glass covered atrium, a courtyard and basement spaces with barrel vaulted ceilings. Both artists and FRPPHUFLDO WHQDQWV Ă&#x20AC;QG WKLV PL[ YHU\ EHQHĂ&#x20AC;FLDO WR WKHLU SUDFWLFH WKH\ DUH exposed to various creative ways of working as opposed to occupying an RIĂ&#x20AC;FH EXLOGLQJ RU SULYDWH VSDFH

Bank Street Arts is an independent and unfunded organisation, set up in January 2008 and gaining charitable status in 2010. The centre occupies a converted Grade II Listed Terrace in D FHQWUDO 6KHIĂ&#x20AC;HOG /RFDWLRQ WKRXJK D distance from the Cultural Industries Quarter where many of the galleries and creative industries are situated, the area is in close proximity to shops, businesses and the Kelham Island Quarter, an area undergoing regeneration with popular residential accommodation and traditional pubs and restaurants.

Bank Streetâ&#x20AC;&#x2122;s independence from public funding allows them to programme activity not limited to the discipline favoured by the funding body, enabling their cross disciplinary programme and studio intake â&#x20AC;&#x201C; this freedom of operation allows them to respond to demand and requests. The mix in programming makes the venue a valuable space for practitioners who want to network and practice with people working in different areas, and for bringing together diverse audiences.

Following a process of refurbishment the studios became available in 2009 and the gallery spaces opened to the public in 2010. Since opening, a range of exhibitions and events, including work by visual artists, musicians, sound artists, poets, writers and craftspeople have been presented. The studios are home to an equally varied range of artists, writers, illustrators, designers, jewellers and small businesses including WKH ORFDO PDJD]LQH $UWLFOH DQG 6KHIĂ&#x20AC;HOG Now, a CIC developing projects to engage young people in architecture.

the city and its extended creative FRPPXQLW\ DQG LV GHYHORSLQJ D VSHFLĂ&#x20AC;F policy as to how space is let, managed and allocated. There are currently four LGHQWLĂ&#x20AC;DEOH VWUDQGV WR WKHLU SURJUDPPH the gallery spaces are available to hire for a few weeks each year on an open basis, there is a programme of curated exhibitions which runs in conjunction ZLWK HVWDEOLVKHG 6KHIĂ&#x20AC;HOG IHVWLYDOV L H â&#x20AC;&#x2DC;Over to Youâ&#x20AC;&#x2122;, running in conjunction with Ň&#x160;$UW 6KHIĂ&#x20AC;HOGŇ&#x2039; WKH UHVLGHQF\ VFKHPH is used to inform and feed into our gallery programme and open submission exhibitions and events as advertised on our website broaden access to anyone.

26 2 6S Studios, tudios, 5 gallery galler y sspaces pace s a and nd w workshop, orkshop, education, e d u c a ti o n, c cafe, afe, cellar cellar and and courtyard cour t yard sspaces pace s

Park Square

T Tenants enants

Other O th e r N Notes otes

Resident T Tenancy enancy ncy Rents are scaled according to use, EHJLQQLQJ ZLWK D EDVLF SULFH SHU VTXDUH IRRW QRW DYDLODEOH EHJLQQLQJ ZLWK D D EDVLF SULFH SHU VTXDUH IRRW QR RW DYDLODEOH RW DYDLODEOH

ZLWK VXEVLGLHV IR RU QRW IRU SURĂ&#x20AC;W FRPSDQLHV DQG LQGLYLGXDO ZLWK VXEVLGLHV IRU QRW IRU SURĂ&#x20AC;W FRPSDQLHV DQG LQGLYLGXDO practitioners. Businesses usinesses pay slightly higher rents, ents, but affordable these are still considered onsidered af fordable for City Centre entre space. Commercial spaces aces average 12.50 per square metre per month. All tenants nts have access to shared services ces and facilities.

Sheffield t Wes

Stre

26 2 6 ttenants, enants, a changing changing mix mix of of organisations organisations and and individuals. individuals. Bank Ba nk S Street treet Arts A r ts

Location Map 100 m approx.

does d oes n not ot m monitor o n i to r h how ow m many any vvisitors i s i to r s c come ome tto o tthe he ssite. i te .

Overall Organisation sation T Tenancy enancy Leased, with ownership being pursued.

Project Size

Area Breakdown

A variety of emerging and more established artists have been given the opportunity to exhibit at BSA, and VSHDN RI WKH H[SHULHQFH DV EHQHĂ&#x20AC;FLDO to their professional practice as well as offering freedom within the exhibition organisation.

Annual Rent for or Entire Space Amount unavailable. ilable. Building part owned by Pension Fund and part leased with a view to ownership.

9,000 sq/ft useable space and circulation

L XL

Bank Street has a strong identity in

Page 2 of Case Study 1

More about Portland Works at

Address Bank Street Arts West Bar :OLMĂ&#x201E;LSK South Yorkshire S1 2DS

Bank Street Arts

Page 3 of Case Study 1

Page P age 6 o off C Case ase S Study tu d y 1

www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Case Study 2 The Woodmill

Case Study Information The Woodmill

Location Bermondsey, London

Introduction

Site Information

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The Woodmill A typical studio space at The Woodmill

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Page 2 of Case Study 2

More about Portland Works at

Address The Woodmill Neckinger London SE16 3QN

Abbey Stree

Page 3 of Case Study 2

Page 9 of Case Study 2

www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Case Study 3 Butcher Works

Case Study Information Butcher Works

Ongoing Issues +PMĂ&#x201E;J\S[PLZ +PZW\[LZ HUK -HPS\YLZ

Introduction

Funding and Tenancy

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Butcher Works after renovation Image Charlotte A Morgan

Page 2 of Case Study 3

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WDNLQJ SODFH LQ LWV LPPHGLDWH YLFLQLW\ GXULQJ WKH SHULRG SURSHUW\ YDOXHV KDG LQFUHDVHG WR VXFK DQ H[WHQW ZLWKLQ WKH &,4 WKDW VXFK ORZ FRVW RIĂ&#x20AC;FH VSDFH ZDV QR ORQJHU YLDEOH 7KLV UHJHQHUDWLRQ LURQLFDOO\ LQFOXGHG WKH UHGHYHORSPHQW RI %XWFKHU :RUNV ZKLFK DFWXDOO\ VHUYHG WR UHGXFH DIIRUGDEOH ZRUNVSDFH ZLWKLQ WKH DUHD DQG FRQWULEXWH WR SURSHUW\ YDOXHV

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www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Case Study 4 Coexist at Hamilton House

Location Bristol, Avon

Accomodation Occupany and Tenancy

Site Information

2007

Tenants

Hamilton House

Funding and Finance Timeline 2008

2009

2010

2011

Address Hamilton House Stokes Croft Bristol Avon BS1 3QY

B C D E

ifton

F University of Bristol

Brandon Hill

120 tenants, a mix of organisations and individuals Queen Square

Resident Tenancy Rent per month per square metre in two tiers; professionals/commercial tenancy and reduced rates for individuals â&#x20AC;&#x201C; artists/musicians etc.

Project Size

Area Breakdown

Overall Organisation Tenancy Private ownership - Coexist management company pay rent from tenants direct to the landlords, taking a percentage to cover their costs. 1R GLVFORVHG Ă&#x20AC;JXUH IRU KRZ PDQ\ YLVLWRUV QRU D GHWDLOHG breakdown of accommodation.

Building and Site Refurbishment

Management / Site Maintenance / Marketing

Special Projects and Organisational Development

A When 2007 - 2008 Who Connolly and Callaghan Amount Undisclosed Purpose Initial necessary improvements to reach safety standards. Many refurbishments, including the studios, IHY VMĂ&#x201E;JLZ HUK ^VYR ZWHJLZ ^LYL created cheaply by a team of Coexist employees and contacts using ASB boards and other environmentally sound materials. The team gained advice from experts in reuse of materials, construction and sustainability and were able to reuse materials no functioning in their original use, for example music studios were sound proofed by materials from the old roof.

C When 2008 Who Connolly and Callaghan Amount Undisclosed Purpose Feasibility study and seed funding for Coexist.

F When 2010 Who The University of Bristol Amount Undisclosed Purpose Research into and development of a community energy company and social enterprise incubator.

Other Notes

Bristol Location Map 200 m approx.

55,000 sq/ft useable space and circulation

L XL

B When 2008 Who Coexist sister company Amount ÂŁ175,000 Purpose Design, refurbishment and development of the Canteen venue, ^OPJO PZ Y\U WYP]H[LS` MVY WYVĂ&#x201E;[

D When 2009 - Present Who Tenants Amount <UKPZJSVZLK YLU[ Ă&#x201E;N\YLZ Purpose Wages, running costs and publicity of Coexist. E When 2009 - Present Who Tenants Amount <UKPZJSVZLK YLU[ WYVĂ&#x201E;[ Purpose Site maintenance.

*VL_PZ[ HPT MVY ZLSM Z\MĂ&#x201E;JPLUJ` HUK sustainability rather than to rely on grants, however the security of their position came from their seed-funding HUK SHYNL PUP[PHS Ă&#x201E;UHUJPHS PU]LZ[TLU[ PU refurbishment from the owners; they aim to secure more investment to enable them to become more sustainable. Eventually coexist would like to buy the building. Coexist are not forthcoming with certain Ă&#x201E;UHUJPHS PUMVYTH[PVU

More about Portland Works at www.portlandworks.co.uk

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RIBA PW inners:Layout 1 12/05/2011 10:32 Page 30

Knowledge Transfer Partnership 2010

Case Study 5 High Green Development Trust

Location High Green, South Yorkshire

Management High Green Development Trustâ&#x20AC;&#x2122;s Organisation

Site Information

Overview

Address Paces Campus Pack Horse Lane :OLMĂ&#x201E;LSK South Yorkshire S35 3HY

Harley

High Green

HGDT Paces Campus

Southwark Borough Council Owner High Green Development Trust (HGDT) High Green Development Trust Board One member, one vote

Thorpe Hesley

Burncross

No less than 3 members

No more than 12 members

The trust was formed in 2004 and is run as a co-operative, involving representatives of itâ&#x20AC;&#x2122;s 12 membership organisations in a committee with a one member one vote model. In accordance with the HGDT Constitution, the committee is made up of not less than three and not more than 12 persons. Should the membership exceed 12, Committe will be elected annually. Paces Image Charlotte A Morgan

High Green Development Trust Capital Development Board Private sector business people and architects

M1 Ecclesfield

L 6 ers [P] J\ _L M ,

MĂ&#x201E;

e ag an M e r ris e rp ag er te an ag En t M an M s Tru ises m r ke ta

OPL

Pre

42,000 sq/ft useable space

10,000 sq/ft 10,000 sq/ft circulation unsafe

Barker Billiards

F. Brailsford Accountant

Abbey Care & Nursing at Home

Coterie Gallery & Fine Art Studio

High Green Sports

Paces Cafe

Steps Community Nursery

Stomp Out of School Club

Hullaballoos Ltd

CoSY IT

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are C

Area Breakdown

Project Size

The Enterprise Manager is a recent post, and focuses on the Trust itself and helping members to develop

High Green Development Trust Staff Employed part time

Location Map 1 mile approx.

3DFHV 6KHIĂ&#x20AC;HOG 6LJQLĂ&#x20AC;FDQWO\ 3DFHVŇ&#x2039; LV SRVLWLRQHG DV DQ DQFKRU RUJDQLVDWLRQ LQ WKH FR RSHUDWLYH Paces occupies the largest space and makes the biggest contribution to rates and management. Paces and the more established organisations provide the structure and leadership to support and attract smaller organisations in the membership.

Coterie Studios Image Charlotte A Morgan

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www.portlandworks.co.uk

Accomodation Occupany and Tenancy

Knowledge Transfer Partnership 2010

Case Study 6 Waverley Advanced Manufacturing Park

Schedule of Accomodation

14 units in Evolution, undisclosed no. of units for the rest of the AMP

Tenants

AMP construction underway

The former Orgreave Coking Plant site

RUV^U [LUHU[Z LTWSV`TLU[ Ă&#x201E;N\YLZ \UH]HPSHISL

Other Notes

Resident Tenancy The AMP advertises a range of property DQG GHYHORSPHQW RSSRUWXQLWLHV Ň&#x2039; VTIW RI RIĂ&#x20AC;FH ODERUDWRU\ DQG ZRUNVKRS VSDFH LV GLYLGHG LQWR VTIW VHFWLRQV IRU VPDOOHU VWDUW XS EXVLQHVVHV LQ <)V VSHFLDOO\ EXLOW $03 7HFKQRORJ\ &HQWUH 0HGLXP VL]HG K\EULG OLJKW LQGXVWULDO XQLWV DUH DYDLODEOH IRU JURZLQJ FRPSDQLHV RU ODUJHU FRPSDQLHG PRYLQJ LQ IURP WKH RXWVLGH DW (YROXWLRQ # 7KH $03 D VFKHPH GHYHORSHG E\ 8. 6WUDWHJLF 3DUWQHUVKLS /WG ZKLFK LV D MRLQW YHQWXUH EHWZHHQ 8. &RDO and developer Strategic Sites. There are 14 of these units

The Waverley Master Plan Image AMP Waverley

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UDQJLQJ IURP Ň&#x2039; Â˛ Ň&#x2039; VTIW /DUJHU FXVWRP EXLOW SUHPLVHV DUH DYDLODEOH WKURXJK WKH 'HVLJQ %XLOG RSWLRQ IRU ODUJHU FRPSDQLHV ZLWK EHVSRNH QHHGV 7KHVH FXVWRP EXLOG SUHPLVHV FDQ DFFRPPRGDWH D YDULHW\ RI QHHGV DQG DOORZ VSDFH IRU IXWXUH JURZWK DQG DUH DYDLODEOH IUHHKROG RU leasehold. Overall Tenancy 7KH $03 LV D FRPELQDWLRQ RI WKHVH IUHHKROG RU OHDVHKROG RSWLRQV DQG DQ XPEUHOOD RUJDQLVDWLRQ UDWKHU WKDQ WHQDQW VHW XS E\ WKH RZQHUV

)VLPUN HUK ;OL <UP]LYZP[` VM :OLMĂ&#x201E;LSKÂťZ QVPU[ YLZLHYJO JLU[YL Image AMP Waverley

Page 6 of Case Study 6

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www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Funding and Finance ;PTLSPUL 1995

Site Information

Sheffield Hallam University Fitz

S1 Artspace

iam will

Case Study 7 S1 Artspace

Location :OLMĂ&#x201E;LSK :V\[O @VYRZOPYL

ee Str

Train Station

2003

2006

2007

2008

2009

2010

2011

Address S1 Artspace Unit 4/6 Trafalgar Court 2 Milton Street :OLMĂ&#x201E;LSK South Yorkshire S1 4JU

B C D E F

The Moor

Rin g ad

Ro S1 Artspace Entrance Image Charlotte A Morgan

Project Size

Area Breakdown

B When 2008 Who Arts Council England Amount ÂŁ7000 Purpose Improvements to gallery space including full plastering of walls, removal of internal studio room and installation of window and sky light blinds.

14,555 sq/ft useable space and circulation

L XL

The Library Image Charlotte A Morgan

Page 3 of Case Study 7

More about Portland Works at

Building and Site Refurbishment A When 1995 Who Founding resident members Amount ÂŁ3000 approximately, through voluntary contributions and time given in kind. Purpose Initial refurbishment including painting breeze block walls and concrete Ă&#x2026;VVYZ PUZ[HSSPUN HU` KP]PKPUN IVHYKZ HUK self installing electricity and lighting.

Location Map 100 m approx.

Page 5 of Case Study 7

C When 2008 Who Arts Council England Amount Following the Fire Safety checks, a ÂŁ1000 in costs plus days work of ACE funded Curatorial Assistant. Purpose Refurbishment of studio spaces, including installation of dividing boards to create three uniform studio ZPaLZ WHPU[PUN VM ^HSSZ ^OP[L HUK Ă&#x2026;VVY

grey and improvement of plumbing to enable the kitchen area to be moved into unused space and space opened upx for a social area and library, stocked with books donated by art organisations and publishers across the UK.

F When 2008 - Present Who Hirers of gallery space for events and functions Amount ÂŁ1000 per annum Purpose As above

Marketing and Programme D When 2003 - Present Who Arts Council England Amount ÂŁ70,000 per annum Purpose Commissions of new work by exhibiting artists, materials and running costs, employment of Curator and invigilators, rental costs for gallery and VMĂ&#x201E;JL ZWHJLZ THYRL[PUN PUJS\KPUN KLZPNU for print, website and advertisements in art press. E When 2006 - present Who The Henry Moore Foundation, Elephant Trust, Esmee Fairbairn, :OLMĂ&#x201E;LSK ;V^U ;Y\Z[ HUK .YH]LZ Charitable Trust Amount One off grants, approximately ÂŁ3000 per annum Purpose As above, one off events and special programming, including touring exhibitions and publications.

Page 9 of Case Study 7

www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Case Study 8 The Stag Works

Case Study Information The Stag Works

Ongoing Issues +PMĂ&#x201E;J\S[PLZ +PZW\[LZ HUK -HPS\YLZ

Introduction

-\UKPUN HUK ;LUHUJ`

The Stag Works is a Grade II Listed facility, providing low cost studio space for musicians along with creative businesses and a small amount of metalworking units. Those involved with the works wish to maintain this provision and create an on-site music venue.

Under the current model, tenants have little security in terms of protection from developers and rent increases. Anecdotally musicians have been told that the landlord no longer wants WR UHQW WR PXVLFLDQV GXH WR WKHLU ODFN RI VWDELOLW\ Ă&#x20AC;QDQFLDOO\ D number have been refused spaces and tenants some have moved out due to the increase in rents. There is a high risk that the works will not remain as a provision for rehearsal to foster local musical talent in the near future due to the threat to Portland Works and many similar industrial buildings in the area, which is fast being developed . An organisation like /6'7 LV YLWDO WR HQVXULQJ WHQDQWV DUH SURWHFWHG DQG WKH FXOWXUDO community is not negatively affected, and can in fact grow and attract people to the city.

changeover of staff on the council at the time which prolonged WKLV GHFLVLRQ \HW VWDWH WKDW WKH Ă&#x20AC;QDQFLDO FULVLV FRXOG KDYH LQ fact worked to their favour in reducing the cost of the building. EPC do not have the resources to work with long and drawn out processes, and usually work with organisations for short periods RI WLPH ZLWK LQWHQVH IRFXV ,Q WKH IROORZLQJ \HDUV *RYHUQPHQW support for this ethical type of investment also decreased, which is a factor inhibiting activity since, though EPC are not opposed to resuming communications around the project in future.

+RZHYHU PDQ\ WHQDQWV QHHG FKHDS VSDFHV GXH WR WKH QDWXUH RI WKHLU ZRUN DQG LWŇ&#x2039;V ODFN RI VWDEOH LQFRPH DQG DUH SUHSDUHG WR VDFULĂ&#x20AC;FH PDQDJHPHQW DQG DFFHVV KHDW DQG PRGHUQ Ă&#x20AC;WWLQJV 0DQ\ DOUHDG\ FDQŇ&#x2039;W DIIRUG WKHLU VSDFHV VR WKH QHZ PRGHO PD\ provide a luxury that drives certain tenants out. The proposed plans would need to be actualised in consultation with tenants LI /6'7 ZDQWHG WR PDLQWDLQ WKH FXUUHQW DWPRVSKHUH DQG TXDOLW\ DQG UDQJH RI DFWLYLW\ WDNLQJ SODFH DW WKH ZRUNV DQG assure tenants of their community based motivations behind WKH SURMHFW 7KH IHHOLQJ DPRQJVW VRPH WHQDQWV LV WKDW TXDOLW\ GRHVQŇ&#x2039;W HTXDWH WR H[SHQVH DQG PDQ\ SURPLVLQJ FUHDWLYH practitioners would leave. They also perceive the plans as being TXLWH FRPPHUFLDO 7KHUH LV D VHQVH WKDW /6'7 FRXOG UHYLVH the proposed spending, eliminating some of the proposed improvements in line with tenants perspectives and the current economic climate.

Currently tenants are offered little in the way of management, and there is little overall structure to tie them together as a FRPPXQLW\ +RZHYHU GXH WR WKH FRPPXQDO QDWXUH RI WKH building a network has built up through which many tenants meet and offer each other support, which extends the peer support nature of the music community in a city.

Stag Works is a light industrial building lying in the John Street Triangle &RQVHUYDWLRQ $UHD MXVW RXWVLGH 6KHIĂ&#x20AC;HOG City Centre. The works forms the central part of what is, along with Portland Works and Kenilworth Works, the largest concentration of music studios in the North of England. Stag Works is a four storey industrial factory building built around a central courtyard which has a long history of use by metalworkers and musicians on an DG KRF EDVLV ZLWK PDQ\ RI 6KHIĂ&#x20AC;HOGŇ&#x2039;V well known bands having rehearsed at Stag Works at some point in the early stages of their career. The building is currently full and a thriving working environment for musicians and producers XVLQJ RIĂ&#x20AC;FH UHFRUGLQJ DQG UHKHDUVDO space, as well as crafts people using workshops and creative businesses setting up working premises, and there is a waiting list for space. Following threat to the Works by oncoming development of residential units in the area and the owner investigating the feasibility RI WXUQLQJ 6WDJ LQWR Ă DWV WKH /LWWOH 6KHIĂ&#x20AC;HOG 'HYHORSPHQW 7UXVW /6'7 ZDV

formed and incorporated to champion a re-visioning of the site, bringing the building into better functioning use while SUHVHUYLQJ LWV KHULWDJH VLJQLĂ&#x20AC;FDQFH 7KH project was supported by the CIQA, who funded a consultation process that lead to the creation of an extensive business plan and vision for the Works, under the name Electro Works. /6'7Ň&#x2039;V VXEVHTXHQW QHJRWLDWLRQV OHG WR VXSSRUW IURP 6KHIĂ&#x20AC;HOG &LW\ &RXQFLO LQ WHUPV RI /RFDO (FRQRPLF *URZWK Initiative funding, and an offer from the Ethical Property Company to purchase the building once this grant ZDV LQ SODFH /(*, IXQGLQJ ZDV IRFXVHG on neighbourhood based managed workspaces to promote local enterprise and the CIQA were and still are looking for provision of neighbourhood based centres of creative industry with a strong UHJHQHUDWLRQ Ă DYRXU LQ WKH VDPH ZD\ DV 6KHIĂ&#x20AC;HOG PXVLF LQGXVWU\ SOD\HG D PDMRU UROH LQ WKH UHJHQHUDWLRQ RI 6KHIĂ&#x20AC;HOG LQ WKH Ň&#x160; V /6'7 DOVR ORRNHG DW +HULWDJH /RWWHU\ )XQGLQJ ZKLFK ZDV IRFXVHG RQ WKH PDLQWHQDQFH RI LQGXVWU\ PHWDO WUDGHV PXVLF DQG WKH WHOOLQJ RI WKH

story of those industries. The Ethical 3URSHUW\ &RPSDQ\ ZHUH LGHQWLĂ&#x20AC;HG DV Ă&#x20AC;QDQFLDO SDUWQHUV WKURXJK FRQVXOWDWLRQ with Camberwell Projects and favoured E\ /6'7 GXH WR WKHLU H[SHULHQFH ZLWK similar projects and with refurbishment DQG PDQDJHPHQW /'67 DLPHG WR LQFRUSRUDWH (3&Ň&#x2039;V WUDQVSDUHQW DQG participative management models. For a VKRUW SHULRG RI WLPH /6'7Ň&#x2039;V SXUFKDVH DQG redevelopment plans looked promising. The landlord, City Estates decided that it would not be economic to convert WKH EXLOGLQJ LQWR Ă DWV GXH WR LWV /LVWHG status and access issues, and instead made some repairs and improvements and raised the rents for those that do not have long standing agreements. +RZHYHU HFRQRPLF DQG RUJDQLVDWLRQDO problems hindered the progress of WKH SURMHFW VHH 2QJRLQJ ,VVXHV &LW\ Estates state they have no plans for Stag :RUNV WKRXJK LWŇ&#x2039;V VWDWH RI UHSDLU DQG WKH development occurring around it demand some planning. Whether City Estates intend to sell the building or attempt to develop the building in the long term remains withheld.

/6'7 QDPH WKHLU PDLQ Ă&#x20AC;QDQFLDO GLIĂ&#x20AC;FXOWLHV DV IDOVH RSWLPLVP IURP HDUO\ VXSSRUWHUV &,4$ Â˛ WKRXJK &,4$ GLG SURYLGH &( 6< funding and still cite Stag Works as a supported project on their ZHEVLWH DQG IDOVH SURPLVHV IURP RI VXSSRUW IURP 6KHIĂ&#x20AC;HOG &RXQFLO /(*, 7KLV KLJKOLJKWV D QHHG IRU FRPPLWWHH PHPEHUV experienced with dealing with such organisations and the potential changes that may take place throughout the process.

The Stag Works, Door Image Ă&#x2026;PJRY \ZLY *S`KL/V\ZL

More about Portland Works at www.portlandworks.co.uk

Page 2 of Case Study 7

Page 8 of Case Study 7

(3& ZLWKGUHZ IURP WKHLU DJUHHPHQW LQ /6'7 VXJJHVW this may be due in part due to the credit crunch, and because /6'7 ZHUH QRW DZDUGHG /(*, IXQGLQJ (3& FRQĂ&#x20AC;UP WKHUH ZHUH SUREOHPV IROORZLQJ WKH ODFN RI /(*, IXQGLQJ DQG WKH GLVUXSWLYH Page 12 of Case Study 7

Management Model

$ ODUJHU FRPPLWWHH LV UHTXLUHG E\ /6'7 ZLWK PDQDJHPHQW DQG DGPLQLVWUDWLYH H[SHULHQFH DV WKH\ VWDWH WKH\ KDG LQVXIĂ&#x20AC;FLHQW capacity for activities such as large scale fund raising.

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Precedents

Knowledge Transfer Partnership 2010

Case Study 9 The HUB

Location Worldwide

Management The HUBâ&#x20AC;&#x2122;s Organisation

Site Information

Overview

Address HUB Islington Candid Arts Trust 5 Torrens Street London EC1V 1NQ

/LSZPURP :[VJROVST 9PNH ;HTWLYL (TZ[LYKHT 9V[[LYKHT )Y\ZZLSZ )LYSPU =PLUUH 4PSHU 7YHN\L

The HUB Kingâ&#x20AC;&#x2122;s Cross & Islington )YPZ[VS

;VYVU[V

/HSPMH_ 7VY[V

:HU -YHUJPZJV ([SHU[H

4HKYPK *HPYV

JV with Good Brand 5V[ -VY 7YVĂ&#x201E;[ *VTWHU` 6^ULY HUB World Foundation

;LS (]P]

6H_HJH 4\TIHP

HUB Kingâ&#x20AC;&#x2122;s Cross 34b York Way London N1 9AB

:HV 7H\SV

HUB Board of Directors Made up of Founding Members

There are multiple tiers to the management structure with the foundation (HUB World) protecting the governance ethos. Under this is the Board of Directors made up of the founders. Leadership decisions are made by the Board â&#x20AC;&#x201C; the HUB is not a collective or democracy with all members having votes.

Individual HUB (i.e, HUB Islington)

The next level is the individual HUBs and network of members. The members are self-organising HUK JVU[YPI\[L ZPNUPĂ&#x201E;JHU[S` [V [OL HUBs. Carefully crafted governance framework is used to underpin and continually reproduce the HUB culture, for example, the quality and diversity of the membership is crucial. Therefore, the HUB purposefully maintains KP]LYZP[` ^P[OPU P[Z TLTILYZ [V YLĂ&#x2026;LJ[ diverse points of view, experience and capabilities.

Host

Members

1VOHUULZI\YN *HWL ;V^U

Project Size

Area Breakdown

(DFK +8% KDV D GLIIHUHQW FRQĂ&#x20AC;JXUDWLRQ GHSHQGLQJ RQ WKH building the programme is inserted into.

Amsterdam

L XL

The HUB cafe, Kingâ&#x20AC;&#x2122;s Cross Image 00:/

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Page 4 of Case Study 9

Atlanta

Bay Area

Bergen

Bombay

Brussels

Capetown

Halifax

Helsinki

Johannesburg

LON Westminster

LON Kingâ&#x20AC;&#x2122;s Cross

LON Islington

Madrid

Melbourne

Milan

New York

Oaxaca

Porto

Riga

Rotterdam

Rovereto

Sao Paolo

Stockholm

Tampere

Tel Aviv

Toronto

Vienna

Global Network

Page 7 of Case Study 9

www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Case Study 10 The Riverside

Ethos 7LVWSL HUK .VHSZ JVU[

Funding and Finance ;PTLSPUL 2008

Stakeholders/Actors

2009

2010

2011

A Point Blank Theatre Company 2ZQHU 'HYHORSHU 3RLQW %ODQN 7KHDWUH &RPSDQ\ LV D SURIHVVLRQDO WRXULQJ company and registered charity, founded in 1999 by coDUWLVWLF GLUHFWRUV 6WHYH -DFNVRQ DQG /L] 7RPOLQ 7KH FRPSDQ\ SUHYLRXVO\ RSHUDWHG XQGHU WKH QDPH 7KH 2SHQ 3HUIRUPDQFH &HQWUH IRU LWV QRW IRU SURĂ&#x20AC;W FRPPXQLW\ GUDPD DFWLYLWLHV EXW since Sept 2007 have consolidated under the name of their SURIHVVLRQDO WKHDWUH ZRUN WKURXJK ZKLFK WKH\ KDYH SURGXFHG D QXPEHU RI SOD\V VRPH RI ZKLFK KDYH EHHQ SXEOLVKHG E\ ,QWHOOHFW 3XEOLVKLQJ 3RLQW %ODQNŇ&#x2039;V ZRUN DGGUHVVHV SROLWLFDO DQG cultural themes and aims to present challenging perspectives WKURXJK H[SHULPHQWDO VW\OHV 7KH\ DOVR SXEOLVK DUWLFOHV DQG RIIHU ZRUNVKRS UHVLGHQFLHV RQ WKHLU UHVHDUFK LQWR SHUIRUPHU WUDLQLQJ LQFOXGLQJ Ň&#x160;'UDPDWXUJ\ DQG (GXFDWLRQDO 3UDFWLFHŇ&#x2039; LQ DVVRFLDWLRQ ZLWK 0DQFKHVWHU 0HWURSROLWDQ 8QLYHUVLW\

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Page 6 of Case Study 10

More about Portland Works at

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E When 2008 Who CE:SY Amount ÂŁ8000 Purpose Legal fees and architects / surveyors costs.

Building and Site Refurbishment A When 2008 Who Lan Kelly Chase Foundation Amount ÂŁ25,000 Purpose Purchase of the building. B When 2008 Who Charity Bank Amount ÂŁ150,000 loan Purpose Put towards the ÂŁ300,000 asking price for purchase of the building. * When 2008 Who Key Fund Amount ÂŁ100,000 (ÂŁ90,000 loan, ÂŁ10,000 grant) Purpose Put towards the ÂŁ300,000 asking price for purchase of the building. D When 2008 Who Futurebuilders Amount ÂŁ25,000 (ÂŁ21,000 loan, ÂŁ4,000 grant) Purpose Put towards the ÂŁ300,000 asking price for purchase of the building.

F When 2008 Who Point Blank Theatre Company Amount ÂŁ8000 Purpose Contribution towards building works, as well as staff running costs. Management / Site Maintenance / Marketing G When 2008 & 2010 Who Futurebuilders Amount ÂŁ25,000 (ÂŁ21,000 loan, ÂŁ4,000 grant), and a further ÂŁ26,000 grant Purpose Staff development time and funding for Development Director time [V W\[ [OL Ă&#x201E;UHUJL WHJRHNL [VNL[OLY HUK manage the project. Further 26â&#x20AC;&#x2122;000 grant was used to write off retrospective set up costs. H When 2009 - 2011 Who Future Jobs Fund Amount Payment of 29 employees.

Purpose FJF employees are involved with all aspects including bar work, catering, event management, conservation work, caretaking, cleaning, marketing, admin and arts work.

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I When 2009 - Present Who Vinspired Amount Support Purpose Provision of support for volunteering programmes opportunities for young people. Programme J When 2009 - Present Who Riverside customers Amount Varies Purpose Delivery of further arts and community activities for a range of demographics and development of sustainable social enterprise and training opportunities. K When 2010 Who Futurebuilders Amount ÂŁ10,000 loan Purpose Set up of kitchen to be used for social / commercial purposes.

Page 10 of Case Study 10

Point Blank Theatre Company

Page 11 of Case Study 10

www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Case Study 11 Portland Works

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Page P age 3 of of Case Case Study Study 11 11

Page 7 of Case Study 11

Page 8 of Case Study 11

www.portlandworks.co.uk

The day-to-day â&#x20AC;&#x2DC;hostingâ&#x20AC;&#x2122; role is very apparent and crucial in the HUB. Hosts manage space but also support and look after new knowledge networks, brokering relationships between members and between ideas, capital and access to skills. For example, the Host is someone who will serve you a drink, help you with the printing but also introduce you to another member that you could exchange skill, knowledge and experiences.

Cristina Cerulli and Julia Udall, eds., Taking Control: Case Studies of Collectively Conceived and Produced Community Facilities (Sheffield: Antenna Press, 2011).

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Exploring futures

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Knowledge Transfer Workshop and Report

The Knowledge Transfer Workshop, held in June 2010, brought together tenants, campaigners and a number of advisors from a diverse backgrounds and organisations including the creative industries, business advice, cooperative support, local government, social enterprise, heritage, arts, regional development, architecture, conservation and community development. The opportunity to bring this range people together in one place allowed us to debate both the vision for Portland Works and explore how this might be realised through every aspect of the project plan we conceived, including governance, approach to conservation, networking, and education. People attending were able to see how they might offer help in the future to the campaign and fully understand the context and collective desires for the future. The day consisted of a tour of the works, a series of presentations, workshops, debates and informal conversations that led directly to the decision to form an IPS for the benefit of the community. The Workshop Report details the events and outcomes of the day, a summary of which can be found below.

Campaign Aims There is a lot of enthusiasm for the Portland Works Campaign and advice and ideas are pouring in from a number of places. In order to progress, the Campaign Team needed to understand the implications of taking a certain route in relation to the goals of the project team. These priorities were defined as: 1. Maintaining affordable business space 2. Retaining the mixture of tenants 3. Understanding the site as a working place, with dirt, noise and risks 4. The potential for education and heritage on the site 5. The project being â&#x20AC;&#x2DC;Roots Upâ&#x20AC;&#x2122;

Workshop Aims The workshop, held on the 11th June 2010 was a crucial part of the Knowledge Transfer Project. It was designed to bring everyone who had shown an interest in the project together in one room. By the end of the day both the campaign group and researchers wanted to have a clear strategy for moving forward, having debated the possibilities open to us and worked through what we collectively understood to be the tenantsâ&#x20AC;&#x2122; priorities. Those facilitating the day hoped the workshop could help to define how a particular structure or model would impact on the day to day life of the works. The landlords, investors, agencies and funders we have spoken to all have particular aims, requirements and ambitions for Portland Works. 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; pursuing any one of these would impact on the place Portland would become. The success of the campaign thus far had opened up a number of options, but the campaigners were increasingly aware that they now needed to refine their approach in order to best achieve their stated aims and priorities. The campaigners and tenants also saw this workshop as an opportunity to present their priorities to local and regional bodies and organisations to which they may link in the future.

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Exploring futures

Pre-session visit to Portland Works Tour round the workshops and studios of Portland Works, including brief introduction to the John Street Triangle Conservation area, the adjacent Stag Works and the workshops and studios of Portland Works. The tour also included demonstrations of the heritage skills and crafts in the building, including knife grinding by Stuart Mitchell of Stuart Mitchell Knives, tool making by Andy Cole of Wigfull Tools, a workshop tour of Squarepegs (patented coat hook manufacturer), and a welcome into the studios of Portland based artists, Mary Sewell, Clare Hughes and Nuala Price.

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Project workshop Held on the 11th of June 2010 at Portland Works, this workshop brought together key people with vested interests in the project.

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GUEST G UEST

Re-imagining Re-imagining Portland Portland Works: Wo rks: Sustainable S ustainable Futures F utures for for S heffield’s Sheffield’s IIndustrial ndustr t ial He ritage. Heritage.

Portland Works Portland Works iiss a Grade Grade II* II* Listed Listed C Cutlery utlery factory, factory, situated situated in in the the John John Street S treet Conservation Conservation area area and and is home home to a w wide ide ra rrange nge o off makers, makers, from from metalworkers m etalworkers aand nd c carpenters arpenters to to musicians mus c ans and and artists. artists. It It is currently currently und under er tthreat hreat ffrom rom tthe he developer/ deve oper/ landlord landlord to to be be converted converted into into bedsit bedsit flats flats and and its its occupants o ccupants evicted. ev cted. Those Those within w thin the the works works wish wish to to resist resist tthis his and and propose propose aalternative lternative ffutures utures for for tthe he works works that that maintain maintain the the affordable affffordable workspace workspace and and potentially p otential y develop develop heritage heritage and and education education elements elemen e ts within within the the site site that that will will o pen tthe he building building to to the the community community in in which which it it is is situated. situated. open order IIn no rder to to move move forward forward this this vision vision needs needs to to be be considered considered in in terms terms off models off management, ownership, o models o management, o wnership, fund fund raising raising g and and refurbishment refurbishment available group as each upon a vailable tto o tthe he g roup a se ach will will impact impact u pon the the feasibility feasibility of of this this vision. v ision. Within we W thin the the workshop workshop w e want want to to address address the the culture culture and and vision vision for for the the works, w orks, tthe he business business proposals/models proposals/models available availab e and a d tthe an he risks risks those those involved involved with willing w ith the the project project aare re w illing tto o take take on. on. Participants Participants will wil be be involved involved in evaluating number e valuating a n umber of of case case studies studies in terms terms of of their their strengths strengtths and and weaknesses culture), w eaknesses ((and and how how tthey heyy operate operate in terms terms of of risk, rissk, business business and and c ulture), but b ut also also tto o suggest suggest imaginative im maginative propositions propositions for for this this exceptional exceptional community communitty off makers. o makers. We have W eh ave invited invited tenants tenants off Portland Portland Works Works and and guests guests that that we we hope hope will w ll be be aable ble to to bring bring their their experience experience and and particular particular knowledge knowledge to to the the session. session. We We hope ho pe tthat hat tthe he workshop worksho h p will will be be lively, lively, offering offeringg insight insight into into practical practical ways wayys that that Little Sheffield L ittle S hefffield Development Development Trust Trust and and the the Portland Portland Works Works Steering Steering group group can c an move move forward. forward. This T his workshop workshop is is part part of of the the activities activities that that the the Agency Agency Research Research Centre Centre e off the is organising organising in in the the framework framework o the EU EU funded funded project proj ect Rhyzom, Rhyzom, concerned c oncerned with with local local cultural cultural production production and and trans-local trans-local dissemination (www.rhyzom.net). d issemination ((w www.rrhyzom.n net).

Univ ersity of University o f Sheffield Sheffield School S chool of of Architecture. Architecture.

Invite. Inv ite. Workshop. W orkshop p.. 111th 1th JJune une 2010 2010 Venue V enue tt.b.c. .b.c. - JJohn ohn S St. t. T Triangle riangle Little S Little Sheffield heffield D Development ev velopment T rust a nd the the A gency Trust and Agency R esearch C entre a att tthe he Research Centre S chool of Architecture, Architect c ure, School U niversity of S hefffield, University Sheffield, w ould like like to to invite invite you to to would jjoin oin us us for for a workshop workshop to to ex plore a lternative ffutures utures explore alternative ffor or Portland Portland Works. Works. T he se ssion will will be be held held in in a The session ssite, ite, to to be be confirmed, confirmed, close close to to P ortland W orks to to aallow llow us us to to Portland Works vis it during during the the da day. ay. visit IItt w would ould be be fantastic fantastic if if you would join would join us. us. Please R Please RSVP SVP tto o jjulia@sharrowcf.org.uk ulia@sharrowcf.or o g.uk b by y 28th M May ay 2010. 2010.

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Timetable.. Timetable

Alternative Futu A Futures res for Portland Works ks Pre-session: Site e visit and Welcome 10.15 Visit to Portland and Works for guests. **')) :kkbo^ Zm AZk **')) :kkbo^ Zm AZkeZg] Phkdl% p^e\hf^% bgmkh]n\mbhgl% \h ^^ keZg] Phkdl% p^e\hf^% b bgmkh]n\mbhgl% \h ^^ Session 1: The Culture ulture of Portland Works rks 11.15 Introduction 11.35 Group discussions/ ssions/ workshop 12.15 Feedback to the group

Workshop. W orkshop. 111th 1th June June 2 2010 010 Venue: Harland Works, Venue: rks, John Street Street% La^ ^e] % La^ ^ ^e] 10.15 am Pre-session n visit

12.30 Lunch at C Cafe afe Euro 11.00am Session 1: Vision ision Session 2: Case Studies, S Management and Ownership 1.30 Introduction and presentation of case se studies 2.30 Group discussion/ ssion/ workshop 3.00 Feedback to the group ,'*. <h ^^

12.30pm Lunch 1.30pm Session 2: Case ase Studies 3.30pm Session 3: Business usiness Plan

Session 3: The Business Plan and Risk 3.30 Introduction I d i 4.00 Group discussion ssion 4.45 Feedback to the group

5.00pm Summing-Up p If you cannot attend nd the full day, why not attend d one or more of the sessions? s?

Summary and Fu Future uture Plans 5.00 Summing up of the day 5.15 Close of sessi session ion

Univ ersity o University off She eld S he e d S chool o Architecture. School off Architecture.

Little L ittle Sheffield Sheffield Development D evelopment Trust T rust

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Exploring futures

Session 1: The Culture, Our Vision The first session focused on the way Portland Works currently operates, and what peopleâ&#x20AC;&#x2122;s aspirations are for the future in terms of the social and cultural aims. It was a chance for people to understand each othersâ&#x20AC;&#x2122; priorities and what is crucial to the success of the place.

Session 2: Case Studies This session looked into how other people have approached similar scenarios, the difficulties they have encountered and the opportunities that they present. The case studies have been chosen by the researchers because they use a range of models of management, ownership and funding or have an interesting vision and therefore potentially offer inspiring ideas for Portland. They will be published on the updated Portland Works Website as a resource for the project group.

Session 3: Business Plan, Management and Ownership Structures This aspect examined the various structures and options that are open to us in terms of structuring the business with a brief explanation of the funds and support they will allow us to access. This process was facilitated by Dave Thornett.

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Outcomes and decisions Priority: Maintaining affordable business space • The ability to control the rents or at least to ensure they were maintained within ‘affordable’ margins was essential. • The question of affordability would also impact on the strategy for refurbishment because if the landlord was to invest in extensive repairs and refurbishment and upgrading of the works this would be likely to be reflected in rental increases, unless grant funding could be obtained for this work. • There were also more subtle threats, relating to the potential for gentrification associated with a successful project and the knock on effect of increased demand. • Businesses could be supported through creating a “Made in Portland Works’ brand, which we could market collectively. This may also provide the opportunity for supplementary income for the works to carry out refurbishments or maintenance. Priority: Retaining the mix of tenants • Control over the length of tenancies and the ability to sub-let would also be required. The needs of artists and musicians are often for short-term informal lets, or sub-lets and metalworkers often required the security of a longer tenancy as they were likely to have large initial costs of installing machinery. • By the nature of the building, the space is flexible and can and has been adapted to a variety of uses. However, in the long term, this could be further supported by considering zoning the building and/or creating infrastructure or services to suit the needs of these businesses and individuals. • Through considering the offer of the John Street Triangle as a whole, this area could purposely be developed as a start up area for the creative industries in Sheffield and our position would be stronger. Many metalworkers, musicians and artists move between studios and workshops within the area and if the offer and facilities were created we could also ensure constant demand for Portland Works. In order to support this we would need to ensure the Sheffield Development Framework designated the area as business and fringe industry, rather than housing. Priority: Understanding the site as a working place, with dirt, noise and risks • Those who are based at Portland Works understand how the various companies and individuals use the building. • The large, derelict looking machinery in the courtyard is actually used for spare parts for the forges and furnaces and other historic machinery on site. It may not, in some people’s opinion, be the most aesthetically pleasing, but without it Wigfull Tools would not be able to operate. This, and other similar requirements, may not be compatible with a large number of visitors, and certainly not if they visit in an informal way.

• Due to the type of businesses based at the works, the site will be dirty, noisy, and busy with forklift trucks, furnaces, chemicals and other risks. These can be regulated, but there is significant cost associated with this and any future proposals must take this into account. Priority: The potential for education and heritage on the site • Links to institutions were something that in some acases were already in place; Stuart Mitchell, of Stuart Mitchell Knives is considering taking an apprentice from Freeman College. It was felt that a deliberate effort to develop these would strengthen the businesses and also contribute to Sheffield in terms of skills and employment. • Portland Works is already part of the annual ‘Galvanised’ and ‘Open-Up Art’ festivals and it was felt that an open day which built on all the people and businesses in Portland Works could be very successful. We are currently putting together proposals for this that include art, music, lectures, storytelling, metalwork demonstrations and heritage talks. We will apply for funding from the Heritage Lottery for this, and this will be an opportunity to promote the works to English Heritage and the Heritage Lottery and prove our ability to manage funds and to meet their aims. • It was suggested that having the works as a museum or heritage centre would be less successful as it is a working place with the inherent risks associated. It was also suggested that by having prearranged days for visits this would mean the demand on those at the works would not be too great. We are also aware that to create Portland as a museum would mean expensive infrastructure such as extensive car parking, cafes, and facilities that may not necessarily benefit the aims of the tenants. Priority: The project being ‘Roots Up’ • The campaign developed first from a position of resistance, to that of being propositional, and the tenants and campaigners felt this gave it its strength. Those who were involved had committed time and energy and were passionate about seeing it succeed. Although it is inevitable that we will need to draw in skills and support from those outside of the campaign, a roots up approach was centred on a clear understanding of the place and its people.

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Exploring futures

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Outcomes

Reflections on the day

• It was decided that the Campaign Group would pursue the option of forming an Industrial and Provident Society, with investor members. This was seen by many as a strong option as it allowed the tenants to have influence on the decision making for the priorities for the works and also brought investors in that would give time and expertise as well as financial support. It would also allow us to meet our priorities to maintain affordable rents and the variety of tenants.

The workshop brought people together and informed them of and developed the priorities and desires for the future of Portland Works. We met the campaign group’s and researcher’s aims of setting out our vision, informing our next steps and coming to a decision about the model of management and ownership that we wanted to pursue. In addition to this, the project was further promoted and the richness of Portland Works was communicated to a number of new people. It is testament to the interest in the project that, due to lack of space a number of people had to be turned away that were interested in attending the workshop.

• The tenants expressed that they were willing to take on a certain amount of risk, in the form of loans to partially fund the project. They did not however want to have to deal with the day to day management of the works and made it clear that their own businesses would have to be their priority. • It was agreed that although the tenants should have influence they should not have overall control of Portland Works as there may be a conflict of interest between tenants and the management/ required investment into the building. This is something which should be written into the rules of the IPS. • It was agreed that Portland Works should be seen as for the benefit of the community and that there should be an asset lock to ensure the building wasn’t sold on later for profit.

However it is worth noting that only around ten tenants (around 33%) attended any of the sessions, although a core of five participated in all of them. This could be in part because they did not know what to expect of the workshop- and more time would have allowed us to speak to each tenant individually before the workshop and discuss their involvement in more detail. However, since the workshop the Portland Works committee has had a much improved tenant attendance and participation. The research carried out for the case studies and the contacts made through working in this way have greatly informed our next steps and the energy and time that was invested on behalf of the project has boosted the confidence of the project group. The campaign group will continue to work to develop useful relationships and to understand Portland Works in the wider context of the City.

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Exploring futures

Feedback from participants

“Prior to the workshop I hadn’t realised the sheer number and diversity of firms and individuals in Portland Works” Christine Ball, Sheffield Civic Trust

“The workshops were greathaving ideas from previous discussions meant we were not reinventing the wheel and could get on with prioritising.” Jillian Creasy, Local Councillor

“I learnt how large the Portland Works site is, and so therefore now understand the possibility of bringing more space into use. Though, of course this also made me realise how much needs to be invested in the building!” Jean Cromar, local resident and activist

“Our aim is to preserve the Works (as) it’s an ideal environment for the nurture of all manner of skills. (We want) to make it a centre of learning and teaching for generations to come...” Stuart Mitchell, Stuart Mitchell Knives, Portland Works

“I felt the most successful aspect of the day was that it gave me a clear idea of the vision and what all parties want – it was very comprehensive and a well put together day.” Craig Wallace, Yorkshire Forward “The most successful aspect for me was the discussion of possible alternative routes forward - and that a decision was reached, albeit unofficially at that point.” Stephen Connelly, local resident and activist

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Reorganising

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The Industrial and Provident Society and The Share Issue

The decision to choose the IPS business model, leading to a community share issue, was made during the final session of the Knowledge Transfer Workshop by tenants and campaigners. The workshop brought the vision of the tenants and campaigners with those able to provide advice on the appropriate structure to enable the desired approach. The funding to carry out the work necessary, including the accreditation by the FSA and the advice in drawing up an appropriate document was funded by Little Sheffield Development Trust- our neighbours and partners in the project. As the campaign developed it became clear that the strength of the project had been the support and involvement of a broad range of people, each with different skills and networks. As a form of governance, an Industrial and Provident Society would allow us to draw on this support by enabling a number of share holders. The structure provided for one person, one vote- whether you had a single share at £100 or the maximum of £20,000.

The share issue for Portland Works is launched on 16th June 2011, and will hopefully enable us to purchase the building for the benefit of the community. An asset lock will ensure that the building continues to be for the benefit of the community and cannot be sold on for private gain, ensuring a legacy for the project.

25/04/2011

Industrial & Provident Societies

25/04/2011

Industrial & Provident Societies

C ertif ic ate und er sec tion 59 of th e Ind ustrial and Prov id ent S oc ieties Ac t 1965 [ D O C ] Req uest to c anc el [ D O C ]

N otes [ PD F ]

Ind ustrial & Prov id ent S oc ieties

T ransf er of engagem ents[ D O C ]

N otes [ PD F ]

An ind ustrial and p rov id ent soc iety is an organisation c onduc ting an indu stry, b usiness or trad e, eith er as a c o- op erativ e or f or th e b enef it of th e c om m unity, nd is a registered und er th e Ind ustrial and Prov id ent S oc ieties Ac t 1965.

C onv erting to b ec om e a c om p any registered und er th e C om p anies Ac ts [ PD F ]

N otes [ PD F ]

T h e F S A is th e registering auth ority f or soc ieties w h ic h register und er th e Ind ustrial and Prov id ent S oc ieties Ac t 1965 ( I& P Ac t 1965) . T h is registration f unc tion is sep arate f rom our rol e as regul ator of th e f inanc ial serv ic es ind ustry in th e U K , as p rov id ed b y th e F inanc ial S erv ic es and Mark ets Ac t 2000 ( F S MA) and th e statutory instrum ents m ad e und er F S MA. Most I& P Ac t 1965 soc ieties are not regul ated b y th e F S A und er F S MA. Mem b ers of th ese soc ieties w il l not h av e ac c ess to th e F inanc ial O m b ud sm an S erv ic e ( F O S ) or th e F inanc ial S erv ic es C om p ensation S c h em e ( F S C S ) . H ow ev er, m em b ers of soc ieties w h ic h are b oth registered und er th e I& P Ac t 1965 and regul ated b y th e F S A - b ec ause th ey are auth orised to c ond uc t f inanc ial serv ic es b usiness undr F eS MA - w il l h av e ac c ess to F O S and th e F S C S . In ad d ition b orrow ers f rom soc ieties w h ic h h av e C onsum er C red it Lic enc es w il h l av e ac c ess to F O S on issues rel ating to th eir l oans A S oc iety is resp onsib l e f or c onsid ering w h eth er any of its ac tiv ities are regul ated ac tiv ities und er sec tion 19 of th e F l inanc ia S erv ic es and Mark ets Ac t 2000. If any of its ac tiv ities are regul ated ac tiv ities, th e S oc iety m ust eith er rel y on ex em 1 p ortions ap p l y f or auth orisation f rom th e F S A f or th e c ond uc t of suc h ac tiv ities. T h e registration of a rul e rel ating to a regul iv ityated ac t . d oes not p rov id e th e nec essary auth orisation ñ th ere is a sep arate ap p l ic ation p roc ess f or auth orisation C o- op erativ e soc ieties are run f or th e m utual b enef it of th eir m em b ers, w ith any surp l us usual l y b eing p l ough ed b ac k into th e organisation to p rov id e b etter serv ic es and f ac il ities.

C onv erting f rom a c om p any to an Ind ustrial and Prov id entN otes [ PD F ] S oc iety [ PD F ] N otes: Ap p l ic ation f ees p ayab l e to register a new soc iety [ PD F ] Ap p end ix 1[ D O C ] Ap p end ix 3[ D O C ]

C h ange of registered of f ic [ eD O C ]

N otes [ PD F ]

N otif ic ation of c h arges [ D O C ]

N otes [ PD F ]

Bac k to top

S oc ieties run f or th e b enef it of th e c om m unity p rov id e serv ic es f or p eop l e oth er th an th eir m em b ers. T h ere need to b e sp ec ial reasons w h y th e soc iety sh oul d not b e registered as a c om p any. Page l ast up d ated 01/07/10 | © F inanc ial S erv ic es Auth ority

1 as, f or ex am p l e, set out in: ï th e ' F inanc ial S erv ic es and Mark ets Ac t 2000 ( Regul ated Ac tiv ities) O rd er 2001' ; and ï th e ' F inanc ial S erv ic es and Mark ets Ac t 2000 ( C arrying on Regul ated Ac tiv ities By Way of Business) O rd er 2001' . T h is is not an ex h austiv e l ist.

Is your soc iety an Ind ustrial and Prov id ent S oc iety? If your soc iety' s register num b er end s in an ' R' or ' RS ' th th een soc iety w il l b e an ind ustrial and p rov id ent soc iety. Y our soc iety' s ow n rul eb ook sh oul d al so c l arif y th e m atter. Y ou c an al so F use S A Mutual th e s Registerto c h ec k th e ' Registration Ac t' f or your soc iety.

Registration f orm s

N otes

Registering a new ind ustrial and p rov id ent soc iety [ D O C ]

N otes [ PD F ]

Ap p end ix 1[ D O C ]

N otes: Ap p l ic ation f ees p ayab l e to register a new soc iety [ PD F ] List: Mod el Rul es S p onsors List [ PD F ]

Am end m ent of rul es ( c om p l ete or p artial[ D ) O C ]

Rul e Am end m ent N otes [ PD F ] Aud it Rul e Am end m ent N otes [ PD F ]

Am end m ent of rul es - Ap p end ix [ 1D O C ] C h ange of nam e [ D O C ]

N otes [ PD F ]

Instum ent of d issol ution[ D O C ]

N otes [ PD F ]

fsa.gov.uk/pages/doing/…/index.shtml

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Investing in community shares

Introduction

Give, lend or invest?

Have you been invited to buy shares in a community enterprise? Then you are not alone. You are one of thousands taking the opportunity to invest in your local shop, rescue a pub, finance alternative greener energy or even support your local football club. In the past you may have just made a donation but now you have the opportunity to invest in a community share offer. Through a community share offer you can support what is important to you, and help community enterprises become more sustainable.

Many community organisations rely on people who give to good causes; gifts, donations and fundraising events can be very important sources of money. But there is a limit to how much most people can afford to give to good causes. And not all good causes want to rely on charity. There are a growing number of community ventures whose main aim is to provide community, social and environmental benefits, but which rely on trade with their customers as their main source of money. Like any other business, these community ventures need money to get started, to grow, and to buy the resources they need to be successful and profitable. There are three ways you can help: you can give, lend or invest. Giving will always be welcome. But sometimes these ventures need more money than you and

Buying any type of shares involves risks. You could lose some or all of the money you invest. But it also offers rewards. You become a member of the enterprise, with a democratic say in its social aims and its future success. You may also be offered a financial return on your investment, together with the scope to cash-in your shares at some point in the future.

your community can afford to give. This is where lending or investing becomes important. Lending money, for an agreed period of time, with or without interest paid on the loan, can be a good way of financing community ventures, but it also has its down sides. The venture cannot be sure what interest payments it will be able to afford, and might have to borrow more money in order to repay your loan. Borrowing money from the community will reduce its ability to borrow money from commercial sources. For these reasons, loans are far less attractive to community ventures than shares.

This guide explains what community shares are, and will help inform your decision on whether you should invest in a community share offer. It focuses exclusively on organisations that are registered with the Financial Services Authority as co-operatives or community benefit societies, which are subject to different legislation from companies, and have their own unique form of shares. At the back of the guide there is an A to Z of technical terms that you might come across in a share offer document.

Investing money, by purchasing shares, makes you a part-owner in the venture. It entitles you to have a say in how the organisation is run, and you may also be offered interest on your investment and the scope to cash-in your shares and get your money back. Any organisation offering community shares should explain how you can cash-in your shares, and what their policy is on paying interest. Your money is more at risk than it would be if you lent the money, but if the business is successful, it would be reasonable to expect a higher financial return than you would get for a loan. However, you should be aware that, unlike companies, there are legal limits to financial returns on shares in co-operative and community benefit societies. Also, unlike company shares,

The guide has been produced by the Community Shares programme, a government-funded project working with ten community organisations in England, all of which are using community shares to finance their work. Further details can be found at: www.communityshares.org.uk

co-operative and community benefit society shares cannot go up in value but they can go down, meaning that you could lose some or all of the money you invest.

Investing in community shares

What are community shares? There is no legal definition of community shares. The term is used here to refer to a unique form of share capital called ‘withdrawable shares’ which can only be issued by co-operatives or community benefit societies registered with the Financial Services Authority. Co-operative societies are for the mutual benefit of their

What should you look for in a community shares offer? Community shares in co-operative and community benefit societies ! Maximum £20,000 limit on

individual shareholdings ! One vote per shareholder, which

means that decisions are democratic

members, whereas community benefit societies are for the broader benefit of the whole community. Both types of society can issue withdrawable shares, and they work to similar principles. A withdrawable share can be withdrawn from investment, subject to the terms and conditions of the society concerned. This provides a straightforward way of getting your money back when you want to cash-in your shares.

! Can only pay limited interest

on shares, “sufficient to attract and ! Interest on shares is paid gross of

tax. It is up to investors to declare this income to HMRC ! In most cases shares can be

cashed-in (‘withdrawn’), subject to the rules of the society

type of shares normally issued by companies. To cash-in transferable shares you must first find a buyer to whom you can ‘transfer’ (i.e. sell) your shares, at an agreed price. Shares in larger companies

! Shares can go down in value,

but they cannot increase in value above their original price

own all the shares in a company ! One vote per share, which means

their value, but other costs, such as marketing campaigns or researching business plans, are non-recoverable. You also need

What community? Are you part of this community?

whether it will be invested in another organisation over which you

Is it a place (e.g. village or neighbourhood), or a

will have less control.

community of shared interests (e.g. green energy, fair trade)? How many other people identify themselves with this community? Will

How can you get your money back when you need it? Is the offer document clear about how long you will have

a majority shareholder can make all

these other people invest? What can the community do together to

to wait before you can withdraw your investment? For new

the decisions

make sure the venture is a success? How can you get involved?

ventures there may be an initial period of several years before

! There are no legal limits on the

dividend rate paid on shares

Do you support the social purpose of the organisation? Who will benefit from the work of this venture? How will

the organisation know if these benefits have been achieved? Will ! A tax-credit of 10% is deducted

from all dividend payments on company shares ! Shares cannot be cashed-in.

anyone be adversely affected?

anyone is allowed to withdraw their investment. Does the offer document explain where the money will come from to cover withdrawals? Established ventures usually have a minimum period of notice you must give when requesting to withdraw, and most

Is it a good business proposition? Your investment will

societies retain the right to refuse your request if the directors

only be safe if the venture is profitable and sustainable.

think it might jeopardise the finances of the business. Some

Is there evidence that the venture will make sufficient profits to

societies have rules that limit the percentage of shares that can

pay you the financial returns it is offering, and to build up enough

be withdrawn in any one year.

whom they can ‘transfer’ (by selling)

have enough information to make a judgement about the offer?

their shares

A good offer document should provide you with clear enough

money from commercial sources? If so, what interest rate is it

information for you to be able to understand it without having to

paying? What proportion of the total funding will come from

consult an expert.

community shares?

Shareholders must find a buyer to

! Shares can go up or down in value

according to the price the buyer is willing to pay and the seller is willing to accept

! If a society is wound up, some or all

Here are ten questions to ask about any community shares offer:

to know whether your money will stay in the organisation, or ! No maximum limit – one person can

retain the investment”

Withdrawable shares are very different from ‘transferable shares’, which are the

Company shares

! If a company is sold or wound up,

are bought and sold through stock markets,

of the money that is left, after

any money that is left is distributed in

but these markets do not cater for smaller

shareholders have cashed-in their

full to shareholders, according to how

companies where there are very few

shares, will be given to an organisation

many shares they hold

buyers or sellers. Finding someone willing

with similar aims

reserves for you to withdraw your money in the future? Do you

Do you know and trust the people making this offer? What is their track record? Do they have the skills and

Who else is putting money into the organisation? Has it received any grants or public support? Is it borrowing

Is the promised financial return realistic? Some offer documents say how much interest will be paid on shares.

experience needed to make a success of this venture? What

If it is a new venture, what evidence do they provide to support

personal interest do they have in the venture? How much money

these claims? Established ventures should show you their track

have they themselves invested?

How much should you invest? What is the minimum and

record, as well as providing evidence that the new investment will be profitable. Is your money safe? Do you fully understand the risks

it all straight away, or can you invest in instalments? Does the

to buy shares in a small venture can be

amount you invest affect the interest rate you receive?

involve some degree of risk, and you might be prepared to take

very difficult. Co-operative and community

benefit societies can issue transferable

maximum amount you can invest? Do you have to invest

involved, and do you accept these risks? All investments

What will your money be spent on? Some things, like

these risks if the social and financial returns are sufficiently

land and buildings, machinery and vehicles may hold

attractive. But can you afford to lose some or all of your investment?

shares, or shares that are both withdrawable and transferable. A few societies do offer these types of shares, and should tell you

The sale of community shares is not

Community shares are far more risky

Further information

The guide has been produced by the Community Shares

how you can sell your shares.

regulated by the Financial Services

than keeping your money in a savings

All co-operative societies and community benefit societies

Programme, a government funded project working

Authority, because investors are deemed

account with a bank or building society,

are registered with the Financial Services Authority (FSA),

with ten community community organisations in England,

The main reason for buying community

to be investing for social returns, not

where currently the first £50,000 is fully

which maintains a public register of societies at

all of which are using community shares to finance

shares is to support the social aims

financial gain. This is good news for

protected. You can lose everything you

http://mutuals.fsa.gov.uk/

their work. The programme is delivered in partnership by

The FSA has also established an independent body called

and Co-operatives UK (www.uk.coop)

the Development Trust Association (www.dta.org.uk)

of the venture concerned. Unlike shares

community ventures, which would

invest in a community shares offer.

in private companies, where personal

otherwise face prohibitively expensive

This is why it is important to look carefully

financial gain is the main motive, community

regulations when marketing community

at a community share offer before

the Consumer Financial Education Body which has developed

deciding to invest.

a website, Money Made Clear (www.moneymadeclear.org.uk),

shares are subject to laws that limit

shares. But it comes at a cost to

financial gain and emphasise social benefit.

community investors, who have no right

which provides impartial information and guidance about consumer savings and investment products.

The following table highlights the most

of complaint to the Financial Ombudsman

important differences between community

Service and cannot apply to the Financial

shares and company shares:

Services Compensation Scheme. Investing in community shares

Investing in community shares

Further details on the programme can be found at www.communityshares.org.uk For more information email: info@communityshares.org.uk

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Reorganising

Rules of …PORTLAND WORKS LIMITED (Registered under the Industrial and Provident Societies Acts 1965-2002) Name 1. The name of the Society shall be Portland Works Limited. Objects 2. The objects of the Society shall be to carry on any business for the benefit of the community By: (i) Purchasing, preserving, adapting and managing Portland Works, a Grade 2* listed metal trades building of historical significance, with regard to its original purpose of providing workshops for independent ’little mesters’.

agreement shall so require to depute the management of any business or adventure to any representative or agent as may be agreed on and to confer all necessary powers on any such agent or representative; (h) to obtain from time to time upon such terms and conditions as it thinks fit advances of money for the purpose of the Society and to mortgage or charge and of the Society’s property or assets (including its uncalled capital) and to issue debentures and other securities provided that any such mortgage, charge, debenture or other security may be given or issued as a continuing security to cover any sums or sums due from time to time by the Society to any person or body with which it may have a banking account or transact banking business; (i) to do all such other lawful things in the best interest of the Society. Registered Office 4. The Registered Office of the Society shall be at:

(ii) Offering low cost workshop and studio space within the works, to metal trades, artists, musicians and other craftspeople. (iii) Supporting creative industry and small scale manufacturing, within and beyond the building: by offering facilities for start-up businesses; education work and promoting Sheffield’s historical heritage. Powers 3. The Society shall have power to do all things necessary or expedient for the fulfillment of its objects and in particular: (a) to establish and contribute to pension or superannuation schemes for any persons who are or have been employed by the Society and their dependants; (b) to make gifts and donations for social or charitable purposes; (c) to draw, accept, make, endorse, discount and negotiate bills of exchange and promissory notes and other negotiable instruments; (d) to purchase, feu, hold, sell, charge, mortgage, exchange, develop, rent, lease or sub-lease lands of any tenure in the United Kingdom or elsewhere, and to erect, pull down, repair, alter or otherwise deal with any building thereon and to acquire and grant rights, privileges and easements in, over or in respect of any land or any building thereon and to acquire any machinery, plant, property or rights which may be necessary for or conveniently used with or may enhance the value of any other property of the Society;

………………………………………………… Membership 5. The first members of the Society shall be the signatories to the application for registration (the "Founder Members"). The Board may at its discretion admit to membership any person or corporate body or the nominee of any unincorporated organisation who supports the objects of the Society and who has paid or agreed to pay the appropriate annual subscription (if any) for the time being in force. 6. A person who qualifies under Rule 5 above may apply for membership to the Board, and upon acceptance and payment of the minimum amount of share holding required as determined by the Board from time to time, and the annual subscription fee (if any) the Society shall issue to her/him/it share certificates as appropriate and shall enter her/his/its name in the register of members. The Board may refuse any application for membership at its absolute discretion. Applications for membership shall be in such form as the Board may from time to time direct. Any such form may provide that a member may specify an email address, which shall be used by the Society for any communication required by these rules to be sent to members. Any member specifying an email address in this way shall notify the Society of any change to this email address. 7. The Society shall keep at its registered office a register of members in which the Secretary shall enter the following particulars:

(e) to engage or employ such personnel, whether as employees, consultants, advisers or however;

(a) the name, address and email address if applicable of every member;

(f) to take out and maintain insurance against any risks to which the Society, its members and its Board may be exposed;

(b) a statement of the shareholding of each member;

(g) enter into any agreement for partnership or for sharing profits, union of interests, co-operation, joint venture, or reciprocal concession with any society, company, corporation or person carrying on or engaged in or about to carry on any business or transaction capable of being conducted so as to directly or indirectly benefit the Society and to acquire shares, stocks or debentures in any such society, company or corporation and if any such

(c) a statement of other property, whether in loans or otherwise, held by each member; (d) the date on which each member’s name was entered in the register as a member and the date on which any member ceased to be a member; (e) the names and addresses of the Directors and officers of the Society, and the offices held by them respectively, and the dates on which they assumed and vacated office.

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8. The register of members shall be proof of membership of the Society, a member misplacing or destroying their share certificate may apply to the Society for a replacement, the Directors may allow the Society to replace a lost or destroyed certificate at their absolute discretion, and may establish such conditions and procedures in this with regard as they think fit.

General Meetings

shall not exceed the maximum shareholding permitted by law. d) Shares shall be paid for in full on allotment.

Withdrawal of Share Capital 53. Shares may be withdrawn by members upon giving three months’ notice to the Society provided that:

Proceedings at General Meetings

(a) all withdrawals shall be paid in the order in which the notices were received by the Society;

19. No person shall be entitled to vote on any question at a General Meeting other than an individual member of the Society or the duly appointed representative of a corporate body which is a member.

(b) except where a member intends to terminate her/his membership of the Society, a member shall not be entitled to withdraw shares so as to leave her/him with less than the minimum shareholding;

20. No business shall be transacted at a General Meeting unless a quorum is present in person. Unless and until otherwise decided by the Society in General Meeting, a quorum shall be one tenth of the members of the Society or three members, whichever is the greater.

(c) the Board may waive the notice required for a withdrawal and may direct payment to be made without notice or on such shorter notice as they consider fit;

a quorum shall be one tenth of the membership or five members of which at least 2 shall be tenants, whichever is the lesser (this is because we expect to have a very large and far flung membership and don’t want to incapacitate decision-making)

(d) the Board at their sole discretion may suspend the right to withdraw either wholly or partially, and either indefinitely or for a fixed period. The suspension shall extend and apply to all notices of withdrawal which have been received and remain unpaid at the time the Board suspend the right to withdraw. Where the suspension is for a fixed period, such period may be extended from time to time by the Board;

Board of Directors 31. The Society shall have a Board of Directors comprising not less than three and not more than twelve persons. The Society shall have a Board of Directors comprising not less than five with a minimum of two tenants and a majority of community members (this is designed to ensure that there are always tenant members but that they are never in a majority) The initial Directors of the Society from incorporation until the first Annual General Meeting shall be appointed by the Founder Members.

Share Capital 52. The shares of the Society shall be of the nominal value of £25.00. (We plan to make the minimum share-holding for tenants £25 and for community members £100, hence the £25) The minimum shareholding required of a member shall be defined as such number of fully paid shares as the Board may determine subject to the Act, or as may be required by a particular offer of shares, or, failing such determination or requirement, shall be one share. a) A member may subscribe for shares in tranches of shares which are smaller in number than the minimum shareholding, provided that any member who does not achieve the minimum shareholding within 12 months after her/his first payment shall cease to be a member and shall have returned to her/him the value of the shares paid for to date, and the relevant shares shall be cancelled. b) Shares shall be withdrawable only in accordance with the provisions of these Rules. Shares shall not be transferable except on death or bankruptcy. c) Application for shares shall be made to the Board of the Society who shall allot to members, upon their admission, the share or shares for which they have applied provided that the total number of shares allotted to any member

(e) during any period when the right of withdrawal has been suspended under Rule 53(d), the shares of deceased members may, if the Board agree, be withdrawn by their personal representatives upon giving such notice as the Board may require; (f) the amount to be paid to a member on withdrawal shall be the amount paid up or credited on the shares to be withdrawn, except where the shares are subject to a reduction their value in accordance with the provisions of these Rules; (g) interest shall be payable on any share in respect of which a notice of repayment has been given until the date of repayment. 54. Any share withdrawn in accordance with the above Rule shall be cancelled. 55. Members may withdraw from the Society by withdrawing all their shares in the Society in accordance with Rule 53 or, if the right to withdraw has been suspended as provided for in that Rule, by surrendering all their shares to the Society. Upon such surrender the Board may in their discretion pay to the withdrawing member the amount paid up or credited in the shares surrendered. 56. The Society may deduct such reasonable sum to cover administrative costs of withdrawal from the monies payable to a member on the withdrawal of shares in the Society.

Reduction in Share Values 57. If the auditors (or any independent qualified accountants appointed for the purpose by the Board) certify at any time that the aggregate of the Society's liabilities plus the amount of its issued share capital exceeds its assets, then (unless in the meantime the excess has been removed) the Board may determine that the amount of this excess, or part of it, shall be apportioned among the members in proportion to (but not beyond) the amount of the nominal value of the

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Reorganising

shares paid up and held by each member. This apportionment shall be based on the value of the shares paid up and held by each member at the close of business on the date of such determination. The value of shares held by each member shall be reduced accordingly for the purposes of withdrawal of shares, notwithstanding that the value of shares held by any member may thereby be reduced below the minimum shareholding.

Lien on Shares and Right of Offset 58. The Society shall have a lien on the shares of a member for any debt due to it by the member and may set off any sum standing to the member's credit with the Society in or towards payment of such debt.

Dissolution 69. The Society may be dissolved by the consent of threequarters of the members by their signatures to an instrument of dissolution, or by winding up in a manner provided by the Act. If on the winding up or dissolution of the Society any of its assets remain to be disposed of after its liabilities are satisfied, these assets shall not be distributed among the members, but shall be transferred instead to some other non-profit body or bodies subject to at least the same degree of restriction on the distribution of surpluses and assets as is imposed on this Society by virtue of these Rules, as may be decided by the members at the time of or prior to the dissolution.

Disputes Borrowing 59. (a) The Society shall have power to borrow money for the purposes of the Society, including the issue of loan stock, providing that the amount owed shall not exceed £10,000,000.

Application of Surplus 65. Members of the Society will be rewarded primarily through a social dividend rather than a monetary dividend. Any surplus generated by the Society shall be applied as follows, in such manner and in such proportion as the Board may decide: (a) in paying interest on members’ share capital at such rate as may be determined by the Board from time to time, but not exceeding the minimum rate necessary in the opinion of the Board to obtain and retain the capital required to carry out the objects of the Society; (b) to the continuation and development of the Society; (c) to making payments for social and charitable purposes.

Seal 66. If the Society has a seal it shall be kept in the custody of the Secretary and used only by the authority of the Board. Sealing shall be attested by the signature of two directors or of one director and the Secretary for the time being. If the Society does not have seal, a document which would have previously required to be sealed, should be signed by a Director and Secretary or two Directors and accompanied by a written statement that the document has been executed by the society as if under common seal.

70. In the event of a dispute between the Society or its Board and a member of the Society or a former member, such dispute shall be referred to an independent arbitrator whose appointment is acceptable to both parties to the dispute or in the absence of agreement to be nominated by the Chief Executive of Co-operativesUK. The decision of such an arbitrator shall be binding. In the event that a dispute cannot, for whatever reason, be concluded by reference to an arbitrator, the matter may be referred to the County Court (or in Scotland, to the Sheriff). Any person bringing a dispute must, if so required, deposit with the Society a reasonable sum (not exceeding £100) to be determined by the Board. The arbitrator will decide how the costs of the arbitration will be paid and what should be done with the deposit.

Interpretations 71. In these Rules, "the Act" refers to the Industrial & Provident Societies Acts 1965 to 2002 or any Act or Acts amending or in substitution for them for the time being in force. “Electronic means” shall include email, video links and secure authenticated web-site transactions; In these Rules the expression “Board meeting” or “meeting of the Board” includes, except where inconsistent with any legal obligation: • a physical meeting; • a meeting held by electronic means; • a meeting held by telephone. Signatures of Founder Members Full Names in BLOCK CAPITALS (no initials) 1.

.............................................................

Investment of Funds

.............................................................

67. The Society may invest any part of its funds in the manner set out in Section 31 of the Industrial and Provident Societies Act 1965.

.............................................................

Secretary:

.............................................................

Regulations 68. The Society in General Meeting or the Board may from time to time make, adopt and amend such regulations in the form of bye-laws, standing orders, secondary rules or otherwise as they may think fit for the management, conduct and regulation of the affairs of the Society and the proceedings and powers of the Board and subcommittees. No regulation shall be made which is inconsistent with these Rules or the Act. All members of the Society and the Board shall be bound by such regulations whether or not they have received a copy of them.

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The Portland Works Alternative Futures Business Plan

The business plan sets out our vision and financial planning for the next 5 years; it will allow us to issue shares for the purchase of the building and apply for funding and loans for repairs and refurbishment. The plan sets out the economic, social and physical aims of the company and how they will be achieved. The business plan has been developed since the Knowledge Transfer Workshop and is funded in part by pro bono advice offered by the Cooperatives Hub. Their decision to give us this support was made as a direct result of their being impressed by our approach and the advice and research we had carried out to date. The business plan has drawn on research from a number of sources- including the John Street Triangle Business Audit, the workshop report, advice from various local partners â&#x20AC;&#x201C; including Sharrow Community Forum, the Cooperatives Hub, SCEDU, Sheffield University Business and Planning Department, Little Sheffield Development Trust and considerable work from the campaign group. In order to qualify for their assistance we also had to show we could obtain share purchases pledges for a minimum of 10% of the overall figure we required to purchase the building. This was achieved through our immediate network within 3 months, in parallel to forming the IPS.

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Reorganising

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Reaching out

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The Portland Works Website

The website is a crucial tool for the campaign, and will be our main portal through which to sell shares in Portland Works and to collect donations for the project. It enables us to maintain our networks throughout the UK and beyond via regular news updates and forms a virtual archive for the campaign through which we can also share and develop research. Dorian Moore of The Useful Arts, was commissioned as part of the Knowledge Transfer, and worked with Portland Works Committee members to develop the site. Members of the Portland Works Committee researched into the history of the Portland Works. They combined investigations at the local history archives in Sheffield Graves Library, interviews and conversation with tenants of the works both past and present (dating back until 1939), and web based research into a detailed account for the web. In addition to this, a number of professional photographers have given us access to their work for campaign use, a changing selection of which can be seen on the website. The website provides news of the campaign, links to ‘makers’ websites and details of upcoming events and campaigning. The makers see this as a way to promote their work in relation to the other businesses and artists based here, under the shared identity of made in ‘Portland Works’. It sets out a clear vision and allows people to grasp our ideas for the future and working processes. The website has led to expressions of interest in taking up new tenancies, which is useful for our business plan. It has also led to offers of benefit gigs, assistance with the campaign and commissioning of work for the businesses based here. Website designed and built by Dorian Fraser Moore at The Useful Arts Organisation. Company details – The Useful Arts Organisation website: http://theusefularts.org/ email: workwith@theusefularts.org

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Reaching out

Google Analytics 1stâ&#x20AC;&#x201C;31st March 2011

Total Traffic 1,818 Visitors 211% expected: 442-931 2,466 Visits 185% expected: 674-1,331 13,202 Pageviews 148% expected: 4,334-7,729

Country/Territory: UK 2,313 Visits (93.8% of total) 68.27% % New Visits 11% expected: 61.07%-61.41% 2,313 Visits 186% expected: 634-1,236 12,587 Pageviews 145% expected: 4,208-7,420

Region: England 2,283 Visits (92.6% of total) 68.02% % New Visits 11% expected: 60.54%-61.32% 2,283 Visits 187% expected: 627-1,208 12,368 Pageviews 144% expected: 4,135-7,371

2,466 2,313 13,202 185% TOTAL VISITS

UK VISITORS

PAGEVIEWS

INCREASE IN VISITS

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Exhibitions

> Bank Street Arts > Access Space > Sheffield Winter Gardens and Castle Market

Over the past year and a half tenants, campaigners, artists and photographers have put on a number of exhibitions about Portland Works in venues around Sheffield. Some of these have been invitations to us to put something forward; others have been initiated by artists, or photographers wanting to contribute to the campaign. They have served a number of functions in terms of the development of the vision for Portland Works. They have been a way to present and understand the richness of skills, history and practices that are based in the works. Crucially they have also served as a way to build relationships between people at the works, encouraging skill swaps and a closer understanding of the way in which different businesses and artists work. The exhibitions have been held at a wide range of venues; galleries, gardens, markets and workshops. This has brought Portland Works out to people from a range of backgrounds and interests, further strengthening our support and encouraging new people to be involved in the campaign. This forms a very strong basis for developing Portland as a place of heritage and education; for the benefit of the community and has extended the ‘space’ of Portland works out into the city.

Venue: Bank Street Arts Venue audience and overview: “Bank Street Arts is an arts centre comprised of galleries, studios and project/meeting spaces in Sheffield City Centre. Housed in listed Georgian terraces only a stone’s throw from the market and the Cathedral, we aim to provide a home, venue and setting for a wide range of creative individuals and organisations. We are an independent charitable organisation which gives us the freedom to determine our own remit and operate in ways that organisations at the behest of outside targets are unable to do. One of the benefits of this freedom of operation is that we do not need to define what we do but can respond to demand and requests. Please get in touch if you are interested in becoming involved at this level.” Exhibition: ‘Over to You’ Bank Street Arts Exhibition aims: “Over to You is a response to Art Sheffield 2010... 40 plus artists (have) submitted proposals and are now setting up exhibitions... all proposed, created and planned in two weeks.” Date: March–May 2010 Title: Portland Works’ Makers Overview: Artists, metalworkers, heritage craftsmen and joiners based at Portland Works collaborated to create an exhibition of their work and promote Portland as a working pace within the city. This included individual collaborative artwork, paintings, photographs, displays of tools, handmade knives and other items manufactured at the works, the production of exhibition cases and the curation of the work. Participants: Stuart Mitchell, Clare Hughes, Paul Hopprich, Andy Cole, Nuala Price, Herbert Housley, Mick Shaw, Mark Jackson, Alison Douglas.

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Reaching out

Title: You Are Your Own Source of Work Overview: “’You Are Your Own Source of Work’ is a piece exploring the plight of Portland Works, a Grade II* listed building in Sheffield that houses a unique blend of craftspeople, artists and musicians. It has a rich history and deserves to be preserved, yet it is currently being lined up for sale to be converted into flats. This piece is a response to that and part of the campaign to save the works as a whole.” Participants: Matt Risby of Quicksand Films in collaboration with Nic Bate Visitors: Press, councillors, artists, and cultural producers Websites: www.bankstreetarts.org.uk www.quicksandfilms.com/portland-works/

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Venue: Access Space Venue audience and overview: “Access Space is the UK's longest running and most sustainable free, open access media lab. At Access Space, people interested in art, design, computers, recycling, music, electronics, photography and more meet like minded people, share and develop skills and work on creative, enterprising and technical projects. We operate at a low cost with a low carbon-footprint, because we only use recycled donated computers and free, open source software.” Date: October 2010 Participants: Eric Winnert, Mark Parsons and Julia Udall Exhibition: Regeneration Gallery Exhibition aims: “The Regeneration Gallery is an arts organisation dedicated to the production of artistic activity about Sheffield’s City Centre regeneration. Its aim is to give the residents of Sheffield a coherent, creative and exciting voice about what is happening to their city, their home and their life.” Title: Portland Works Overview: The exhibition included photographs by the artist, Eric Winnert and metalworker Herbert Housley, (who was a tenant of Portland Works from 1939) and words from the campaign and quotes from tenants. The talk questioned the values of heritage and regeneration policies in the UK and told the story of Portland Works and the campaign so far. Website: www.access-space.org/ccs/

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Reaching out

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Venues: Castle Market, Sheffield Winter Gardens and Facebook Venue audience and overview: Castle Market is Sheffield's largest indoor market. It has over 200 stalls offering a variety of goods, ranging from homewares to fashion, groceries and fresh produce. A large number of shoppers will have family or friends or have themselves worked in the metalwork industries. Sheffield Winter Gardens is one of the largest temperate glasshouses to be built in the UK during the last hundred years and is adjacent to the main public space and art gallery in the city. The facebook group has 2,800 members and a large number of professional and amateur photographers post on the site on a daily basis. Exhibition: Pictures of Sheffield Old and New Exhibition aims: “As Sheffield goes through many changes (some good some bad!) I thought it would be good to create a group that shares pictures of Sheffield and its people. We look forward to viewing your pictures and hearing about your experiences and memories of Sheffield.” Hedley Bishop, Founder member. Title: Save Portland Works Overview: Lillian and Brian Hatch and Hedley Bishop are the lead photographers behind an exhibition of photographs of Portland Works held at Castle Market in Sheffield. They created petitions, business cards, t-shirts to support the wider campaign. Jack Wrigley – known as ‘The Camera Man’ offered one of his (Portland Works taken in the 1970s) and was one of many professional and amateur photographers contributing to the growing and collaborative exhibition. Date: August 2009 Participants: Lillian and Brian Hatch, Hedley Bishop and others. Website: www.facebook.com/#!/group.php?gid=25750519904

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Reaching out

Venue: Portland Works Art Studios Venue overview: The Portland Works has a long association with the history of forging and the manufacture of the finest hand tools. It was once part of a thriving industrial quarter known as Little Sheffield. Tool making, light engineering, specialised knife manufacture, engraving, furniture making and restoration, are skills still practiced, ensuring that Sheffield’s heritage is passed on. Alongside the workshops are some of Sheffield’s musicians and artists who occupy the floor of past cutlers. Exhibition: Open Up Sheffield Exhibition overview: “’Open up Sheffield’ offers artists opportunities to showcase their work, engage a curious public, and network with other artists, all within a supportive digital and live environment. We aim to serve visual artists, participants and audiences by serving and developing their longer-term needs, creating long-term value to our work.” Title: Open Up; Portland Works Overview: The Artists of Portland Works Open up their studios to the public to show their individual work, which includes printmaking, painting, photography and sculpture. Date: April 2010, April 2011 Participants: Mary Sewell, Clare Hughes, Nuala Price, Shelley Hughes, Christine Kennedy, Alison Douglas, Leslie Lister. Website: www.openupsheffield.co.uk/

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Quicksand Films

A number of films have been produced as part of the project, each for a different purpose. These include: • You Are Your Own Source Of Work – a multimedia art piece, exploring the character of the Works and the recently exhibited at Bank Street Arts • Re-imagining Portland Works – a film documenting our Knowledge Transfer Workshop • Portland Works Makers – a film documenting the recent open days and the skills and practices of the many makers who work there. This library of films continues to grow and build a complex and layered picture of the works. Each film stands alone and will eventually be edited into a final piece comprising of these layers. These have been distributed via DVD and on Vimeo, our website and that of Quicksand Films.

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Reaching out

Portland Works Open Days

The Open Days have been an opportunity to invite people into Portland Works to meet with the tenants and campaigners and to see demonstrations of the making; it has been in continual use as a metalwork factory since it was built in 1870. This was important in terms of gaining support for the campaign (primarily to oppose the planning application and purchase shares) and to begin to realise the aspiration of education and heritage on site. At the Knowledge Transfer Workshop much of the discussion centred on the balance between Portland Works as a working industrial building that was noisy, dirty and at time unsafe for the public and the desire to share the exceptional skills and activity that continues within the courtyard, studios and workshops. The Open Days have managed to balance these two aspects and have also allowed us to collectively develop a closer understanding of the needs of each of the makers- be they musicians, artists, metalworkers, joiners, heritage craftsmen or other small business. This has enabled the Portland Works Committee to use this information in writing the business plan. Date: 6th March and 30th January Overview: Ten workshops and studios opened up to a full house of over 300 visitors. The visit included demonstrations, talks, displays, films, and a tour of the building which described architectural and historical features. Visitors included people living in the neighbourhood, invited guests from a range of places including the council, heritage and community organisations and the universities. The aim was to make visible the link between the place and the skills and making that happened within the building. Discussions also centred on the relationships between the different makers within the building and the wider area of the John Street Triangle, which is home to 11 metalwork buildings and the largest concentration of music studios in the north of England. Participants: Open studios and workshops included: • Stuart Mitchell (handcrafted knives) • Squarepegs (patent coat hooks) • PML Plating (silver plating) • Portland Electrical (electric motors) • Iron Anchor (vintage bicycles and iron work) • Mick Shaw (hand engraving) • Mary Sewell, Nuala Price, Shelley Hughes, Christine Kennedy, Leslie Lister, Clare Hughes (fine artists) • Lynthorpe Joinery (joinery) • Quality Cabinetry (bespoke kitchens) • The Gentlemen (band) • Big Eyes Family Players (music) Website: www.portlandworks.co.uk/events/

“We really enjoyed our tour of the works yesterday - please pass on our thanks to the organisers - very impressive. It was good to see you again and I was totally thrilled by being able to hold the piece of mammoth ivory! I was shocked that the state of the building in some parts is worse than I imagined and I hope you get the project of reconstruction off the ground. There are so many people in there doing a fabulous job.” Dr Joan Unwin “Great day today congratulations to all the team” Robin Wood – Heritage Crafts Association

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Portland Works

The History of Portland Works

Images from around the Works

Rustless steel, the intergrated works and the Little Mesters The history of Portland Works and the continuing metal trades that operate KHUH

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Reaching out

Galvanise Festival

Sensoria Festival

Galvanise aims:

Date: 07 May 2011

“Galvanize is a Sheffield festival which celebrates metalwork. Now in its fourth year, Galvanize is bigger than it has ever been, with dozens of fascinating and things to do – and most of them are free. If you’re out in town, there are no excuses not to see some of these inspiring pieces of Sheffield craftsmanship.” Galvanise website

Venue: Portland Works, Randall Street

Date: April 2011 Overview: Stuart Mitchell hand-crafts Hunter’s, Bushcrafter’s, Bowies and custom knives, selling them internationally from his workshop, in Portland Works, where he has been based all his working life. This is where he learned his cutler’s skills, handed down from generations before him. He opens up his workshop for a series of demonstrations throughout April as part of the citywide Galvanise festival.

Overview: “Many Sheffield musicians have referenced the industrial sounds and sights of Sheffield as a major influence on their work, the rhythmic sounds of the steelworks are like the heart and arteries of the city. Sensoria and Galvanize are co-presenting this unique event that will bring drummers and percussionists from various Sheffield bands together for a performance full of bombast, set against an industrial backdrop – the sound of a forge hammer will kick off proceedings. This event will be a fundraiser for the Save Portland Works campaign.” Drummers played the building – the steps, the handrails, the gas canisters and the machinery; Andy Cole of Wigfull Tools played the drop hammer and everyone danced.

www.galvanizefestival.com/events/knifemaker.html Website: http://2011.sensoria.org.uk/programme/music/steel-citypulse/ http://youtu.be/A538FBGNGvY http://www.flickr.com/photos/pixelwitchpictures/sets/72 157626672502618/

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The Portland Works Mobile Archive

A mobile archive has been designed to allow us to take artefacts, research, photographs and other items from the works and the wider campaign out onto the streets around Portland Works. This was deemed as important because much of what happens both within Portland Works and the wider John Street Triangle conservation area is often hidden behind closed doors and in the courtyards. It will provide a central storage place for all the research generated during the student projects, and Knowledge Transfer in addition to the virtual space of the website. Designed by Mark Parsons of Studio Polpo it will be manufactured on site, using the skills and tools of tenants of the works; the design may grow and change with the knowledge of the makers on site.

The mobile archive is a tool which enables certain aspects of the programme to be realised, such as sharing the heritage and potential for education on site, and developing relationships with other metalworkers, artists and musicians in the area, prior to any major building works. It could be used formally at events such as the Open Days, or as a gathering point to debate current issues that bear on the neighbourhood, such as Planning Applications, but also for impromptu activities such as picnics.

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Reaching out

Endorsements and support

Save Portland Works online petition, February 2011 Signed by 1415 people and shared on facebook by 639 people. http://www.gopetition.com/petition/43409.html

Save Portland Works written objections to planning application There have been 199 letters of objection to the developers proposals to close the works and turn it into flats, including from Former M.P Richard Caborn, Paul Blomfield M.P, Councillor Paul Scriven, Councillor Colin France, Councillor Sylvia Dunkley, Councillor Jillian Creasy, The Central Ward Labour Party, The Victorian Society, and The Heritage Crafts Association.

"At a time when Yorkshire Forward and Sheffield City Council are justifiably proud of the efforts they have made to establish a high technology metalworking cluster on the Advanced Manufacturing Park [AMP] at Orgreave, I am dismayed to find that they may be willing to extinguish an existing, and equally important centre of excellence in metalworking at Portland Works. I am currently undertaking a PhD at the University of Sheffield, studying the historical role of steel and developing new techniques for processing it. Nowhere else, not even at the university or the AMP, can I find the necessary skills required to help me in my work? I can only find them at Portland Works. I can take metal ingots there, have them indelibly engraved with reference numbers, have the same ingots worked down to strips, and then have those strips made into tools and cutting edges all under the same roof. I am not the first to use their services: almost a hundred years ago Harry Brearley took his first stainless steel ingots there to have test cutlery manufactured. Does Sheffield really want to throw away such a heritage?" Stephen Cater, University of Sheffield, Department of Materials Science and Engineering

1415 PEOPLE SIGNED OUR PETITION

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â&#x20AC;&#x153;

Thanks for letting me know about your plans for the Portland Works. They sound very exciting. I hope that local planners and those with the power to make the proposals a reality will give their support. Communities need the life that your plans would bring, good luck! Ken Loach, April 2011

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Reaching out

“

Sorry for the late reply I am really busy with a project that takes up the whole of my mind, I am not very good at this multi tasking lark.....anyway I am way ahead of you in one respect I have spoken to a couple of my journalist friends in local papers and they are all aware of the situation as I am. I agree totally with keeping Portland works out of developers’ hands and keeping it in the hands of Sheffield people and folks who give a shit about our rapidly vanishing history. I like many Sheffielders are in despair about the lack of any sort of care or actual plan..... apart from "yes you can convert this fantastic old landmark into worthless shitty flats that will largely stay empty and unsold Mr Developer...here you go, smash away".... it’s a sign of the times, but one good thing about the economic stuff that’s going on is it has slowed a lot of it down which gives folks like yourself time to gather support and momentum, for the record I fully support any efforts to save this wonderful building from the greedy grasping hands of bastards who don't care..... I can reword that if you like so you can use it as a quote as swearing is good fun and it is occasionally big and clever but not much good if you’re trying to battle the more genteel folks of the world..... can you put a link up to the petition please? I haven't signed it as my e-mail address is publicly visible if I do and I have enough trouble with fuck wits on the internet as it is so apologies there but I have got a lot of mates to sign it so hope that makes up for it...... thanks and best wishes Richard x Richard Hawley, 14th March 2011

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Blogs, media and press introduction

Portland Works has attracted national and regional media coverage over the past year, boosting tenants’ confidence to take the project on and drawing new people in to the camapign. The coverage has included a feature in the G2 Section of the Guardian, a piece on Sky News, an article in The Yorkshire Post, a feature on Radio 4’s ‘You and Yours’, a feature on ITV Calendar News, a photo essay and article on the BBC Website, and a feature on BBC Look North. Local press and media interest has included numerous features on BBC Radio Sheffield, The Sheffield Star, The Sheffield Telegraph, Now Then Magazine, Article Magazine, and ‘Sheffield Live!’ The campaign has also featured on numerous blogs including ‘Indymedia’, ‘The Heritage Crafts Association’, ‘Now Then’ and many others. The continued coverage has publicised our campaign, bringing new volunteers and opposition to the planning application. An additional benefit of the media focus has been and a chance to tell the story of the place together, and sharing our different and shared reasons valuing the Works.

The coverage has included a feature in the G2 Section of the Guardian, a piece on Sky News, an article in The Yorkshire Post, a feature on Radio 4’s ‘You and Yours’, a feature on ITV Calendar News, a photo essay and article on the BBC Website, and a feature on BBC Look North.

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Reaching out

Community Action.

2010: Alison is just one of several artists in residence at Portland Works.

Heritage Crafts.

2010: Stuart Mitchell proudly carries on traditional knife crafting pioneered almost a century ago at the Portland Works

3RUWODQG :RUNV LV D KLVWRULFDOO\ VLJQLĂ&#x20AC;FDQW metalworks factory where stainless asteel cutlery was manufactured in the ZRUOG IRU WKH Ă&#x20AC;UVW WLPH ,W LV VWLOO KRPH WR metalworkers, heritage crafts workers, artists and musicians. This unique place is threatened with closure and conversion LQWR OX[XU\ Ă DWV An alternative is possible.

Arts Education.

You can take part in this exciting project to keep Portland Works a thriving workplace by: Â&#x2021; Buying shares in the Works as a long term investment; Â&#x2021; Making a donation; Â&#x2021; Joining the campaign as a volunteer.

Âś9LWDO SDUW RI 6KHIĂ&#x20AC;HOG KHULWDJH DQG IXWXUH DW ULVNÂˇ The vibrant Portland Works, a Grade II* Metalwork building that is home to musicians, toolmakers, cutlery makers, artists, and other small businesses could soon be lost as developers, Portland &RPSDQ\ ZDQW WR WXUQ WKH EXLOGLQJ LQWR EHGVLW Ă DWV 7KLV ZRXOG PHDQ WKH HQG RI WKULYLQJ PHWDOZRUN LQGXVWULHV DQG D ORVV RI VSHFLDOLVW VNLOOV VRPH RI ZKRP KDYH EHHQ EDVHG LQ WKH ZRUNV IRU RYHU \HDUV The Planning Application, which has already been submitted, will go to Planning Board in February DQG WKHUH LV D FDOO IRU FRQFHUQHG SHRSOH WR REMHFW WR WKHVH SURSRVDOV /RFDO EXVLQHVVHV UHVLGHQWV DQG VXSSRUWHUV RI 6KHIĂ&#x20AC;HOGÂˇV EXVLQHVV DQG FUHDWLYH FRPPXQLWLHV DUH FDPSDLJQLQJ IRU DQ DOWHUQDWLYH IXWXUH IRU WKH EXLOGLQJ WKDW HPEUDFHV LWV KLVWRULF VLJQLĂ&#x20AC;FDQFH DQG FUHDWLYH IXWXUH RI WKH WHQDQWV

See more at www.portlandworks.co.uk

Portland Works montage By Julia Udall

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Rare Birds at Redmires is just one of many paintings artist Mary Sewell has produced at Portland Works.

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Reaching out

Alternative Futures for Portland Works box set Set of Documents including this book, Business Plan, Workshop Report, Knowledge Transfer Workshop Photographic Record, John Street Triangle Business Audit, Case Studies x 11, DVD of Workshop Documentary Films, 3 x Diagrams.

PORTLAND WORKS

John Street Business Audit

The Portland Works Alternative Futures Business Plan

PORTLAND WORKS

Knowledge transfer workshop Photographic record

Alternative futures for Portland Works

Knowledge transfer workshop

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Researching with students

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Researching with Students

A series of Student Projects have been developed to broaden the reach of the research on Portland Works, as an immediate and informal way of taking in new disciplines and perspectives. Conceived to strengthen the links between the University of Sheffield and Portland Works, these Student Projects also fulfil particular requirements of the campaign group. Developed These projects have been carried out by students from Sheffield University within the School of Architecture, the School of Journalism and the School of English in response to briefs written by the Portland Works Committee, in conversation with academic staff responsible for the courses where the work was situated. Moreover a number of students visited Portland Works and became active researchers by their own initiative, choosing to work on/around Portland Works, rather than being asked to do so by their tutors. These works include analyses and explorations part of design projects and dissertations. In addition to the projects developed within the University of Sheffield, there has, been a day-long workshop with the Conservation Undergraduate course from the Technical University of Munich as part of their tour of the UK. Each of the Student Projects was part of the core curriculum of each of the courses and each was researched and disseminated in a different manner particular to that course, including through essays, films published online, exhibitions, websites, and presentations to Sheffield City Council.

All students were given access to our ongoing research and resources and taken on tours around Portland Works. Considerable time was invested in building the relationships. This collaboration with students and staff from various disciplines extended our understanding of how Portland Works is perceived, what its potential might be in the future and created space for reflection on the research carried out to date. 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. Each project becomes a strand of investigation that provides opportunities and further develops the network of the campaign. Masters in Urban Design (MAUD), Masters in Architectural Design and Masters in Urban Design (MAAD), Master in Architecture (MArch), The School of Architecture, October 2010–March 2011 MA in Broadcast Journalism: The School of Journalism, January–March 2011 Sense of Place: Local and Regional Identity: The School of English Literature, Language and Linguistics, March–June 2011 TUM Conservation Undergraduate: Tangible and Intangible Heritage, April 2011

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Researching with students

The School of Architecture Masters in Urban Design (MAUD): Live Project and Urban Design Project I, Sheffield University Masters in Architectural Design and Masters in Urban Design: Participation in Architecture and Urban Design, Sheffield University

MAUD Live Project The School of Architecture has a long established programme of live projects for its Master in Architecture (MArch) programme; a live project was set up for the first time within the MAUD, programme, coordinated by Dr Florian Kossak, creating the opportunity for students to work with real ‘clients’, Portland Works committee members, to design strategies to support the cultural and small industries.

Brief for the MAUD Live Project1 The John Street Triangle Conservation Area: Urban design strategies to support the cultural and small industries

Site The John Street Triangle Conservation area is a cluster of small, largely industrial and manufacturing businesses situated in the residential neighbourhood of Sharrow. It is also home to the largest concentration of music studios in the North of England. It is set between London Road District Centre to the west, Bramall Lane and Queens Road Industrial Estate to the east and the Ring Road and City Centre to the north. It was designated as a Conservation Area in 2007 due to the number of traditional metalwork factories located there. Key heritage buildings include the courtyard style, integrated works such as Portland Works (Grade II* Listed status) and Stag Works and Kenilworth Works, (both Grade II Listed) which house a variety of businesses from the metalwork, manufacturing and creative industries. There are also a number of smaller works, which are largely still occupied by ‘Little Mesters’. In the 1970s a number of buildings were demolished and replaced by large single story tin sheds to house manufacturing, storage and retail. There are a number of public houses in the area, some of which are now closed. In the mid-noughties large blocks of private student housing were built between the triangle and the city centre. Sites along the Bramall Lane edge of the Triangle have been left undeveloped due to long term plans, as yet unrealised for the extension of the tram network or the widening of the carriageway.

A Planning Application has recently been submitted to convert Portland Works into small flats and the Sheffield Development Framework has proposed the area becomes a housing and business area (it is currently a flexible use area). The tenants of Portland Works and some activists have been campaigning to maintain Portland as a place of work, and buy the building from it’s currently landlord to become a place of benefit to the local community. As part of this campaign they have also lobbied for the Council to re-designate the entire John Street Triangle area as a place of Businesses and Industry. In order to gather and provide convincing evidence for Sheffield City Council an audit of the business and industry in the area was carried out.

The John Street Triangle Audit The John Street Triangle Area is currently home to a number of metalwork, manufacturing, and creative industries. Some key reasons for locating here have emerged. These are: • Affordable Rents • Proximity to the City Centre, London Road District Centre and Suppliers • Flexibility of accommodation • Relationships with other specialists within the area or nearby This Live Project seeks to investigate how we can strengthen these factors through design and therefore improve the conditions for the businesses based in the area. Aspects for consideration include: • Typology, flexibility and massing of existing accommodation. Which parts are the most successful/ what type of companies use each type of space? What is the potential for intensifying the use of these spaces? • Access and links to key services and suppliers. What are the key routes and key places people need to get to? What is the historic street plan and does this hold any potential for the future development of this area? • Spaces between the buildings - are there opportunities for people to meet? How does the street relate to the buildings? What role does and could the courtyards have? Which sites, buildings or gaps might be detrimental to the area? What is the role of the currently vacant sites? • Relationship to the adjacent student and council housing - could this be improved/is this relationship important? Legibility of the area - pedestrian links to the City Centre and London Road.

1 Live Projects are a pioneering educational initiative at the University of Sheffield School of Architecture that bringing masters students to work with organisations in real time, with real budgets for a six week period; more at http://www.ssoa.group.shef.ac.uk/

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Project brief

Client

In small groups choose and explore one or two aspects of the John Street Triangle. Use these factors to make Urban Design proposals to support its evolution as an area of business and small industry.

The client for this project is a broad one, comprising of a number of representatives of the Portland Works Committee. Each will have different experiences and knowledge of the area... and slightly different views and priorities on how the area could and should develop. You can contact them prior to the project commencing to ask them some initial questions on the email addresses below. We should also be able to meet with some of these people early on in the week of the project.

• How do the various types of businesses and industries (including creative) operate in the area? • What are their needs and desires for space and relationships with others? • How should and might things change over time? • What could happen almost immediately, or in five years or ten or twenty? • What city, nation or world-wide factors are likely to impact the area and how can this be accounted for in your plans? • What smaller scale factors are likely to change over these time periods? Your proposals should take into account the existing context which has grown up over time and consider key future drivers such as the development of Portland Works, and pressure from student housing and Sheffield United’s development plans.

Derek Morton, Retired technology teacher Chair of Portland Works Committee derekmor@gmail.com Stuart Mitchell, Stuart Mitchell Knives, Treasurer of Portland Works Committee and tenant of Portland Works stuart@stuartmitchellknives.com Mark Jackson, Squarepegs, Treasurer of Portland Works Committee and tenant of Portland Works info@squarepegs.co.uk Clare Hughes, Artist, Member of Portland Works Committee and tenant of Portland Works Clare1935@googlemail.com Nuala Price, Artist, architect, Member of Portland Works Committee and tenant of Portland Works Nuala.price@hotmail.co.uk Andy Cole, Wigfull Tools, Member of Portland Works Committee and tenant of Portland Works info@wigfulltools.co.uk Alan Deadman, Little Sheffield Development Trust, Secretary Portland Works Committee and tenant of Stag Works Alan_deadman47@yahoo.co.uk Olly Galvin, Sequoia Sound System, Tenants of Portland Works ollygalvin@hotmail.com The Gentlemen, Band, Tenants of Portland Works all@the-gentlemen.co.uk Stephen Connelly, Lecturer, Member of Portland Works Committee s.connelly@shef.ac.uk

Proposed structure of the week Monday 25th October 10am: Group site visit, project introduction, meeting with tenants Monday 25th October 2pm: Analysis of brief, assigning of tasks for remaining survey info. Tuesday 26th October 10am: Strategic walks, collection of remaining survey information Tuesday 26th October 2pm: Compiling of survey information, analysis of key issues Wednesday 27th October 10am: Initial group ideas and proposals Wednesday 27th October 2pm: Development of proposals Thursday 28th October: Development of Proposals Friday 29th October, 10am: Development of Proposals Friday 29th October, 2pm: Presentation of Proposals and Project review

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Researching with students

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Shujie Chen, MAUD

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Researching with students

Shujie Chen, MAUD

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Shujie Chen, MAUD

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Researching with students

Shujie Chen, MAUD

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Shujie Chen, MAUD

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Researching with students

Temporary Urbanism: Major Urban Design Project I For this project coordinated by Dr Florian Kossak and Julia Udall, sixteen Urban Design (MAUD) students were asked to write their own brief for the John Street Triangle and adjacent ring road area, responding to the theme of Temporary Urbanism. This project was to be developed from the earlier work that formed the â&#x20AC;&#x2DC;Live Projectâ&#x20AC;&#x2122;, drawing on their particular understanding of the site. As part of that project students worked with colleagues from the Master in Advanced Architectural Design course (MAAD), on a participation module, coordinated by Carolyn Butterworth, where they explored, developed and tested ways to engage the local communities. This work was then exhibited in The Old Junior School, Sharrow Community Forum (which attracts over 500 visitors each week) and in shops along the windows of the district centre. The opening of the exhibition attracted a number of local residents and councillors who discussed the projects at length with the students. This was crucial in developing alternative visions for the John Street Area and exploring the potential of Portland Works as a catalyst for development for the wider network of light industrial and heritage businesses and creative industries. The students, from all over the world, including China, India, Kuwait, Jordan and the UK each brought their experience and understanding of Urban Design to this site. This work will be used as source material for the development of the marketing, feasibility and vision elements of the Portland Works project and in liaising with the urban design and planning departments at Sheffield City Council. Illustration of some of the work produced for the Participation in Architecture and Urban Design: the Sharrow Industrial Triangle Garden (SIGT), by Chinese student Tian Xiuying, MAUD. SIGT was documented in the website: http://www.sigt.co.uk/

Tian Xiuying, MAUD

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Concept Drawing of Portland Works, Sam Brown, Y5 (MArch)

Portland Works as part of student initiated and led research

Design Work

A number of students visited Portland Works in the context of the open days (see page 35) and, by their own initiative, became active researchers, tying in aspects of their individual work with the Portland Works campaign.

â&#x20AC;&#x153;I visited Portland Works as I'd heard about it via a lecture given at an urbanism seminar by Julia Udall. It sounded like a really vibrant assemblage of individuals, sharing facilities and occasionally working together on projects, which is exactly the kind of social mix I am aiming for in my studio design project. I wanted to see how the architecture of an Integrated Works afforded such a vibrant community based around making things. I was so moved by the campaign and the passion of its tenants and volunteers that I offered my time at a second open day. I was able to guide groups around and talk about my opinions of the place, getting to know the tenants in the process. I still aim to help out as and when I'm needed.â&#x20AC;? Sam Brown, Y5 (MArch)

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Researching with students

Dissertation One student, James Sexton, decided to focus his entire dissertation on: The story of Portland Works through an exploration of its history and occupants; 1870 – 2011+. The final work is due for submission in September 2011, but at the time of writing we have a work in progress version of the first chapter, outlining the scope of the dissertation, the methodology and theoretical stance.

“…I decided to stick with Portland Works as a research framework,… the suggestion was made that some of the ideas of 'conflict' are present within the themes raised by the Portland works campaign” James Sexton

SSouth outh Yorkshire Yor Y orkshire

“I set up this business 30 years ago with just £50 in my pocket. It’s been hard and we’ve had our ups and downs, but it’s given me a living and over the years we’ve built up our reputation. I don’t know what we’ll do if we lose this place. It might not look much to some people, but it’s more than just a workshop.” Yorkshire Post Feb 2010, Jimmy Holmes, Metal Finisher

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Portlands P ortlands W Works orks ;ůĞŌͿ ZŽŽĨ ƚŽƉ ǀŝĞǁƐ ƚĂŬĞŶ ϭϵƚŚ EŽǀ͘ ϮϬϭϬ ;ůĞ ŌͿ ZŽŽĨ ƚŽƉ Ɖ ǀŝĞǁƐ ƚĂŬĞŶ ϭϵƚŚ EŽǀ͘ ϮϬϭϬ

dŚĞ ƐƚŽƌǇ ŽĨ WŽƌƚůĂŶĚ tŽƌŬƐ ƚŚƌŽƵŐŚ ĂŶ ĞǆƉůŽƌĂƟŽŶ ŽĨ ŝƚƐ ŚŝƐƚŽƌǇ ĂŶĚ ŽĐĐƵƉĂŶƚƐ͖ ϭϴϳϬ ʹ ϮϬϭϭн dŚĞ Ɛ ƚŽƌǇ ŽĨ WŽƌƌƚůĂŶĚ t ŽƌŬƐ ƚŚƌŽƵŐŚ Ś ĂŶ Ğ ǆƉůŽƌĂƟŽŶ ŽĨ ŝƚ Ɛ ŚŝƐ ƚŽƌǇ ĂŶĚ ŽĐĐƵƉĂ ĂŶƚƐ͖ ϭϴϳϬ ʹ ϮϬϭϭн ͞WŽƌƚůĂŶĚ tŽƌŬƐ ŝƐ Ă ůĂƌŐĞ ͚ŝŶƚĞŐƌ ͞WŽƌƚůĂŶĚ tŽƌŬƐ ŝƐ Ă ůĂƌŐĞ ͚ŝŶƚĞŐƌĂƚĞĚ ĐƵƚůĞƌǇ ǁŽƌŬƐ ďƵŝůƚ Ő ĂƚĞĚ ĐƵƚůĞƌǇ ǁŽƌŬƐ ďƵŝůƚ ŝŶ ƚŚĞ ϭϴϳϬ͛Ɛ͘ dŚĞ ĐŽŵƉůĞǆ ŝƐ ĂŶ ĞǆƚƌĞŵĞůǇ ŐŽŽĚ ĞǆĂŵƉůĞ ŝŶ ƚŚĞ ϭϴϳϬ͛Ɛ͘ dŚĞ ĐŽŵ ŵƉůĞǆ ŝƐ ĂŶ ĞǆƚƌĞŵĞůǇ ŐŽŽĚ ĞǆĂŵƉůĞ Ă ůĂƌŐĞ ƉƵƌƉŽƐĞ ŽĨ Ă ůĂƌŐĞ ƉƵƌƉŽƐĞ ďƵŝůƚ ďƵ Ƶŝůƚ ŝŶƚĞŐƌĂƚĞĚ ĐƵƚůĞƌǇ ǁŽƌŬƐ ĚĂƟŶŐ ŝŶƚĞŐƌĂƚĞĚ ĐƵƚůĞƌǇ ǁŽƌŬŬƐ ĚĂƟŶŐ ůĂƌŐĞůǇ ϭϴϳϬ͛Ɛ ůĂƌ ŐĞůǇ ĨƌŽŵ ĨƌŽŵ Ă ƐŝŶŐůĞ ϭϴϳϬ͛ Ɛ ďƵŝůĚŝŶŐ ƉŚĂƐĞ ǁŝƚŚ Ś Ă ǁĞůů ǁĞůů ĚĞƐŝŐŶĞĚ ůĂǇŽƵƚ ůĂǇŽƵƚ ĨŽƌ ĨŽƌ ƚŚŝƐ ďƵŝůĚŝŶŐ ďƵŝůĚŝŶŐ ƚǇƉĞ͘ dŚĞ ǁŽƌŬƐ ǁŽƌŬ Ž Ɛ ǁĂƐ ǁĂƐ ŵĞĐŚĂŶŝƐĞĚ͕ ǁŝƚŚ ĞǀŝĚĞŶĐĞ ĨŽƌ Ă ƐƚĞĂŵ ĞŶŐŝŶĞ͕ ďƵƚ ƚŚĞƌĞ ŵĞĐŚĂŶŝƐĞĚ͕ ǁŝƚŚ ĞǀŝĚ ĚĞŶĐĞ ĨŽƌ Ă ƐƚĞĂŵ ĞŶŐŝŶĞ͕ ďƵƚ ƚŚĞƌĞ ĂƌĞ ĂůƐŽ ƵŶƉŽǁĞƌĞĚ ǁŽƌŬƐŚŽƉƐ ƌĂŶŐĞƐ͕ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĨĂĐƚ Ăƌ Ğ ĂůƐŽ ƵŶƉŽǁĞƌĞĚ ǁŽƌŬƐŚŽƉƐ ƌĂŶŐĞƐ͕ ŝůůƵƐƚƌĂƟŶŐ ƚŚĞ ĨĂĐƚ ƚŚĂƚ ^ŚĞĸĞůĚ ďĂƐĞĚ ŝƚƐ ƌĞƉƵƚĂƟŽŶ ƵƉŽŶ ƚŚĞ ƐƵƉƌĞŵĂĐǇ ŽĨ ƚŚĂ ƚ ^ŚĞĸĞůĚ ďĂƐĞĚ ŝƚƚƐ ƌĞƉƵƚĂƟŽŶ ƵƉŽŶ ƚŚĞ ƐƵƉƌĞŵĂĐǇ ŽĨ ƚƌĂĚŝƟŽŶĂů ŵĞƚŚŽĚƐ͖ ŝƚ ǁĂƐ ƐĂŝĚ ŝŶ ϭϴϳϵ ƚŚĂƚ ͚ƚŚĞ ŚŝŐŚĞƐƚ ƚƌ ĂĚŝƟŽŶĂů ŵĞƚŚŽĚƐ͖ ŝƚ ǁĂƐ ƐĂŝĚ ŝŶ ϭϴϳϵ ƚŚĂƚ ͚ƚŚĞ ŚŝŐŚĞƐƚ ĞĞǆĐĞůůĞŶĐĞ ǆĐĞůůĞŶĐĞ ĐĂŶ ĐĂŶ ďĞ ŽďƚĂŝŶĞĚ Žď ďƚĂŝŶĞĚ ŽŶůǇ ďǇ ďǇ ƚŚĞ ĞŵƉůŽǇŵĞŶƚ ĞŵƉůŽǇŵĞŶƚ ŽĨ ŝŶƚĞůůŝŐĞŶƚ ŝŶ ƚĞůůŝŐĞŶƚ ŚĂŶĚ ŚĂŶĚ ůĂďŽƵƌ͛͘ ůĂďŽ ŽƵƌ ͛͘ dŚŝƐ dŚŝƐ ƚǇƉĞ ŽĨ ĐŽŵƉůĞǆ ĐŽŵƉůĞǆ ŝƐ ǀĞƌǇ ǀĞƌǇ ĚŝƐƟŶĐƟǀĞ ĚŝƐ ƟŶĐƟǀĞ ƚŽ ƚŽ ƚŚĞ ŝŶĚƵƐƚƌŝĂů ŝŶĚƵƐƚƌŝĂů ŝĚĞŶƟƚǇ ŝĚĞŶƟƚǇ ŽĨ ^ŚĞĸĞůĚ͕ ^ŚĞĸĞůĚ͕ ͕ ǁŚŝĐŚ͕ ĂĂƚ ƚŚŝƐ ƟŵĞ ǁĂƐ ŬŶŽǁŶ ƚŚƌŽƵŐŚŽƵƚ ƚŚĞ ǁŽƌůĚ ĂƐ Ă ĐĞŶƚƌĞ ƚ ƚŚŝƐ ƟŵĞ ǁĂƐ ŬŶŽǁŶ ǁ ƚŚƌŽƵŐŚŽƵƚ ƚŚĞ ǁŽƌůĚ ĂƐ Ă ĐĞŶƚƌĞ ŽĨ ĞǆĐĞůůĞŶĐĞ ĞǆĐĞůůĞŶĐĞ ŝŶ ƚŚĞ ŵĂŶƵĨĂĐƚƵƌŝŶŐ ŵĂŶƵĨĂĐƚƵƌŝŶŐ ĂŶĚ ƉƌŽĐĞƐƐŝŶŐ ƉƌŽĐĞƐƐƐŝŶŐ ŽĨ ƐƐƚĞĞů͘ ƚĞĞů͘ WŽƌƚůĂŶĚ WŽƌƚůĂŶĚ tŽƌŬƐ tŽƌŬŬƐ ŝƐ ĂŶ ŝŵƉŽƌƚĂŶƚ ŝŵƉŽƌƚĂŶƚ ƐƵƌǀŝǀĂů ƐƵƌǀŝǀĂů ǁŚŝĐŚ ĚĞŵŽŶƐƚƌĂƚĞƐ ĚĞŵŽŶƐ ƚƌĂƚĞƐ ƚŚĞ ůĂǇŽƵƚ ůĂǇŽƵƚ ŽĨ ƐƵĐŚ Ă ĐŽŵƉůĞǆ͕ ĐŽŵƉůĞǆ͕ ŚŝŐŚůŝŐŚƚƐ ŚŝŝŐŚůŝŐŚƚƐ ƚŚĞ ůŝŵŝƚĞĚ ůŝŵŝƚĞĚ ƵƐĞ ŽĨ ƉŽǁĞƌ ƉŽ ŽǁĞƌ ŝŶ ŝŶ ƚŚĞ ĐƵƚůĞƌǇ ĐƵƚůĞƌǇ ŵĂŶƵĨĂĐƚƵƌŝŶŐ ŵĂŶƵĨĂĐƚƵƌŝŶŐ ƉƌŽĐĞƐƐ͕ ĂŶĚ ƌĞƚĂŝŶƐ ďŽƚŚ ŚĂŶĚ ĨŽƌŐĞƐ ĂŶĚ ƐƚĞĂŵ ŐƌŝŶĚŝŶŐ Ɖƌ ŽĐĞƐƐ͕ ĂŶĚ ƌĞƚĂŝŶƐ ďŽƚŚ ď ŚĂŶĚ ĨŽƌŐĞƐ ĂŶĚ ƐƚĞĂŵ ŐƌŝŶĚŝŶŐ ƌƌŽŽŵƐ͖ ĞǆƚƌĞŵĞůǇ ƌĂƌĞ ƐƵƌǀŝǀĂůƐ ŽĨ ďƵŝůĚŝŶŐ ƚǇƉĞƐ ƌĞůĂƚĞĚ ŽŽŵƐ͖ ĞǆƚƌĞŵĞůǇ ƌĂƌĞ ƐƵƌǀŝǀĂůƐ ŽĨ ďƵŝůĚŝŶŐ ƚǇƉĞƐ Ɛ ƌĞůĂƚĞĚ ƚƚŽ Ž ƐƉĞĐŝĮĐ ƉƌŽĐĞƐƐĞƐ͕ ƉƌŽĐĞƐƐĞƐƐ͕ ǁŝƚŚ ƉƌŽďĂďůǇ ƉƌŽďĂďůǇ ĨĞǁĞƌ ĨĞǁĞƌ ƚŚĂŶ ƚŚ ŚĂŶ ĮǀĞ ĮǀĞ ƐŝƚĞƐ ŝŶ ^ŚĞĸĞůĚ ŶŽǁ ƌĞƚĂŝŶŝŶŐ ĞǀŝĚĞŶĐĞ ŽĨ ďŽƚŚ͘ dŚĞƐĞ Ɛŝƚ ĞƐ ŝŶ ^ŚĞ Ś ĸĞ ĸ ůĚ ŶŽǁ ƌĞƚĂŝŶŝŶŐ ĞǀŝĚĞŶĐĞ ŝĚ ŽĨ Ĩ ďŽƚŚ ď Ś Ś͘ dŚĞƐĞ Ś ĐŚĂƌĂĐƚĞƌŝƐƟĐƐ͕ ĐŚĂƌ ĂĐƚĞƌŝƐƟĐƐ͕ ƚŽŐĞƚŚĞƌ ƚŽŐĞƚŚĞƌ ƚŚĞ ĚĞŐƌĞĞ ĚĞŐƌĞĞ ŽĨ ĐŽŵƉůĞƚĞŶĞƐƐ ĐŽŵƉůĞƚĞŶĞƐƐ Ğ ŽĨ ƐƵƌǀŝǀĂů ŵĂŬĞ ƚŚŝƐ ƐŝƚĞ ŽĨ ƉĂƌƟĐƵůĂƌ ŝŵƉŽƌƚĂŶĐĞ ĂŶĚ ũƵƐƟĨǇ ƐƵƌ ǀŝǀĂů ŵĂŬĞ ƚŚŝƐ ƐŝƚĞ ŽĨ ƉĂƌƟĐƵůĂƌ ŝŵƉŽƌƚĂŶĐĞ ĂŶ ŶĚ ũƵƐƟĨǇ ŝƚƐ ƵƉŐƌĂĚŝŶŐ ƚŽ 'ƌĂĚĞ //Ύ͟ ŝƚƐ ƵƉŐƌ ĂĚŝŶŐ ƚŽ 'ƌĂĚĞ Ğ //Ύ͟ϭ <'ZKhE < 'Z KhE ϭ ϭ ůĂŝŶĞ WĞĂƌĐĞ͕ ĞƉĂƌƚŵĞŶƚ ŽĨ DĞĚŝĂ͕ ƵůƚƵƌĞ Θ ^ƉŽƌƚ ůĂŝŶĞ W ĞĂƌĐĞ͕ ͕ ĞƉĂƌƚŵĞŶƚ ŽĨ DĞĚŝĂ͕ ƵůƚƵƌĞ Θ ^ƉŽƌƚ Ğ >ŝƐƟŶŐ ĞƐĐƌŝƉƟŽŶ͘ >ŝƐ ƟŶŐ ĞƐĐƌŝƉƟŽŶ͘

dŚĞ WŽƌƚůĂŶĚ WŽƌƚůĂŶĚ t tŽƌŬƐ Ž Ɛ ďƵŝůƚ ŝŶ ƚŚĞ ϭϴϳϬ͛Ɛ ŽƌŬ ϭϴϳϬ͛Ɛ ũƵƐƚ ũƵƐƚ ďĞĨŽƌĞ ďĞĨŽƌĞ ƚŚĞ ŚĞŝŐŚƚ ŚĞŝŐŚ ƚ ŽĨ ^ŚĞĸĞůĚ͛Ɛ ^ŚĞĸĞĞůĚ͛Ɛ ŝŶĚƵƐƚƌǇ ŝŶĚƵƐƚƌǇ ŝƐ ƚŚĞ ďŝƌƚŚƉůĂĐĞ ďŝƌƚŚƉ ƉůĂĐĞ ŽĨ ƚŚĞ ŶĂƟŽŶ͛Ɛ ŶĂ ƟŽŶ͛Ɛ ƐƚĂŝŶůĞƐƐ ƐƚĂŝŶ ĞƐƐƐ ƐƚĞĞů ƐƚĞĞů ĂŶĚ ĂŶĚ ĐƵƚůĞƌǇ ĐƵƚůĞƌǇ ŝŶĚƵƐƚƌǇ͘ ŝŶĚƵƐƚƌ ƚ Ǉ͘ /Ŷ ϭϵϭϯ Z ͘&͘ DŽƐůĞ Ǉ ĚŝƐĐŽǀĞƌĞĚ ĚŝƐƐĐŽǀĞƌĞĚ ͛ƌƵƐƚůĞƐƐ ͛ƌƵƐƚůĞƐƐ ƐƚĞĞů͛ ƐƚĞĞů͛ ůĂƚĞƌ ůĂĂƚĞƌ ŶĂŵĞĚ Z͘&͘ DŽƐůĞǇ ͚͚ƐƚĂŝŶůĞƐƐ͕͛ ƐƚĂŝŶůĞƐƐ͕͛ ĐŽŵďŝŶŝŶŐ ĐŽŵď ďŝŶŝŶŐ ĐĂƌďŽŶ ĐĂƌďŽŶ ƐƚĞĞů ƐƚĞĞů ĂŶĚ ĐŚƌŽŵŝƵŵ͘ ĐŚƌŽŵŝƵŵ͘ tŝƚŚŝŶ ǀŝĞǁ ǀŝĞǁ ŽĨ ƚŚĞ ƚ ͚ďůĂĚĞƐ͛ ƐƚĂĚŝƵŵ ƐƚĂĚŝƵŵ ŝƚ͛Ɛ ŝƚ ͛Ɛ ĚŝƐƟŶĐƚ ĚŝƐƐƟŶĐƚ ĨĂĐĂĚĞ ĨĂĐĂĚĞ ĨĨĂĐŝŶŐ ĂĐŝŶŐ ZĂŶĚĂůů ĂŶĚ ĂŶ ŶĚ ,ŝůů ^ƚƌĞĞƚ ^ƚƌĞĞƚ ŝƐ ĂƌĐŚŝƚĞĐƚƵƌĂů ĂƌĐŚŝƚĞĐƚƵƌĂů ǁŽƌƚŚǇ ǁŽƌƚŚǇ ŽĨ ŝƚƐ ŐƌĂĚĞ ŐƌĂĚĞ //ΎůŝƐƚĞĚ //ΎůŝƐƚĞĚ Ě ĚŝƐƟŶĐƟŽŶ ĚŝƐƟŶĐƟŽŶ ďǇ ďǇ ŶŐůŝƐŚ ŚĞƌŝƚĂŐĞ ŚĞƌŝƚĂŐĞ ĂŶĚ ŝƚƐ ĐĐŽƵƌƚǇĂƌĚ ĂƌƌĂŶŐĞŵĞŶƚ ŝƐ ƚǇƉŝĐĂů ŽĨ ƚŚĞ ŚŝƐƚŽƌŝĐ ŝŶĚƵƐƚƌŝĂů ŽƵƌƚǇĂƌĚ ĂƌƌĂŶŐĞŵĞŶƚ ŝƐ ƚǇƉŝĐĂů ŽĨ ƚŚĞ ŚŝƐƚŽƌŝĐ Ž ŝŶĚƵƐƚƌŝĂů ůĂŶĚƐĐĂƉĞ͕ ůĂŶĚƐĐ ĂƉĞ͕ ŚŽǁĞǀĞƌ ŚŽǁĞǀĞƌ ŵŽƌĞ ŵŽƌĞ ƐŝŐŶŝĮĐĂŶƚůǇ ƐŝŐŶŝĮĐĂŶƚůǇ ƚŚĞ ƚŚ ŚĞ ĐƌĂŌƐ ĐƌĂŌƐ ŽĨ ĨĨŽƌŐŝŶŐ͕ ŽƌŐŝŶŐ ŝ ͕ ĞŶŐƌĂǀŝŶŐ͕ ĞŶŐƌĂǀŝŶ ŝŶŐ͕ ŐƌŝŶĚŝŶŐ͕ ŐƌŝŶĚŝŶŐ ŝ Ěŝ ͕ ƉůĂƟŶŐ ƉůĂ ů ƟŶŐ Ɵ ĂŶĚ Ě ŬŶŝĨĞ Ŭ ŝĨĞ ŵĂŬŝŶŐ ŬŶŝĨ Ŭŝ ĂƌĞ Ăƌ Ğ ƐƟůů ƐƟůů ƉƌĂĐƟĐĞĚ ƉƌĂĐƟĐĞĚ Ě ƚŚĞƌĞ ƚŚĞƌĞ ƐŽŵĞ ϭϰϬ ǇǇĞĂƌƐ ĞĂƌƐ ůĂ ůĂƚĞƌ͘ ƚĞƌƌ͘ WŽƌƚůĂŶĚ WŽƌƚůĂŶĚ ǁŽƌŬƐ ǁ ŽƌŬƐ ŝƐ ǁŝƚŚŝŶ ƚŚĞ :ŽŚŶ ƐƚƌĞĞƚ ƐƚƌĞĞƚ ƚƌŝĂŶŐůĞ ĐĐŽŶƐĞƌǀĂƟŽŶ ŽŶƐĞƌǀĂƟŽŶ ĂƌĞĂ Ăƌ ĞĂ Žƌ ͚ůŝƩůĞ ^ŚĞĸĞůĚ͛͘ ^ŚĞĸĞůĚ͛͘ ĞĮŶĞĚ ĞĮŶĞĚ ďǇ ďǇ ŝƚƐ ĐŽŶĐĞŶƚƌĂƟŽŶ ĐŽŶĐĐĞŶƚƌĂƟŽŶ ŽĨ ŝŶĚƵƐƚƌǇ ĂŶĚ ŚŝƐƚŽƌǇ ŽĨ ŵĂŶƵĨĂĐƚƵƌŝŶŐ͖ ŝƚ ĐŽŶƚĂŝŶƐ ƐŽŵĞ ŝŶĚƵƐ ƚƌǇ ĂŶĚ ŚŝƐƚŽƌǇ ŽĨ ŵĂŶƵĨĂĐƚƵƌŝŶŐ͖ ŝƚ ĐŽŶ Ž ƚĂŝŶƐ ƐŽŵĞ ^ŚĞĸĞůĚ͛Ɛ ŽĨ ^ŚĞ ĸĞůĚ͛Ɛ ŵŽƐƚ ŵŽƐƚ ĞƐƚĂďůŝƐŚĞĚ ĞƐƚĂďůŝƐŚĞĚ ƚƌĂĚŝƟŽŶĂů ƚƌĂĚŝƟŽŶĂů ďƵƐŝŶĞƐƐĞƐ͕ ǁŚŝĐŚ ŝŶ ƌĞĐĞŶƚ ǇĞĂƌƐ ŚĂƐ ƐĞĞŶ ĂŶ ŝŶŇƵǆ ŽĨ ŶĞǁ ĂƌƟƐƚƐ ĂŶĚ ǁŚŝĐŚ ŝŶ ƌĞĐĞŶƚ ǇĞĂƌƐ ŚĂƐ ƐĞĞŶ ĂŶ ŝŶŇƵǆ ŽĨ ŶĞǁ ĂƌƟƐƚƐ ĂŶĚ ŵƵƐŝĐŝĂŶƐ͕ ƉĂƌƚůǇ ĚƵĞ ƚŽ ůŽǁ ĐŽƐƚ ƌĞŶƚĞĚ ĂĐĐŽŵŵŽĚĂƟŽŶ͕ ŵƵƐŝĐŝĂŶƐ͕ ƉĂƌƚůǇ Ǉ ĚƵĞ ƚŽ ůŽǁ ĐŽƐƚ ƌĞŶƚĞĚ ĂĐĐŽŵŵŽĚĂ Ž ƟŽŶ͕ ĂŶĚ ŚĂǀĞ ŝĚĞŶƟĮĞĚ ƚŚŝƐ ĐƵůƚƵƌĂů ƋƵĂƌƚĞƌ ĂƐ Ă ǀŝĂďůĞ ƉůĂĐĞ ĂŶĚ ŚĂǀĞ ŝĚĞŶƟĮ ĮĞĚ ƚŚŝƐ ĐƵůƚƵƌĂů ƋƵĂƌƚĞƌ ĂƐ Ă ǀŝĂďůĞ ƉůĂĐĞ ĨĨŽƌ ĞŶƚĞƌƉƌŝƐĞ͕ Ăƌƚ ĂŶĚ ŵƵƐŝĐ ŽƉƉŽƌƚƵŶŝƟĞƐ͘ Žƌ ĞŶƚĞƌƉƌŝƐĞ͕ Ăƌ ĞƌƉƌŝƐĞ Ăƌ ƌƚ ĂŶĚ ŵƵƐŝĐ ŽƉƉŽƌƚƵŶŝƟĞƐ͘ ƌƚ ĂŶĚ ŵƵƐŝĐ ŽƉƉŽƌƚƵŶŝƟĞƐ

ŽĨ ĐŽŶƐŝĚĞƌĂďůĞ ĐŽŶƐŝĚĞƌĂď Ğ ďŽŽƐƚ ďŽŽƐƚ ƚŽ ƚŽ ƚŚĞ ĞĐŽŶŽŵǇ ĞĐŽŶŽŵǇ ĂŶĚ ũŽď ŵĂƌŬĞƚ͘ ŵĂƌŬĞƚ͘ ƚ dŚĞ ďƵŝůĚŝŶŐ ďŽŽŵ ďƌĂŶĚĞĚ ĂƐ ͚ƚŚĞ ĐŚĂŶŐĞ ǁĞ ƐĞĞ͛ ƐĂǁ dŚĞ ďƵŝůĚŝŶŐ ďŽŽŵ ďƌĂŶĚĞĚ ĂƐ ͚ƚŚĞ ĐŚĂĂŶŐĞ ǁĞ ƐĞĞ͛ ƐĂǁ ƉƌŝǀĂƚĞ ŝŶŝƟĂƟǀĞ ƚŚĞ Ɖƌŝ ǀĂƚĞ ĮŶĂŶĐĞ ĮŶĂŶĐĞ ŝŶŝƟĂ ƟǀĞ ŽŌĞŶ ŽŌĞŶ ƵŶĚĞƌ ƵŶ ŶĚĞƌ ĚĞƐŝŐŶ ĂŶĚ ďƵŝůĚ ĐŽŶƚƌĂĐƚƐ ǁŚŝĐŚ ƌĞĚƵĐĞĚ ĂŶǇ ƋƵĂůŝƚǇ ƚŽ Ă ŵŝŶŝŵƵŵ ďƵŝůĚ ĐŽŶƚƌĂĐĐƚƐ ǁŚŝĐŚ ƌĞĚƵĐĞĚ ĂŶǇ ƋƵĂůŝƚǇ ƚŽ Ă ŵŝŶŝŵƵŵ ĚŝĐƚĂƚĞĚ ĚŝĐƚ ĂƚĞĚ ďǇ ďǇ ƉƌŽĮƚ ƉƌŽĮƚ ŵĂƌ ŵĂƌŐŝŶƐ ŐŝŶƐ ĂŶĚ ŶŽƚ ď ďǇ Ǉ ͚ǀ ͚ǀĂůƵĞ͛͘ ĂůƵĞ͛͘ dŚĞ ĚĞǀĞůŽƉŵĞŶƚ ĨĨŽƵŶĚŝŶŐ ŽƵŶĚŝŶŐ ĂĂƫƚƵĚĞ ƫ ƫƚƵĚĞ ƚƚŽ Ž ĚĞ ǀĞůŽƉŵĞŶƚ ŝƐ ďĂƐĞĚ ďĂĂƐĞĚ ŽŶ ƚŚŝƐ ŶŽǁ ŶŽǁ ĞƐƚĂďůŝƐŚĞĚ ŬŶŽĐŬ ĐƵůƚƵƌĞ ǁŚŝĐŚ ŚĂƐ ƌĞƐƵůƚĞĚ͕ ƉĂƌƟĐƵůĂƌůǇ ĞƐ ƚĂďůŝƐŚĞĚ ŬŶŽĐŬ Ŭ ĐƵůƚƵƌĞ ǁŚŝĐŚ ŚĂƐ ƌĞƐƵ ƵůƚĞĚ͕ ƉĂƌƟĐƵůĂƌůǇ ŝŶ ƚŚĞ ĐŽŵŵĞƌĐŝĂů ĐŽŵŵĞƌĐŝĂů ƐĞĐƚŽƌ͕ ƐĞĐƚŽƌƌ͕ ŝŶ Ă ǁĂǀĞ ǁĂǀĞ ŽĨ ůŽǁ ůŽǁ ƋƵĂůŝƚǇ ŚŽƐƉŝƚĂůƐ͕ ƌĞƐŝĚĞŶƟĂů ĂĐĐŽŵŵŽĚĂƟŽŶ ďůŽĐŬƐ ĂŶĚ ƐĐŚŽŽůƐ ŚŽƐƉŝƚ ĂůƐ͕ ƌĞƐƐŝĚĞŶƟĂů ĂĐĐŽŵŵŽĚĂƟŽŶ ďůŽĐŬƐ ĂŶĚ ƐĐŚŽŽůƐ ƚŚĂƚ ƐĐĂƌ ^ŚĞĸĞůĚ͘ dŚĞ ůŝĨĞƐƚǇůĞ ĚĞŵĂŶĚƐ ƐĞƚ ďǇ ƚŚĞ ŵŽƌĞ ƚŚĂ ƚ ƐĐĂƌ ^ŚĞĞĸĞůĚ͘ dŚĞ ůŝĨĞƐƚǇůĞ ĚĞŵĂŶĚƐ ƐĞƚ ďǇ ƚŚĞ ŵŽƌĞ ĂĂŋƵĞŶƚ ĐůĂƐƐĞƐ ƌĞƚƵƌŶŝŶŐ ƚŽ ƚŚĞ ĐŝƚǇ ĂŶĚ ƚŚĞ ĐŽŵŵĞƌĐŝĂů ŋƵĞŶƚ ĐůĂƐƐƐĞƐ ƌĞƚƵƌŶŝŶŐ ƚŽ ƚŚĞ ĐŝƚǇ ĂŶĚ Ě ƚŚĞ ĐŽŵŵĞƌĐŝĂů ĚĞǀĞůŽƉŵĞŶƚ ĐƵůƚƵƌĞ / ŚĂǀĞ ĚĞƐĐƌŝďĞĚ ƐĞƚƐ ƚŚĞ ƉƌĞĐĞĚĞŶƚ ĚĞ ǀĞůŽƉŵĞŶƚ ĐƵůƚƵƌĞ / ŚĂǀĞ ĚĞƐĐƌŝďĞĚ ƐĞĞƚƐ ƚŚĞ ƉƌĞĐĞĚĞŶƚ ĨĨŽƌ ƚŚĞ ĐƵƌƌĞŶƚ ĂƫƚƵĚĞ ƚŽǁĂƌĚƐ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƚŚŝƐ ŝƐ Žƌ ƚŚĞ ĐƵƌƌĞŶ Ğ ƚ ĂƫƚƵĚĞ ƚŽǁĂƌĚƐ ĚĞǀĞůŽƉ ƉŵĞŶƚ ĂŶĚ ƚŚŝƐ ŝƐ ĂŶ ŽŵŶŝƉƌĞƐĞŶƚ ŝŶŐƌĞĚŝĞŶƚ ƚŽ ƚŚĞ ƚŚƌĞĂƚĞŶŝŶŐ ĐŽŶĚŝƟŽŶ ĂŶ ŽŵŶŝƉƌĞƐƐĞŶƚ ŝŶŐƌĞĚŝĞŶƚ ƚŽ ƚŚĞ ƚŚƌĞĂĂƚĞŶŝŶŐ ĐŽŶĚŝƟŽŶ ĨĨŽƌ WŽƌƚůĂŶĚ tŽƌŬƐ͕ ŽƚŚĞƌ ƐŝŵŝůĂƌ ŵĞƐƚĞƌƐ ĂŶĚ ƚŚĞ ĐŝƚǇ͛Ɛ Žƌ WŽƌƚůĂŶĚ tŽƌŬƐ͕ ŽƚŚĞƌ ƐŝŵŝůĂƌ ŵĞƐƚĞƌ Ğ Ɛ ĂŶĚ ƚŚĞ ĐŝƚǇ͛Ɛ ŝĚĞŶƟƚǇ ĂƐ Ă ǁŚŽůĞ͘ ŝĚĞŶ ƟƚǇ ĂƐ Ă ǁŚŽůĞ͘ > d ^d E t^ > d ^ d E t t^

͚͚dŚĞ dŚĞ ďƵŝůĚŝŶŐ Ő ŚĂƐ ďĞĞŶ ŝŶ Ă ŐƌĂĚƵĂů ŐƌĂĚƵĂů ƐƚĂƚĞ ƐƚĂƚĞ ŽĨ ĚĞĐĂǇ ĚĞĐĂǇ ĨŽƌ ĨŽƌ ŵĂŶǇ ǇĞĂƌƐ͛ ŵĂŶ Ǉ ǇĞĂƌƐ͛͛ϯ ďƵƚ ďƵƚ ƐƟůů ŵĂŶĂŐĞƐ ƚŽ ƐƵƉƉŽƌƚ ŽǀĞƌ ϮϬ ƐŵĂůů ď ƐƟůů ŵĂŶĂŐĞƐ ƚŽ ƐƵƉƉŽ Žƌƚ ŽǀĞƌ ϮϬ ƐŵĂůů ůů ĞŵƉůŽǇĞĚ ĐƌĂŌƐŵĂŶ͕ ĐƌĂŌƐŵ ŵĂŶ͕ ĂƌƟƐƚƐ ĂƌƟƐƚƐ ĂŶĚ KǀĞƌ Kǀ Ğƌ ƚŚĞ ůĂƐƚ ůĂƐƚ ĨŽƵƌƚĞĞŶ ĨŽƵƌƚ Ž ĞĞŶ ǇĞĂƌƐ ǇĞĂƌƐ ŽĨ ŶĞǁ ŶĞǁ >ĂďŽƵƌ >ĂďŽƵƌ ŽƵƌ ĐŝƟĞƐ ďƵƐŝŶĞƐƐĞƐ ĂŶĚ ƐĞůĨ ĞŵƉůŽǇĞĚ d ĐƌĂŌƐ ĐƌĂŌƐ ĂƌĞ ĂƌĞ ŶŽǁ ŶŽǁ Ăƚ Ăƚ ƌŝƐŬ Ŭ ŽĨ ĞǀŝĐƟŽŶ ĞǀŝĐƟŽŶ ĂŶĚ ŚĂǀĞ ƐĞĞŶ Ă ĚƌĂŵĂƟĐ ĐŚĂŶŐĞ ĨƌŽŵ ƚŚĞ ƉŽƐƚ ŵŽĚĞƌŶ ĞƌĂ ŚĂ ǀĞ ƐĞĞŶ Ă ĚƌĂŵ ŵĂƟĐ ĐŚĂŶŐĞ ĨƌŽŵ ƚŚĞ ƉŽƐƚ ŵŽĚĞƌŶ ĞƌĂ ŵƵƐŝĐŝĂŶƐ͘ dŚĞƐĞ ŽĨ dŚĂƚĐŚĞƌŝƐŵ ǁŝƚŚ ƚŚĞ ŝŵƉůĞŵĞŶƚĂƟŽŶ ŽĨ ĂŶ ĞǆƚĞŶƐŝǀĞ ŽĨ dŚĂƚĐŚĞƌŝƐŵ ǁŝƚŚ ǁ ƚŚĞ ŝŵƉůĞŵĞŶƚĂƟŽŶ ŽĨ ĂŶ ĞǆƚĞŶƐŝǀĞ ƌŝƚĂŝŶ͛ ;sĞƌƐŽ͕ ϮϬϭϬͿ͕ ƉŐ͘ ǀŝŝ ĂŝŶ͛ ;sĞƌƐŽ Ž͕ ϮϬϭϬͿ͕ ƉŐ͘ ǀŝŝ ƉƌŽŐƌĂŵŵĞ ďƵŝůĚŝŶŐ Ɖƌ ŽŐƌĂŵ ŵŵĞ ƐĂŝĚ ƚŽ ƚŽ ŚĂǀĞ ŚĂǀĞ ƐŽĐŝĂů ƌĞĨŽƌŵ ƌĞĨŽƌŵ Ăƚ Ăƚ ŝƚƐ ƌŝƚ ϯ ϯ ͚EŽǁ dŚĞŶ͛͘ /ƐƐƵĞ ϯϭ KĐƚ ϮϬϭϬ ͚EŽǁ dŚĞŶ͘ ǁ ͛ /ƐƐƵĞ ϯϭ KĐƚ ϮϬϭϬ Ϯ heart ͘ ͘ ŽŶƐƚƌƵĐƟŽŶ ďĞĐĂŵĞ ďŝŐ ĐŽŵŵĞƌĐŝĂů ďƵƐŝŶĞƐƐ ĂŶĚ ŽŶƐƚƌƵĐƟ ƟŽŶ ďĞĐĂŵĞ ďŝŐ ĐŽŵŵĞƌĐŝĂů ďƵƐŝŶĞƐƐ ĂŶĚ Ϯ Ϯ

KǁĞŶ ,ĂƚŚĞƌůĞǇ͕ ͚ 'ƵŝĚĞ ƚŽ ƚŚĞ EĞǁ ZƵŝŶƐ ŽĨ 'ƌĞĂƚ Kǁ ĞŶ ,Ă ĂƚŚĞƌůĞǇ͕ ͕ ͚ ͚ 'ƵŝĚĞ ƚ Ž ƚŚĞ EĞǁ Z ƵŝŶƐ ŽĨ 'ƌ ĞĂƚ

^ŝƉĞůŝĂ tŽƌŬƐ

͚WŽƌƚůĂŶĚ tŽƌƌŬƐ͕ EĞǁƐ ĨƌŽŵ ƚŚĞ ůŝƩůĞ ŵĞƐƚĞƌƐ͕͛ ďǇ ĞƌĞŬ ͚WŽƌƚůĂŶĚ tŽƌŬƐ͕ EĞǁƐ ĨƌŽŵ ƚŚĞ ůŝƩůĞ ŵĞƐƚĞƌƐ͕͛ ďǇ ĞƌĞŬ DŽƌƚŽŶ DŽƌƚ ŽŶ

ƐŽĐŝĂů Žƌ ŝŶĨŽƌŵĂƟŽŶĂů ŶĞƚǁŽƌŬƐ ďǇ ĞǆƉůŽŝƟŶŐ ƚŚĞ ŝŶĐƌĞĂƐĞĚ ƉŽƉƵůĂƌŝƚǇ ŝŶ ĐŝƚǇ ĐƵůƚƵƌĞ͕ ŚĞƌŝƚĂŐĞ ĂŶĚ ŽŶůŝŶĞ ŶĞƚǁŽƌŬƐ͘ >ĂƚĞƌ ƚŚŝƐ ǇĞĂƌ WŽƌƚůĂŶĚ ǁŽƌŬƐ ŚŽƉĞƐ ƚŽ ďĞ ŽƉĞŶ ĂƐ ƉĂƌƚ ŽĨ ^ŚĞĸĞůĚ͛Ɛ ĐĞůĞďƌĂƟŽŶ ŽĨ ĐŽŶƚĞŵƉŽƌĂƌǇ ŵĞƚĂů ǁŽƌŬŝŶŐ ƚƌĂĚĞƐ ĚƵƌŝŶŐ ƚŚĞ ĂŶŶƵĂů ' >s E/ ĨĞƐƟǀĂů ĂŶĚ ƉĂƌƟĐŝƉĂƚĞ ŝŶ ͚KƉĞŶ ƵƉ͛ ƐƚƵĚŝŽ ĚĂǇƐ ƚĂŬŝŶŐ ƉůĂĐĞ ĂƌŽƵŶĚ ƚŚĞ ĐŝƚǇ͘ dŚŝƐ ƉƌŽǀŝĚĞƐ ĂŶŽƚŚĞƌ ŽƉƉŽƌƚƵŶŝƚǇ ƚŽ ƌĂŝƐĞ ƚŚĞ ƉƌŽĮůĞ ŽĨ ƚŚĞ ǁŽƌŬƐ ĂŶĚ ŐŝǀĞ ƚŚĞ ŝŶƚĞƌĞƐƚĞĚ ŐĞŶĞƌĂů ƉƵďůŝĐ ĂŶ ŽƉƉŽƌƚƵŶŝƚǇ ƚŽ ůĞĂƌŶ ŵŽƌĞ ĂďŽƵƚ ƚŚĞƐĞ industries. d, , >> E' ^ ,

^ƚĞƌůŝŶŐ Θ ƵƚĐŚĞƌ tŽƌŬƐ ^ĐŽƟĂ tŽƌŬƐ Beehive Works

DŽƌĞ ƌĞĐĞŶƚůǇ͕ ƚŚĞ ůĂŶĚůŽƌĚ ĚĞǀĞůŽƉĞƌ ŚĂƐ ŽŶĐĞ ĂŐĂŝŶ ƌĞƐƵďŵŝƩĞĚ ƚŚĞ ƉůĂŶŶŝŶŐ ĂƉƉůŝĐĂƟŽŶ ǁŝƚŚ ŶĞǁ ĚŽĐƵŵĞŶƚĂƟŽŶ͘ dŚĞ ĐŽŵŵŝƩĞĞ ĚĂƚĞ ƚŽ ƌĞǀŝĞǁ ƚŚĞ ĂƉƉůŝĐĂƟŽŶ ŝƐ ĂǁĂŝƟŶŐ ĐŽŶĮƌŵĂƟŽŶ͘ ǀĞŶ ŝĨ ƚŚŝƐ ĚŽĞƐ ŶŽƚ ĚŝƌĞĐƚůǇ ůĞĂĚ ƚŽ ĚĞǀĞůŽƉŵĞŶƚ ƚŚĞ ǀĂůƵĞ ŽĨ ƚŚĞ ƉƌĞŵŝƐĞƐ ŝƐ ůŝŬĞůǇ ƚŽ ŝŶĐƌĞĂƐĞ ƚĂŬŝŶŐ ŝƚ ĨƵƌƚŚĞƌ ĂǁĂǇ ĨƌŽŵ ƚŚĞ ŐƌĂƐƉ ŽĨ ƚŚĞ ŵĂŬĞƌƐ͕ ůŽĐĂů ĐŽŵŵƵŶŝƚǇ ĂŶĚ ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ͘ Looking ahead the site faces other challenges. Finding ƚŚĞ ͚ƌŝŐŚƚ͛ ŽƌŐĂŶŝƐĂƟŽŶƐ ĂŶĚ ŝŶǀĞƐƚŽƌƐ͕ ǁŚŽ ŵŝŐŚƚ ƐŚĂƌĞ Ă ƐŝŵŝůĂƌ ĂƫƚƵĚĞ ƚŽǁĂƌĚƐ ƚŚĞ ƌĞĐŝƉƌŽĐĂů ďĞŶĞĮƚ ŽĨ ƚŚŝƐ ƚǇƉĞ ŽĨ ƉƌĞŵŝƐĞƐ͕ ĐŽƵůĚ ƉƌŽǀĞ Ă ĚŝĸĐƵůƚ ĂŶĚ ůĞŶŐƚŚǇ ƉƌŽĐĞƐƐ ŝŶ ƚŚĞ ĞĐŽŶŽŵŝĐ ĐůŝŵĂƚĞ͖ ǁŝƚŚ ĨƵŶĚŝŶŐ ůŝŬĞůǇ ƚŽ ƉƌŽǀĞ ƚŽ ďĞ ƚŚĞ ŵŽƐƚ ƐŝŐŶŝĮĐĂŶƚ ĨĂĐƚŽƌ͘ dŚĞ ůĞǀĞů ŝĨ ŝŶǀĞƐƚŵĞŶƚ ĨŽƌ ƚŚĞƐĞ ƚǇƉĞƐ ŽĨ ƉƌŽũĞĐƚƐ ŝƐ ǀĞƌǇ ŚŝŐŚ ĂŶĚ the high risk nature may detour investors. &hZd, Z Yh ^d/KE^ tŚĂƚ ŝĨ ƚŚĞ ŵĂƌŬĞƚƐ ƵƐĞĚ ƚŽ ĐƌĞĂƚĞ ƚŚĞ ďƵƐŝŶĞƐƐ ŵŽĚĞů ĂƌĞ ůĞƐƐ ďƵŽǇĂŶƚ ƚŚĂŶ ĮƌƐƚ ƚŚŽƵŐŚƚ͕ ŶŽ ŝŶǀĞƐƚŽƌƐ ĂƌĞ ĨŽƌƚŚĐŽŵŝŶŐ ĂŶĚ ƚŚĞ ƐƚŽƌǇ ŽĨ ^ƚĂŐ ǁŽƌŬƐ ƌĞƉĞĂƚƐ ŝƚƐĞůĨ͍

Wardonia Works Freedom Works

tŚĂƚ ŝƐ ƚŚĞ ĐƵƌƌĞŶƚ ͚ƌĞĂĐŚ͛ ĂŶĚ ǁŝĚĞƌ ŶĞƚǁŽƌŬ ŽĨ ƚŚĞ ĞǆŝƐƟŶŐ ƚĞŶĂŶƚƐ͍

Stag Works Portland Works

,Žǁ ĚŽĞƐ ƚŚĞ ĐĂŵƉĂŝŐŶ ĂƩƌĂĐƚ ƚŚĞ ͚ƌŝŐŚƚ͛ ŝŶǀĞƐƚŽƌƐ ƚŽ ĂǀŽŝĚ ĐŽŶŇŝĐƚ ŽĨ ĂŐĞŶĚĂ ŝŶ ƚŚĞ ĨƵƚƵƌĞ͍ &ƵŶĚŝŶŐ ĐĂŶ ďĞ ƵŶƉƌĞĚŝĐƚĂďůĞ ĂŶĚ ƟŵŝŶŐ ŽĨ ƚŚĞ ĂƌƌŝǀĂů ŽĨ ŐƌĂŶƚ ŵŽŶĞǇ ǁŝůů ďĞ ĐƌŝƟĐĂů͘ ZĞŶŽǀĂƟŽŶ ĂŶĚ ĐŽŶƐĞƌǀĂƟŽŶ ŝƐ ŚŝŐŚ ƌŝƐŬ͘ ŽŶƚƌĂĐƚŽƌƐ ĂƌĞ ƌŝƐŬ ĂĚǀĞƌƐĞ͘ dŚĞ /ŶĚƵƐƚƌŝĂů >ĂŶĚƐĐĂƉĞ͖ EŽ͘ ϭϯ WŽƌƚůĂŶĚ tŽƌŬƐ ZĞĨ͘ tƌĂǇ E͕ ,ĂǁŬŝŶƐ Θ 'ŝůĞƐ ͕ ϮϬϬϭ͕ ͚KŶĞ 'ƌĞĂƚ tŽƌŬƐŚŽƉ͛͗ dŚĞ ƵŝůĚŝŶŐƐ ŽĨ ƚŚĞ ^ŚĞĸĞůĚ DĞƚĂů dƌĂĚĞƐ ŶŐůŝƐŚ ,ĞƌŝƚĂŐĞ͕ London.

ŽĨ ŽƌŐĂŶŝƐĂƟŽŶƐ ǁŚŽ ĚĞĐŝĚĞ ƚŽ ƚĂŬĞ ƵƉ ƌĞƐŝĚĞŶĐĞ ŝŶ ƚŚĞƐĞ ƉƌŽƉĞƌƟĞƐ͘ dŚĞ ŐƌŽǁŝŶŐ ĞŵĞƌŐĞŶĐĞ ŽĨ ĞƚŚŝĐĂů ŽƌŐĂŶŝƐĂƟŽŶƐ ůŝŬĞ ŵŵĂƵƐ͕ ͚dŚĞ ZƵƐŬŝŶ Dŝůů ĚƵĐĂƟŽŶ dƌƵƐƚ͚ &ƌĞĞŵĂŶ ĐŽůůĞŐĞ͕ ͚dŚĞ ŶŽƌƚŚĞƌŶ ƌĞĨƵŐĞĞ ĐĞŶƚƌĞ͕͛ ͚ĞƚŚŝĐĂů ƉƌŽƉĞƌƚǇ͕͛ ĂŶĚ DĞƐŚ ^ ĂŶ ŽƌŐĂŶŝƐĂƟŽŶ ƌĞĐŽŶĐŝůŝŶŐ ĐŽŵŵƵŶŝƚǇ ĚŝƐƉƵƚĞƐ ĂƌĞ ũƵƐƚ ƐŽŵĞ ŽĨ ƚŚĞ ŽƌŐĂŶŝƐĂƟŽŶƐ ƚŚĂƚ ĂƉƉĞĂƌ ƚŽ ďĞŶĞĮƚ ĨƌŽŵ ƚŚĞ ĂīŽƌĚĂďůĞ ŽĸĐĞ ƐƉĂĐĞƐ ĂŶĚ ǁŽƌŬƐŚŽƉƐ ƚŚĞƐĞ ďƵŝůĚŝŶŐƐ ƉƌŽǀŝĚĞ͘ ͞ƚŚĞƌĞ ŝƐ ŇĞǆŝďŝůŝƚǇ ĂŵŽŶŐƐƚ ͚ĂůƚĞƌŶĂƟǀĞ͛ ŐƌĞĞŶ ďƵƐŝŶĞƐƐĞƐ ŝŶ ƚĞƌŵƐ ŽĨ ĞŶĐŽƵƌĂŐŝŶŐ ŶŽŶͲĐŽŵŵĞƌĐŝĂů

ZĞĨ͘ WƌĞƐĞŶƚĂƟŽŶ ďǇ ĞƌĞŬ DŽƌƚŽŶ͘ ͚ ĨƵƚƵƌĞ ĨŽƌ WŽƌƚůĂŶĚ tŽƌŬƐ͛ KĐƚ ϮϬϭϬ͘

,Žǁ ǁŝůů ƚŚĞ ƐŝƚĞ ďĞ ŵĂŶĂŐĞĚ ƚŚƌŽƵŐŚ ƌĞŶŽǀĂƟŽŶ ĂŶĚ maintained in the future?

ƌĞ ƚŚĞƌĞ ŝƚǇ ƉůĂŶŶŝŶŐ Žƌ ĐŽƵŶĐŝů ƚĂƌŐĞƚƐ ĂīĞĐƟŶŐ ƚŚĞ ĨƵŶĐƟŽŶƐ ƐƵĐŚ ĂƐ ĚĞŵŽĐƌĂƟĐ ĚĞĐŝƐŝŽŶ ŵĂŬŝŶŐ ĂŶĚͬŽƌ ĂƉƉƌŽĂĐŚ ƚŽ ƚŚĞ ĂƌĞĂ͍ ƐƵƉƉŽƌƚ ĨŽƌ ůŽĐĂů ĐĂŵƉĂŝŐŶƐ͟ϭϵ 'ŽǀĞƌŶŵĞŶƚĂů ŚŽƵƐŝŶŐ Žƌ ĐŽŵŵĞƌĐŝĂů ƚĂƌŐĞƚƐ͍ ͞ƉŽƐƚ ŵŽĚĞƌŶ ƐŽĐŝĞƚǇ ĂƉƉĞĂƌƐ ƚŽ ƌĞǀŽůǀĞ ƐŽ ŵƵĐŚ ĂƌŽƵŶĚ ŵĂƚĞƌŝĂůŝƐŵ ĂŶĚ ƚŚĞ ƐĞůĨ ĞǆƉƌĞƐƐŝŽŶ ŽĨ ŝƚƐ ĐŝƟǌĞŶƐ tŚĂƚ ŝƐ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ŶĞƚǁŽƌŬ ŽĨ ƐƵƉƉŽƌƟŶŐ ƚŚƌŽƵŐŚ ƐǇŵďŽůŝĐ ĐŽŶƐƵŵƉƟŽŶ͕ ƚŚĞ ŐƌŽǁƚŚ ŽĨ ŐƌĞĞŶ ĂŶĚ ŽƌŐĂŶŝƐĂƟŽŶƐ ĂŶĚ ǁŚĂƚ ĞīĞĐƚƐ ǁŝůů ƚŚĞŶ ĐƵƚƐ ŚĂǀĞ͍ ĞƚŚŝĐĂů ďƵƐŝŶĞƐƐĞƐ ƉŽƐĞƐ ďŽƚŚ ŝŶƚĞƌĞƐƟŶŐ ĐŽŶƚƌĂĚŝĐƟŽŶƐ ĂŶĚ ŽƉƉŽƌƚƵŶŝƟĞƐ ŝŶ ƚŚĞ ƌĞůĂƟŽŶƐŚŝƉ ďĞƚǁĞĞŶ ĐƵůƚƵƌĞ ƌĂŌƐ ŽƵŶĐŝů͕ ŶŐůŝƐŚ ŚĞƌŝƚĂŐĞ ĞƚĐ͘ ĂŶĚ ƚŚĞ ĞĐŽŶŽŵǇ͟ϮϬ. E yd ^d W ŶǇ ĨƵƚƵƌĞ ŵŽĚĞů ĨŽƌ WŽƌƚůĂŶĚ tŽƌŬƐ ǁŝůů ŶĞĞĚ ƚŽ ƚĂŬĞ ZĞǀŝĞǁ ŶĞǁ ƌĞƐŽƵƌĐĞƐ͘ ŝŶƚŽ ĂĐĐŽƵŶƚ ƚŚĞƐĞ ƐƵƌƌŽƵŶĚŝŶŐ ĞǆĂŵƉůĞƐ ĂŶĚ ŝĚĞŶƟĨǇ ƐƉĞĐŝĮĐĂůůǇ ǁŚǇ ƚŚĞǇ ǁŽƌŬ ŝŶ ƚŚĞ ůŽĐĂƟŽŶ͘ WŽƌƚůĂŶĚ ǁŽƌŬƐ ǆƉůĂŝŶ ĂŶĚ ĞǆƉĂŶĚ ŽĨ ƐŽŵĞ ŽĨ ƚŚĞ ƚŚĞŵĞƐ ŝŶĐůƵĚŝŶŐ is more detached from the city centre so the model for more rigorous use of the case studies. ƵƚĐŚĞƌ ǁŽƌŬƐ ŵŝŐŚƚ ŶŽƚ ŶĞĐĞƐƐĂƌŝůǇ ďĞ ĂƉƉƌŽƉƌŝĂƚĞ͖ however the John street triangle area does include DŽƌĞ ŽĸĐŝĂůůǇ ŝŶƚĞƌǀŝĞǁ ƚŚĞ ĐĂŵƉĂŝŐŶ ŵĞŵďĞƌƐ͕ ƵƐĞƌ >ŽŶĚŽŶ ƌŽĂĚ͕ Ă ďƵƐǇ ŽƵƚ ŽĨ ƚŽǁŶ ŚƵď͕ ĂŶĚ ƌĂŵĂůů >ĂŶĞ ŐƌŽƵƉ ĂŶĚ ůĂŶĚůŽƌĚ͘ &ŽŽƚďĂůů ƐƚĂĚŝƵŵ ƚŚĞ ŚŽŵĞ ƚŽ ^ŚĞĸĞůĚ hŶŝƚĞĚ & ͕ ǁŚŝĐŚ ĐŽƵůĚ ďĞ ƚĂƉƉĞĚ ŝŶƚŽ ĨŽƌ ƌĞǀĞŶƵĞ͘ dŚĞ ŐĞŶĞƌĂů ŝŶƚĞŶƟŽŶ ƐƚĂďůŝƐŚ ĞǆŝƐƟŶŐ ƐŽĐŝĂů ĂŶĚ ďƵƐŝŶĞƐƐ ŶĞƚǁŽƌŬƐ͘ for the site does seem to follow in a similar vein to the ŽƚŚĞƌ ǁŽƌŬƐ͘ dŚĞ ĐƵƌƌĞŶƚ ƉůĂŶ ŝƐ ƉƌŽǀŝĚĞ Ă ŵŝǆ ŽĨ ǌŽŶĞĚ ŽŶƟŶƵĞ ƚŽ ĂƩĞŶĚ ŽƉĞŶ ĚĂǇƐ͕ ŵĞĞƟŶŐƐ ĂŶĚ ŽƉĞŶůǇ ƵƐĞƐ ƉƌŽǀŝĚŝŶŐ ĨĂĐŝůŝƟĞƐ ĨŽƌ͖ ĞĚƵĐĂƟŽŶ ĂŶĚ ŚĞƌŝƚĂŐĞ ĚŝƐĐƵƐƐ ƚŚĞ ƐŝƚƵĂƟŽŶ ǁŝƚŚ ƚŚĞ ŐƌŽƵƉ͘ ĨŽĐƵƐĞĚ ĂƌŽƵŶĚ ƚŚĞ ĞŶƚƌĂŶĐĞ͕ ĐƌĂŌ ǁŽƌŬƐŚŽƉƐ ĂůŽŶŐ ,ŝůů &ŽĐƵƐ ŽĨ Ă ƉĂƌƟĐƵůĂƌ ƚŚĞŵĞ ĨŽƌ ƚŚĞ ďƵůŬ ĂŶĚ ůĂƚĞƌ ŚĂůĨ ŽĨ Street and within the courtyard (heavier industries likely the research. ƚŽ ďĞ ĨŽĐƵƐĞĚ ŝŶ ƚŚĞ ĐĞŶƚƌĞͿ͕ ƌƟƐƚ ƐƚƵĚŝŽƐ ƚŽ ƚŚĞ ƌĞĂƌ ďĂĐŬŝŶŐ ŽŶƚŽ ^ƚĂŐ ǁŽƌŬƐ ĂŶĚ ůŝŐŚƚ ŝŶĚƵƐƚƌǇ ĂůŽŶŐ ZĂŶĚĂůů [I need to discuss this with you] ^ƚƌĞĞƚ͘ dŚĞ ƵƉƉĞƌ ŇŽŽƌƐ ǁŝůů ďĞ Ă ƐŝŵŝůĂƌ ĂƌƌĂŶŐĞŵĞŶƚ ǁŝƚŚ ƚŚĞ ĂĚĚŝƟŽŶ ŽĨ ŵƵƐŝĐ ƐƚƵĚŝŽƐ ŽŶ ƚŚĞ ƵƉƉĞƌ ŇŽŽƌƐ Z ^KhZ ^ ƚŽ ƚŚĞ ĞĂƐƚ ĂŶĚ ŚŝŐŚ ƐƉĞĐŝĮĐĂƟŽŶ ŽĸĐĞƐ ĂďŽǀĞ ƚŚĞ ĞŶƚƌĂŶĐĞ ĂůŽŶŐ ZĂŶĚĂůů ^ƚƌĞĞƚ ĨŽƌ ĂĚĚŝƟŽŶĂů ƌĞǀĞŶƵĞ͘ WŽƌƚůĂŶĚ tŽƌŬƐ ^ƚĞĞƌŝŶŐ 'ƌŽƵƉ ŽŶƚĂĐƚƐ ^ĞĞ ďĞůŽǁ͗ ΀/ ĮƌƐƚ ŵĞƚ ƚŚĞ ŐƌŽƵƉ ŝŶ EŽǀĞŵďĞƌ ϮϬϭϬ͕ ŬŝŶĚůǇ ŝŶǀŝƚĞĚ /Ŷ ƐŽŵĞ ǁĂǇƐ ƚŚĞ ƉĞƌŝƉŚĞƌĂů ůŽĐĂƟŽŶ ĂŶĚ ƚŚĞ ŝŶƚƌŽǀĞƌƚĞĚ ďǇ ůĂŶ ĞĂĚŵĂŶ͕ ĚƵƌŝŶŐ Ă ŵŽŶƚŚůǇ ƐƚĞĞƌŝŶŐ ŐƌŽƵƉ ĂƌƌĂŶŐĞŵĞŶƚ ŽĨ ƚŚĞ ƐŝƚĞ ĂƌĞ ŶŽƚ ĐŽŶĚƵĐŝǀĞ ƚŽ ƉƵďůŝĐ ŵĞĞƟŶŐ ŝŶ ^ŚĂƌƌŽǁ ŽŵŵƵŶŝƚǇ &ŽƌƵŵ͘ ŽŵƉƌŝƐĞĚ ŽĨ ŝŶƚĞƌĂĐƟŽŶ ĂŶĚ ƐƚƌĞĞƚ ĨƌŽŶƚ ĐŽŵŵĞƌĐŝĂů ĞŶŐĂŐĞŵĞŶƚ͘ ĞǆͲƚĞĂĐŚĞƌƐ͕ ĂĐĂĚĞŵŝĐƐ͕ ƌĞƐĞĂƌĐŚĞƌƐ ĂŶĚ ŝŵƉŽƌƚĂŶƚůǇ dŚĞ ŝŶĚƵƐƚƌŝĞƐ ǁŝůů ŶĞĞĚ ƚŽ ƌĞůǇ ŚĞĂǀŝůǇ ŽŶ ƚŚĞ ĂǀĂŝůĂďůĞ ƚŚĞ ĐƵƌƌĞŶƚ ŵƵƐŝĐŝĂŶƐ͕ ĐƌĂŌƐŵĂŶ ĂŶĚ ĂƌƟƐƚƐ / ǁĂƐ ŝŵŵĞĚŝĂƚĞůǇ ͚ƌĞĐƌƵŝƚĞĚ͛ ƚŽ ŚĞůƉ ĂŶĚ ǁĂƌŵůǇ ǁĞůĐŽŵĞĚ͘ ϭϵ :ƵƐƟŶ K͛ ŽŶŶŽƌ͕ &ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ ͗ ĂĐŚ ǁŝƚŚ ƐůŝŐŚƚůǇ ĚŝīĞƌĞŶƚ ĂŐĞŶĚĂƐ ĂŶĚ ǀŝĞǁƐ͕ ƚŚŝƐ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů ŐƌŽƵƉ ŚĂƐ ďĞĞŶ ĞƐƐĞŶƟĂů ĨŽƌ ŵĞ ƚŽ ƵŶĚĞƌƐƚĂŶĚ ƚŚĞ ĐŝƚǇ ; ůĚĞƌƐŚŽƚ ,ĂŶƚƐ ŶŐůĂŶĚ͖ ƐŚŐĂƚĞ WƵď͕ ϭϵϵϲͿ͕ ƉŐ͘ϭϬ ĐƵƌƌĞŶƚ ĐŽŵŵƵŶŝƚǇ ĂŶĚ ƚŚĞ ůŝŬĞůǇ ŝŵƉĂĐƚ ŝĨ ƚŚĞ ĐŚĂŶŐĞ ϮϬ :ƵƐƟŶ K͛ ŽŶŶŽƌ͕ &ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ ͗ ŽĨ ƵƐĞ ƚŽ ƌĞƐŝĚĞŶƟĂů ǁĞƌĞ ƚŽ ƉƌŽŐƌĞƐƐ͘ dŚĞ ŐƌŽƵƉ ŚĂƐ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů Ă ƌĂŶŐĞ ŽĨ ƐƉĞĐŝĂůŝƐŵ͛Ɛ ŝŶ͖ ĂƌĐŚŝƚĞĐƚƵƌĞ͕ ƚŽǁŶ ƉůĂŶŶŝŶŐ͕ ĐŝƚǇ ; ůĚĞƌƐŚŽƚ ,ĂŶƚƐ ŶŐůĂŶĚ͖ ƐŚŐĂƚĞ WƵď͕ ϭϵϵϲͿ͕ ƉŐ͘ϭϬ

ŵĂŶǇ ŽĨ ƚŚĞ ƚĞŶĂŶƚƐ Žƌ ŵŽĚĞƌŶ ͚ůŝƩůĞ ŵĞƐƚĞƌƐ͛ ǁŚŽ ƌĞůǇ ŽŶ ƚŚĞ ǁŽƌŬƐŚŽƉƐ ĨŽƌ ƐƵƌǀŝǀĂů ĂŶĚ ƐŽ ƚŚĞ ĐŚĂŶŐĞ ŽĨ ƵƐĞ ŝƐ ůŝŬĞůǇ ƚŽ ůĞĂĚ ƚŽ ŵĂŶǇ ďƵƐŝŶĞƐƐĞƐ ĂŶĚ ƚŚĞŝƌ ƐƉĞĐŝĂůŝƐƚ ƐŬŝůůƐ ĐŽŵŝŶŐ ƚŽ ĂŶ ĞŶĚ͘ dŚĞƐĞ ĂĐƟǀŝƟĞƐ ĂƌĞ ƐǇŶŽŶǇŵŽƵƐ ǁŝƚŚ ƚŚĞ :ŽŚŶ ^ƚƌĞĞƚ ƚƌŝĂŶŐůĞ ĐŽŶƐĞƌǀĂƟŽŶ ĂƌĞĂ ĂŶĚ Ă ĚŝƐƟŶĐƟǀĞ ƉĂƌƚ ŽĨ ^ŚĂƌƌŽǁ ĂŶĚ ^ŚĞĸĞůĚ ĂƐ Ă wholeϰ͘ /Ŷ ϮϬϬϵ ƚŚĞ ůĂŶĚůŽƌĚ ĚĞǀĞůŽƉĞƌ ƌĞͲƐƵďŵŝƩĞĚ Ă ƉůĂŶŶŝŶŐ ĂƉƉůŝĐĂƟŽŶ ƚŽ ^ŚĞĸĞůĚ ŝƚǇ ŽƵŶĐŝů ƚŽ ƚƵƌŶ ƚŚĞ 'ƌĂĚĞ //Ύ tŽƌŬƐ ŝŶƚŽ ϲϰ ĂƉĂƌƚŵĞŶƚ ƵŶŝƚƐ ĂŶĚ ϭϴϬŵϮ of ŽĸĐĞ ƐƉĂĐĞ͘ dŚĞ ƉůĂŶŶŝŶŐ ĂƉƉůŝĐĂƟŽŶ ƐƉĂƌŬĞĚ Ă ƐƚƌŽŶŐ ƌĞƐƉŽŶƐĞ ĨƌŽŵ ƚŚĞ ĐŽŵŵƵŶŝƚǇ ǁŝƚŚ Ă ƐƚƌĞĂŵ ŽĨ ǁĞůů ŝŶĨŽƌŵĞĚ ǁƌŝƩĞŶ ŽďũĞĐƟŽŶƐ ĨƌŽŵ ƚŚĞ ŽƚŚĞƌ ǁŽƌŬƐ͕ ůŽĐĂů ƌĞƐŝĚĞŶƚƐ͕ ƉŽůŝƟĐŝĂŶƐ ĂŶĚ ƐŽĐŝĞƟĞƐ͘ YƵŝĐŬůǇ Ă ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ ĨŽƌŵĞĚ ĨƌŽŵ Ă ĨŽƵŶĚŝŶŐ ŐƌŽƵƉ ŽĨ ƚĞŶĂŶƚƐ ƚŽ ƐĂǀĞ ŽŶĞ ŽĨ ƚŚĞ ĮŶĞƐƚ ƌĞŵĂŝŶŝŶŐ ĞǆĂŵƉůĞƐ ŽĨ ^ŚĞĸĞůĚ͛Ɛ ůŝǀŝŶŐ ŚĞƌŝƚĂŐĞ ĂŶĚ ƐĂǀĞ ƚŚĞ ƐƉĞĐŝĂůŝƐƚ ƐŬŝůůƐ͕ ĐƌĂŌƐ ĂŶĚ ŽƚŚĞƌ ĐƌĞĂƟǀĞ ŝŶĚƵƐƚƌŝĞƐ ƚŚĂƚ ƉƌŽǀŝĚĞ Ă ƌŝĐŚ ĂƌƌĂǇ ŽĨ ŶĂƌƌĂƟǀĞƐ͘ ŽŶƟŶƵŝƚǇ ŽĨ ĞǆŝƐƟŶŐ ŶĂƌƌĂƟǀĞƐ ĂŶĚ ƚŚĞ ŝŶƚƌŽĚƵĐƟŽŶ of new stories seem to run through the heart of the ĐĂŵƉĂŝŐŶ ĨŽƌ ďŽƚŚ ƚŚĞ ƚĞŶĂŶƚƐ ĂŶĚ ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ͘

DŽƐƚ ƌĞĐĞŶƚůǇ >ŽŽŬ ŶŽƌƚŚ ǀŝƐŝƚĞĚ ƚŚĞ ƉƌĞŵŝƐĞƐ ƚŽ Įůŵ ĂŶ ŝŶƚĞƌǀŝĞǁ ǁŝƚŚ ůĂŶ DŝƚĐŚĞůů ĂŶĚ :ŽĂŶŶĞ EĞǀŝůůĞ ĨƌŽŵ WůĂŶŶŝŶŐ ŝĚ͘ dŚĞ ƐŚŽƌƚ ƉŝĞĐĞ ĐĂƉƚƵƌĞĚ ƚŚĞ ŝŵƉĂĐƚ ŽĨ ƚŚĞ ŐŽǀĞƌŶŵĞŶƚ͛Ɛ ĐƵƚƐ ŽŶ WůĂŶŶŝŶŐ ŝĚ zŽƌŬƐŚŝƌĞ ǁŚŽ ǁĞƌĞ ƉƌŽǀŝĚŝŶŐ ƉůĂŶŶŝŶŐ ĂĚǀŝĐĞ ĨŽƌ ƚŚĞ ĐĂŵƉĂŝŐŶƐ ŽďũĞĐƟŽŶ ƚŽ ƚŚĞ ƐŝƚĞƐ ĐŚĂŶŐĞ ŽĨ ƵƐĞ͘ /ƚ ďĞĐĂŵĞ ĐůĞĂƌ ƚŚĂƚ ƚŚĞ ŽƌŐĂŶŝƐĂƟŽŶƐ ĨƵŶĚŝŶŐ ŚĂƐ ďĞĞŶ ƐĞǀĞƌĞĚ ĂŶĚ ŶŽǁ ƚŚĞǇ ǁĞƌĞ ƵŶĂďůĞ ƚŽ ƉƌŽǀŝĚĞ ƐƵƉƉŽƌƚ ƚŽ ƚŚŽƐĞ ŝŶĚŝǀŝĚƵĂůƐ ĂŶĚ ĐŽŵŵƵŶŝƟĞƐ ǁŚŽ ŶĞĞĚ ŝƚ͘ WŽƌƚůĂŶĚ ǁŽƌŬƐ ǁĂƐ ŽŶĞ ŽĨ ŵĂŶǇ ĞǆĂŵƉůĞƐ ŽĨ ŐƌŽƵƉƐ ŝŶ ƚŚĞ ůŽĐĂů ĂƌĞĂ ǁŚŽ ǁĞƌĞ ůŝŬĞůǇ ƚŽ ůŽƐĞ ƚŚĞ ƐƵƉƉŽƌƚ ŽĨ WůĂŶŶŝŶŐ ŝĚ͘ dŚŝƐ ƐĞƚƐ ƚŚĞ ƐĐĞŶĞ ĨŽƌ ƚŚĞ ǁŝĚĞƌ ƉŽůŝƟĐĂů ĐŽŶƚĞǆƚ ĂŶĚ ƚŚĞ ĂƉƉĂƌĞŶƚ ĐŽŶƚƌĂĚŝĐƟŽŶ ŽĨ ƚŚĞ ŐŽǀĞƌŶŵĞŶƚƐ ĨŽĐƵƐ ŽŶ ƚŚĞ ͚ďŝŐ ƐŽĐŝĞƚǇ͕͛ ƉůĞĚŐĞ ĨŽƌ ŶŽŶͲƉƌŽĮƚ ŵĂŬŝŶŐ ŽƌŐĂŶŝƐĂƟŽŶƐ ƚŽ ƌƵŶ ƉƵďůŝĐ ƐĞƌǀŝĐĞƐ

KǀĞƌ ƚŚĞ ůĂƐƚ ĨĞǁ ŵŽŶƚŚƐ͕ ƚŚƌŽƵŐŚ Ă ƐĞƌŝĞƐ ŽĨ ƉƵďůŝĐ ǁŽƌŬƐŚŽƉƐ ŚĞůĚ ŝŶ ^ŚĂƌƌŽǁ ĐŽŵŵƵŶŝƚǇ ĨŽƌƵŵ͖ ͚WŽƌƚůĂŶĚ tŽƌŬƐ ůƚĞƌŶĂƟǀĞ &ƵƚƵƌĞƐ͛ ĂŶĚ Ă ŬŶŽǁůĞĚŐĞ ƚƌĂŶƐĨĞƌ ƉĂƌƚŶĞƌƐŚŝƉ ǁŝƚŚ ^ŚĞĸĞůĚ hŶŝǀĞƌƐŝƚǇ ͚ZĞͲŝŵĂŐŝŶŝŶŐ WŽƌƚůĂŶĚ tŽƌŬƐ͛ ďƌŽƵŐŚƚ ƚŽŐĞƚŚĞƌ Ă ƐĞƌŝĞƐ ŽĨ ĞǆƉĞƌƚƐ ƚŽ ƉƌŽƉŽƐĞ Ă ǀŝĂďůĞ ĨƵƚƵƌĞ ŵŽĚĞů ĨŽƌ ƚŚĞ ƐŝƚĞ ƚŽ ĐŽŶƟŶƵĞ ĂƐ Ă ǁŽƌŬŝŶŐ ŵĞƐƚĞƌ͘ dŚĞ ŵĞĞƟŶŐƐ ƐĞƚ ŽƵƚ ƚŽ ŝĚĞŶƟĨǇ Ă ĨƵƚƵƌĞ ǀŝƐŝŽŶ͕ ŵĂŶĂŐĞŵĞŶƚ ƐƚƌĂƚĞŐŝĞƐ ĂŶĚ ďƵŝůĚŝŶŐ ƉƌŝŽƌŝƟĞƐ5 to ŝŶĨŽƌŵ ĨƵƚƵƌĞ ŵĂƌŬĞƚ ĂŶĚ ƉƵďůŝĐŝƚǇ ƚŽ ƚŚĞ ǁŝĚĞƌ ƉƵďůŝĐ ĂƵĚŝĞŶĐĞ ŶĞĞĚĞĚ ƚŽ ƌĞĂĐŚ ŝŶǀĞƐƚŵĞŶƚ ŽƉƉŽƌƚƵŶŝƟĞƐ͘ dŚĞ Portlands Works ŽƵƚĐŽŵĞ ŽĨ ƚŚĞ ŽǁŶĞƌƐŚŝƉ ĂŶĚ ŵĂŶĂŐĞŵĞŶƚ ǁŽƌŬƐŚŽƉƐ WƵďůŝĐ ŽƉĞŶ ĚĂǇ͕ ϯϬƚŚ :ĂŶ ϮϬϭϭ͕ ƌƟƐƚ ^ŚĞůůĞǇ ŚƵŐŚĞƐ held with the university was to form ‘Portland Works ĞǆƉůĂŝŶŝŶŐ ǁŚĂƚ ƚŚĞ ƉůĂĐĞ ŵĞĂŶƐ ƚŽ ƚŚĞ ĂƌƟƐƚƐ͘ >ŝƩůĞ ^ŚĞĸĞůĚ >ƚĚ͛ ĂŶ /W^ ;ŝŶĚƵƐƚƌŝĂů WƌŽǀŝĚĞŶĐĞ ^ŽĐŝĞƚǇͿ ĨŽƌ ĐŽŵŵƵŶŝƚǇ ďĞŶĞĮƚ͘ dŚŝƐ ŚĂĚ ƚŚĞ ĮŶĂŶĐŝĂů ďĞŶĞĮƚƐ ŽĨ Ă ƌĞŐŝƐƚĞƌĞĚ ŶŽŶͲƉƌŽĮƚ ŵĂŬŝŶŐ ŽƌŐĂŶŝƐĂƟŽŶ ďƵƚ ǁĂƐ ŵĂŝŶůǇ ƚŽ ƌĂŝƐĞ ƐŚĂƌĞ ĐĂƉŝƚĂů ĂŶĚ ĂƐƐĞƚ ůŽĐŬ ƚŚĞ ďƵŝůĚŝŶŐ to insure its futureϲ͘ dŚĞ ĐĂŵƉĂŝŐŶ ƐůŽǁůǇ ŐĂŝŶĞĚ ŵĞĚŝĂ ĂƩĞŶƟŽŶ ǁŝƚŚ ŵĂŶǇ ĂƌƟĐůĞƐ ĨĞĂƚƵƌŝŶŐ ŝŶ ƚŚĞ ^ŚĞĸĞůĚ dĞůĞŐƌĂƉŚ͕ ͚EŽǁ dŚĞŶ͛ ŵĂŐĂǌŝŶĞ ĂŶĚ ŝŶ ůŽĐĂů ĂŶĚ ŶĂƟŽŶĂů ƌĂĚŝŽ ďƌŽĂĚĐĂƐƚƐ͘ KŶ ƚŚĞ ϯϬƚŚ :ĂŶƵĂƌǇ ϮϬϭϭ ƚŚĞ ŐƌŽƵƉ ƌĂŶ ƚŚĞŝƌ ĮƌƐƚ ƐƵĐĐĞƐƐĨƵů ƉƵďůŝĐ ŽƉĞŶ ĚĂǇ͕ ǁŚŝĐŚ ƐĂĨĞůǇ ŶĞŐŽƟĂƚĞĚ ŽŶĞ ŚƵŶĚƌĞĚ ĂŶĚ ĮŌǇ ŶŽŶͲƉĂǇŝŶŐ ĐƵƐƚŽŵĞƌƐ ĂƌŽƵŶĚ ƚŚĞ ƐŝƚĞ͘ dŚĞ ƐĞĐŽŶĚ ŽƉĞŶ ĚĂǇ ŝƐ ƌƵŶŶŝŶŐ ŽŶ ƚŚĞ ϲƚŚ DĂƌĐŚ ĐůŽƐĞůǇ ĨŽůůŽǁĞĚ ďǇ ĂŶ ĞǀĞŶƚ ĨŽƌ ƚŚĞ 'ĂůǀĂŶŝƐĞ ĨĞƐƟǀĂů ďĞƚǁĞĞŶ ƚŚĞ ϮϱƚŚ DĂƌĐŚ ĂŶĚ ϮϰƚŚ Ɖƌŝů ƚŚŝƐ ǇĞĂƌ͘ ϰ ŝƐƟŶĐƟǀĞ ^ŚĂƌƌŽǁ dŽŽůŬŝƚ ͚ dŽŽů <ŝƚ ĨŽƌ ĐƟŽŶ͕͛ :ƵůŝŽ hĚĂůů ;^ŚĂƌƌŽǁ ŽŵŵƵŶŝƚǇ &ŽƌƵŵ ϮϬϬϴͿ͕ ƉŐ͘ϭ 5 ŚƩƉ͗ͬͬǁǁǁ͘ƉŽƌƚůĂŶĚǁŽƌŬƐ͘ĐŽ͘ƵŬͬŚŝƐƚŽƌǇͬƐĂǀŝŶŐͲ ƉŽƌƚůĂŶĚͲǁŽƌŬƐ ϲ ŚƩƉ͗ͬͬǁǁǁ͘ƉŽƌƚůĂŶĚǁŽƌŬƐ͘ĐŽ͘ƵŬͬŚŝƐƚŽƌǇͬƐĂǀŝŶŐͲ ƉŽƌƚůĂŶĚͲǁŽƌŬƐ

Portlands Works WƵďůŝĐ ŽƉĞŶ ĚĂǇ͕ ϯϬƚŚ :ĂŶ ϮϬϭϭ͕ ůŝǀĞ ĚĞŵŽŶƐƚƌĂƟŽŶƐ ďǇ ŶĚǇ ŽůĞ ;tŝŐĨƵů dŽŽůƐͿ

Portlands Works Entrance Post boxes, taken19th November 2010

and advocate a volunteering culture. Z ^ Z , WK^/d/KE dŚŝƐ ƌĞƉƌĞƐĞŶƚƐ Ă ƉĂƌƟĐƵůĂƌ ĂŶĚ ƐŝŐŶŝĮĐĂŶƚ ͚ŵŽŵĞŶƚ͛ ŝŶ ƚŚĞ ůŝĨĞ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ͘ tŚǇ ŶŽǁ͍ tŚĂƚ ĐƵůƚƵƌĂů͕ ƉŽůŝƟĐĂů͕ ĞĐŽŶŽŵŝĐ ĂŶĚ ƐŽĐŝĂů factors have lead to this moment? dŚĞ WŽƌƚůĂŶĚ tŽƌŬƐ ĐĂŵƉĂŝŐŶ ŝƐ Ă ƵŶŝƋƵĞ ŽƉƉŽƌƚƵŶŝƚǇ ƚŽ ƵƐĞ Ă ƐŝŶŐůĞ ďƵŝůĚŝŶŐ ĂƐ Ă ĨƌĂŵĞǁŽƌŬ ĨŽƌ Ă ƉĞƌŝŽĚ ŽĨ ƉĂƌƟĐŝƉĂƚŽƌǇ ƌĞƐĞĂƌĐŚ ƌŝĐŚ ǁŝƚŚ ŚŝƐƚŽƌŝĐĂů ƐŝŐŶŝĮĐĂŶĐĞ͕ ůŽĐĂů ĂŶĚ ŶĂƟŽŶĂů ƐŝŐŶŝĮĐĂŶĐĞ ĂŶĚ ĞǆƉŽƐĞƐ ƚŚĞ ĞĐŽůŽŐǇ ŽĨ ĐŽŵƉůĞǆŝƚǇ ĂŶĚ ĐŽŶƚƌĂĚŝĐƟŽŶ ŝŶ ŽƵƌ ĐŝƟĞƐ͘ /Ŷ ƵŶĚĞƌƐƚĂŶĚŝŶŐ͕ ǁŚǇ ŶŽǁ͕ ƚŚĞ ĐŽŶƚĞǆƚ ďĞĐŽŵĞƐ ŝŶĐƌĞĚŝďůǇ ŝŵƉŽƌƚĂŶƚ ŝŶ ƌĞǀĞĂůŝŶŐ ƚŚĞ ƵŶĚĞƌůǇŝŶŐ ĂƫƚƵĚĞƐ͕ ŵŽƟǀĂƟŽŶƐ ĂŶĚ ĂŐĞŶĚĂƐ ŽĨ ƚŚŽƐĞ ŝŶǀŽůǀĞĚ ǁŝƚŚŝŶ Ă ƌĂƉŝĚůǇ ƐŚŝŌŝŶŐ ĞĐŽŶŽŵŝĐ͕ ƉŽůŝƟĐĂů ĂŶĚ ĐƵůƚƵƌĂů ĐŝƚǇƐĐĂƉĞ͘ ͞/Ŷ ŐĞŶĞƌĂů ƚŚĞ ĚĞĮŶŝƟŽŶ ŽĨ Ă ƉƌŽďůĞŵ ŝƐ ĚĞƚĞƌŵŝŶĞĚ ďǇ ŝƚƐ ĐŽŶƚĞǆƚ͟ϳ͘dŚĞ ǀŝĂďůĞ ĨƵƚƵƌĞ ŽĨ WŽƌƚůĂŶĚ tŽƌŬƐ ŝƐ ƚŚĞ ŵŽƐƚ ƉŽŝŐŶĂŶƚ ƋƵĞƐƟŽŶ ŚĞƌĞ ĂŶĚ ƚŚĞ ŽŶĞ /͛ŵ ŵŽƐƚ ŝŶƚĞƌĞƐƚĞĚ ŝŶ͘ dŚĞƌĞ ŝƐ Ă ŶĞĞĚ ƚŽ ƵŶĚĞƌƐƚĂŶĚ ƚŚŝƐ ƉĞƌŝŽĚ ŽĨ ĐƵůƚƵƌĂů ƌĞĨŽƌŵ͕ ŶŽƚ ŽŶůǇ ƚŚĞ ͛ĐŚĂŶŐŝŶŐ ƉĂƩĞƌŶƐ ŝŶ ƚŚĞ ĐŽŶƐƵŵƉƟŽŶ ĂŶĚ ƉƌŽĚƵĐƟŽŶ ŽĨ ĐƵůƚƵƌĞ ďƵƚ ƚŚĞ ŝŵƉĂĐƚ ŽĨ ƌĂƉŝĚ ƚĞĐŚŶŽůŽŐŝĐĂů ĐŚĂŶŐĞϴ ŝŶ ƉŽƐƚ ŝŶĚƵƐƚƌŝĂů ĐŝƟĞƐ͛ϵ. dŚĞ ĨƵƚƵƌĞ ŽĨ ƚŚĞ ĞĚƵĐĂƟŽŶĂů͕ ĞĐŽŶŽŵŝĐ ĂŶĚ ĐƵůƚƵƌĂů ŽƉƉŽƌƚƵŶŝƟĞƐ ŽĨ ƚŚĞ ƐŝƚĞ ǁŝůů ƌĞůǇ ŽŶ ĞǆƉůŽŝƟŶŐ ƚŚŝƐ ƐŚŝŌ ĂŶĚ ^ŚĞĸĞůĚ͛Ɛ ĂƉƉĂƌĞŶƚ ƐƚƌĂƚĞŐǇ ƚŽ ͚ĞŵƉŚĂƐŝƐĞ ĐƵůƚƵƌĞ ĨŽƌ ƌĞŐĞŶĞƌĂƟŽŶ ŽĨ ůŽĐĂů ĞĐŽŶŽŵŝĞƐ͛ϭϬ. This sees the move ŽĨ ƚŚĞ ƉƌĞǀŝŽƵƐůǇ ŵĂƌŐŝŶĂůŝƐĞĚ ƚŽ ƚŚĞ ŚĞĂƌƚ ŽĨ ^ŚĞĸĞůĚ͛Ɛ ŝĚĞŶƟƚǇϭϭ.

:ƵůŝĂ hĚĂůů͕ ƌĐŚŝƚĞĐƚ͕ hŶŝǀĞƌƐŝƚǇ ŽĨ ^ŚĞĸĞůĚ͕ ^ŚĂƌƌŽǁ >ĞĂƌŶŝŶŐ ŽƵƚĐŽŵĞƐ͖ ŽŵŵƵŶŝƚǇ &ŽƌƵŵ ΀&ĞĞů ĨŽƌ ƉƵďůŝĐ ŝŶƚĞƌĞƐƚ͕ ŵĂŶĂŐŝŶŐ ŝŶĚƵƐƚƌŝĂů ŚĞƌŝƚĂŐĞ ΀ ƵƌƌĞŶƚůǇ ĂŶ ĂƌĐŚŝƚĞĐƚƵƌĂů ƌĞƐĞĂƌĐŚĞƌ Ăƚ ^ŚĞĸĞůĚ ƐŝƚĞƐ ĨŽƌ ƉƵďůŝĐ ƐĂĨĞƚǇ͕ ůŝĂďŝůŝƚǇ͕ ŵĂƌŬĞƟŶŐ ĂŶĚ ƉƌŽŵŽƟŽŶ hŶŝǀĞƌƐŝƚǇ :ƵůŝĂ ŝƐ Ă ĐŽƌĞ ŵĞŵďĞƌ ŽĨ ƚŚĞ ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ ƚĞĐŚŶŝƋƵĞƐ ĨŽƌ ŝŶǀĞƐƚŵĞŶƚ͕ ĂĐƟǀĞůǇ ůĞĂƌŶŝŶŐ ĂůŽŶŐƐŝĚĞ ĂŶĚ ĐƵƌĂƚŽƌ ŽĨ ƚŚĞ ͚ĚŝƐƟŶĐƟǀĞ ^ŚĂƌƌŽǁ ƚŽŽůŬŝƚ͛ ůĞĚ ďǇ ƚŚĞ ŐƌŽƵƉ͕ ƐƚƌĂƚĞŐŝĞƐ ĨŽƌ ŝŶǀŽůǀĞŵĞŶƚ ŽĨ ŵĞĚŝĂ ĂŶĚ ƉƵďůŝĐŝƚǇ͕ ƐƉĂƟĂů ƵŶĚĞƌƐƚĂŶĚŝŶŐ͘΁ ^ŚĂƌƌŽǁ ŽŵŵƵŶŝƚǇ &ŽƌƵŵ ŝŶ ϮϬϬϴ͘΁ ^ƚĞǀĞŶ ŽŶŶŽůůǇ ΀WƌŽĨĞƐƐŽƌ ŽĨ ƚŽǁŶ ƉůĂŶŶŝŶŐ Ăƚ dŚĞ hŶŝǀĞƌƐŝƚǇ ŽĨ ^ŚĞĸĞůĚ΁ ΀ Ɛ Ă ƌĞƐŽƵƌĐĞ ďŽĚǇ ƚŚĞ ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ ƌĞƉƌĞƐĞŶƚƐ ĂŶ ŝŶǀĂůƵĂďůĞ ŝŶƐŝŐŚƚ͕ ĞǀĞŶ ŝĨ ƚŚĞ ĂŐĞŶĚĂ ŝƐ ůŝŬĞ ƚŽ ďĞ ƐŬĞǁĞĚ͕ ŝŶƚŽ ƚŚĞ ŽŶŐŽŝŶŐ ŵĂŶĂŐĞŵĞŶƚ ŽĨ ƚŚĞ ƉƌŽũĞĐƚ͘ dŚĞ ŝŶĨŽƌŵĂƟŽŶ ŽďƚĂŝŶĞĚ ƚŚƌŽƵŐŚ ĞŵĂŝůƐ͕ ƉŚŽŶĞ ĐŽŶǀĞƌƐĂƟŽŶ ĂŶĚ ŽŶĞ ƚŽ ŽŶĞ ĚŝƐĐƵƐƐŝŽŶ͕ ƐŽ ĨĂƌ͕ ŚĂƐ ŽĐĐƵƌƌĞĚ ŽŶ ĂŶ ŝŶĨŽƌŵĂů ďĂƐŝƐ ĂůůŽǁŝŶŐ ƋƵĞƐƟŽŶƐ ŽĨ ǁŚǇ ƚŽ ďĞ ĂƐŬĞĚ ĂŶĚ ƚŽ ĨƌĞĞůǇ ŝĚĞŶƟĨǇ ŶĞǁ ƉĞƌƐƉĞĐƟǀĞƐ ĂŶĚ ƚĂŶŐĞŶƚƐ͘ ,ŽǁĞǀĞƌ ƚŚŝƐ ŬŶŽǁůĞĚŐĞ ŝƐ ĚŝĸĐƵůƚ ƚŽ ǀĂůŝĚĂƚĞ ĂŶĚ ƌĞĐŽƌĚ ďƵƚ ǁŝůů ďĞ ƉƌĞƐĞŶƚ ŝŶ ƚŚĞ ĞƚŚŽƐ ŽĨ the discourse.]

:ƵƐƟŶ K͛ ŽŶŶŽƌ͕ ͚&ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ͗ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů͕͛ ƌŝŐŚƚůǇ ƌĂŝƐĞƐ ƚŚĞ ƋƵĞƐƟŽŶ͖ ǁŚĂƚ ŝŵƉĂĐƚ ǁŝůů ƚŚĞ ĐĞŶƚƌĂůŝƐŝŶŐ ϳ :ĂŶ sĞƌǁŝũŶĞŶ ĂŶĚ dĂŝĚĞƚĞŽůůŝŶĞŶ ŬŽƌŬĞĂŬŽƵůƵ͕ ƌĞĂƟǀĞ ĐŝƟĞƐ ͗ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ͕ ƵƌďĂŶ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƚŚĞ ŝŶĨŽƌŵĂƟŽŶ ƐŽĐŝĞƚǇ ;,ĞůƐŝŶŬŝ͗ hŶŝǀĞƌƐŝƚǇ ŽĨ ƌƚ ĂŶĚ ĞƐŝŐŶ ,ĞůƐŝŶŬŝ͕ ϭϵϵϵͿ͕ ƉŐ͘ϲϰ ϴ :ĂŶ sĞƌǁŝũŶĞŶ ĂŶĚ dĂŝĚĞƚĞŽůůŝŶĞŶ ŬŽƌŬĞĂŬŽƵůƵ͕ ƌĞĂƟǀĞ ĐŝƟĞƐ ͗ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ͕ ƵƌďĂŶ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƚŚĞ ŝŶĨŽƌŵĂƟŽŶ ƐŽĐŝĞƚǇ ;,ĞůƐŝŶŬŝ͗ hŶŝǀĞƌƐŝƚǇ ŽĨ ƌƚ ĂŶĚ ĞƐŝŐŶ ,ĞůƐŝŶŬŝ͕ ϭϵϵϵͿ͕ ƉŐ͘ϲϰ ϵ :ƵƐƟŶ K͛ ŽŶŶŽƌ͕ &ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ ͗ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů ĐŝƚǇ ; ůĚĞƌƐŚŽƚ ,ĂŶƚƐ ŶŐůĂŶĚ͖ ƐŚŐĂƚĞ WƵď͕ ϭϵϵϲͿ ϭϬ :ĂŶ sĞƌǁŝũŶĞŶ ĂŶĚ dĂŝĚĞƚĞŽůůŝŶĞŶ ŬŽƌŬĞĂŬŽƵůƵ͕ ƌĞĂƟǀĞ ĐŝƟĞƐ ͗ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ͕ ƵƌďĂŶ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƚŚĞ ŝŶĨŽƌŵĂƟŽŶ ƐŽĐŝĞƚǇ ;,ĞůƐŝŶŬŝ͗ hŶŝǀĞƌƐŝƚǇ ŽĨ ƌƚ ĂŶĚ ĞƐŝŐŶ ,ĞůƐŝŶŬŝ͕ ϭϵϵϵͿ͕ ƉŐ͘ϲϰ ϭϭ :ƵƐƟŶ K͛ ŽŶŶŽƌ͕ &ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ ͗ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů ĐŝƚǇ ; ůĚĞƌƐŚŽƚ ,ĂŶƚƐ ŶŐůĂŶĚ͖ ƐŚŐĂƚĞ WƵď͕ ϭϵϵϲͿ͕ ƉŐ͘ϰ

ǆŝƐƟŶŐ ƚĞŶĂŶƚƐ ŽĨ WŽƌƚůĂŶĚ tŽƌŬƐ

^ƚƵĂƌƚ DŝƚĐŚĞůů͕ DŽĚĞƌŶ ƵƚůĞƌ͕ ^ƚƵĂƌƚ DŝƚĐŚĞůů <ŶŝǀĞƐ

΀,ƵŐĞůǇ ĐǇŶŝĐĂů ĂŶĚ ĐƌŝƟĐĂů ĐŽŵŵĞŶƚĂƌǇ ŽĨ ƚŚĞ ĐƵƌƌĞŶƚ ĐŽŶĚŝƟŽŶ ŽĨ ƚŚĞ ƌĞĐĞŶƚ ĐŚĂŶŐĞ ǀŝƐŝďůĞ ŝŶ ŽƵƌ ĐŝƟĞƐ ƐŝŶĐĞ ŶĞǁ >ĂďŽƵƌ ƉůĞĚŐĞĚ ƚŽ ƌĞďƵŝůĚ ŽƵƌ ĐŝƟĞƐ ŝŶ ϭϵϵϳ ǁŝƚŚ ͚dŚĞ ĐŚĂŶŐĞ ǁĞ ƐĞĞ͛ ƐĐŚĞŵĞ ĂŌĞƌ ƚŚĞ ƉŽƐƚ ŵŽĚĞƌŶŝƐƚ dŚĂƚĐŚĞƌ ƉĞƌŝŽĚ ͘ dŚŝƐ ďŽŽŬ ƐĞƚƐ ƚŚĞ ǁŝĚĞƌ ƉŽůŝƟĐĂů ĐŽŶƚĞǆƚ ĂŶĚ ĐŽŵŵĞƌĐŝĂů ĂƫƚƵĚĞƐ ƚŽǁĂƌĚƐ ƚŚĞ ďƵƐŝŶĞƐƐ ŽĨ ĐŽŶƐƚƌƵĐƟŽŶ ĂŶĚ ƉĞƌŚĂƉƐ ƐƵŐŐĞƐƚƐ ƚŚĞ ŐƌŽǁŝŶŐ ĞĐŽŶŽŵŝĐ ŵĂƌŬĞƚ ĨŽƌ ĐŽŶƐƚƌƵĐƟŽŶ ƐĞƚ ƚŚĞ ƉƌĞĐĞĚĞŶƚ ĨŽƌ ƚŚĞ ĐŝƚǇ ĚĞǀĞůŽƉŵĞŶƚ ĐƵůƚƵƌĞ ƚŚĂƚ ŚĂƐ ƵůƟŵĂƚĞůǇ ůĞĚ ƚŽ Ă ĚĞǀĞůŽƉĞƌ ǁŝƐŚŝŶŐ ƚŽ ƐĞůů ƚŚĞ ǁŽƌŬƐ ĨŽƌ ĮŶĂŶĐŝĂů ŐĂŝŶ͘΁ ZĞůĂƚĞĚ ƌĞƐŽƵƌĐĞƐ͖ &ůŝĐŬƌ͖ ͚dŚĞ ŚĂŶŐĞ tĞ ^ĞĞ͛

΀ZĞĨĞƌƌĞĚ ƚŽ ŝŶ ƚŚĞ ďŽŽŬ ƚŚŝƐ ĚĞŵŽŶƐƚƌĂƚĞƐ ƐƵďǀĞƌƐŝǀĞ &ůŝĐŬƌ ƵƐĞƌƐ ƐƵďŵŝƫŶŐ ŝƌŽŶŝĐ ƉŚŽƚŽƐ ŽĨ ƉƌŝǀĂƚĞ ĮŶĂŶĐĞ ƵƚĐŚĞƌ tŽƌŬƐ͕ ƌƵŶĚĞů ^ƚƌĞĞƚ͕ ͚ ĐĂĚĞŵǇ ŽĨ DĂŬĞƌƐ͛ ŝŶ ŝŶŝƟĂƟǀĞ ďƵŝůĚŝŶŐ ƐĐŚĞŵĞƐ ďƵŝůƚ ƵŶĚĞƌ ƚŚĞ >ĂďŽƵƌ ƉĂƌƚŶĞƌƐŚŝƉ ǁŝƚŚ ͚dŚĞ ZƵƐŬŝŶ ĚƵĐĂƟŽŶ dƌƵƐƚ͛͘ ŐŽǀĞƌŶŵĞŶƚ ͚ƚŚĞ ĐŚĂŶŐĞ ǁĞ ƐĞĞ͛ ĂƐ Ă ĐůĞĂƌ ĐƌŝƟĐĂů ƉŽůŝƟĐĂů ĐŽŵŵĞŶƚĂƌǇ ŽĨ ƚŚĞ ƉŽŽƌ ƐƚĂƚĞ ŽĨ ƚŚĞ ŵŽĚĞƌŶ ΀ ƵƚĐŚĞƌ ǁŽƌŬƐ ŝƐ ƚŚĞ ĚŝƌĞĐƚ ƉƌĞĐĞĚĞŶƚ ĨŽƌ ƚŚĞ ͚ŝŶƚĞŐƌĂƚĞĚ ĐƵƚůĞƌǇ ǁŽƌŬƐ͛ ŵŽĚĞů ĂŶĚ ƉƌĞĚĞĐĞƐƐŽƌ ĨŽƌ ƚŚĞ ƉƵƌƉŽƐĞ ďƵŝůƚ ͚ŝŶƚĞŐƌĂƚĞĚ͛ ƉƌĞŵŝƐĞƐ WŽƌƚůĂŶĚ ǁŽƌŬƐ͘ dŚĞ ĞǀŽůƵƟŽŶ ŽĨ ƚŚŝƐ ƚǇƉŽůŽŐǇ ŝƐ ĞǀŝĚĞŶƚ ĨƌŽŵ ƚŚĞ ƉŚǇƐŝĐĂů ŵĂŬĞ ƵƉ ĂŶĚ ƚĞůůƐ Ă ƐƚŽƌǇ ŝŶ ŝƚƐ ŽǁŶ ƌŝŐŚƚ͘ /Ŷ ϮϬϬϰ͕ Ϭϱ Θ Ϭϲ ƵƚĐŚĞƌ tŽƌŬƐ ǁĂƐ ƌĞŶŽǀĂƚĞĚ ŝŶƚŽ ƚŚĞ ͚ ĐĂĚĞŵǇ ŽĨ ŵĂŬĞƌƐ͛͘ dŚĞ ĐĂƐĞ ƐƚƵĚǇ ǁĂƐ ĐŽůůĂƚĞĚ ďǇ ^ŝŵŽŶ WĂƌƌŝƐ͕ ŝŶ ƉĂƌƚŶĞƌƐŚŝƉ ǁŝƚŚ ^ŚĞĸĞůĚ hŶŝǀĞƌƐŝƚǇ͕ ' E z͕ >ŝƩůĞ ^ŚĞĸĞůĚ ĞǀĞůŽƉŵĞŶƚ dƌƵƐƚ͕ ^ƚƵĚŝŽ WƵůƉŽ͕ / /Z ĂŶĚ ͚^ŚĂƌƌŽǁ ŽŵŵƵŶŝƚǇ &ŽƌƵŵ͛͘ dŚĞ ĐĂƐĞ ƐƚƵĚǇ ĐŽǀĞƌƐ͖ ĚĞǀĞůŽƉŵĞŶƚ ĂŝŵƐ͕ ŝŶǀĞƐƚŵĞŶƚ ĂŶĚ ĨƵŶĚŝŶŐ͕ ƐƚĂŬĞŚŽůĚĞƌ ĂŶĚ ŵĂŶĂŐĞŵĞŶƚ ƐƚƌƵĐƚƵƌĞƐ͕ ĚŝĸĐƵůƟĞƐ͕ ĚŝƐƉƵƚĞƐ ĂŶĚ failures.]

ϭϮ ͞ ͞ ƉŐ͘ ϵ ϭϯ <ŶŽǁůĞĚŐĞ dƌĂŶƐĨĞƌ WĂƌƚŶĞƌƐŚŝƉ ϮϬϭϬ͕;dŚĞ hŶŝǀĞƌ <ŶŽǁůĞĚŐĞ dƌĂŶƐĨĞƌ WĂƌƚŶĞƌƐŚŝƉ ϮϬϭϬ͕;dŚĞ hŶŝǀĞƌͲ ƐŝƚǇ ŽĨ ^ŚĞĸĞůĚͿ͕ ĂƐĞ ^ƚƵĚŝĞƐ͖ ƵƚĐŚĞƌ tŽƌŬƐ ƉŐ͘ ϯϰ͘ 14 ĞĨ >ĞŽƉĂƌĚ ĂŶĚ ƚŚĞ ƌĐƟĐ DŽŶŬĞǇ͛Ɛ ϭϱ :ƵƐƟŶ K͛ ŽŶŶŽƌ͕ &ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ ͗ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů ĐŝƚǇ ; ůĚĞƌƐŚŽƚ ,ĂŶƚƐ ŶŐůĂŶĚ͖ ƐŚŐĂƚĞ WƵď͕ ϭϵϵϲͿ

^,/&d/E' W d d ZE^ K& KE^hDWd/KE E WZK h d/KE /E WK^d /E h^dZ/ > /d/ ^

ŵĂŶĂŐĞŵĞŶƚ Θ ƉƌŽĐƵƌĞŵĞŶƚ͕ ŝŶĚƵƐƚƌŝĂů ŚĞƌŝƚĂŐĞ ĂŶĚ ΀WŽƌƚůĂŶĚ ǁŽƌŬƐ ŚĂƐ ĂůůŽǁĞĚ ^ƚƵĂƌƚ ƚŽ ďƵŝůĚ Ă ƐƵĐĐĞƐƐĨƵů <ŶŽǁůĞĚŐĞ dƌĂŶƐĨĞƌ WĂƌƚŶĞƌƐŚŝƉ ϮϬϭϬ͕ ZĞůĞǀĂŶƚ ĂƐĞ ĞĚƵĐĂƟŽŶ ĂŵŽŶŐ ŽƚŚĞƌƐ΁ ďƵƐŝŶĞƐƐ ĂŌĞƌ ŝŶŚĞƌŝƟŶŐ ŝƚ ĨƌŽŵ ŚŝƐ ĨĂƚŚĞƌ ĂŶĚ ŝƐ ŽŶĞ ŽĨ ^ƚƵĚŝĞƐ͖ ƵƚĐŚĞƌ tŽƌŬƐ ƉŐ͘ Ϯϯ Ͳ ϯϲ ƚŚĞ ŵŽƌĞ ĨŽƌƚƵŶĂƚĞ ƚĞŶĂŶƚƐ ǁŚŽ ĐŽƵůĚ ĂīŽƌĚ ƚŽ ŵŽǀĞ ΀ ůƚŚŽƵŐŚ ƌĞĂůŝƐƚƐ͖ ƚŚĞ ŐƌŽƵƉ ƌĞƉƌĞƐĞŶƚƐ ŽŶĞ ƐŝĚĞ ŽĨ ďƵƚ ŝŶƐƚĞĂĚ ĐŚŽŽƐĞƐ ƚŽ ƐƚĂǇ͘ ^ƚƵĂƌƚ ŬŝŶĚůǇ ƐŚŽǁĞĚ ŵĞ ^ƚĞƌůŝŶŐ tŽƌŬƐ͕ dŚĞ ZƵƐŬŝŶ ĚƵĐĂƟŽŶ dƌƵƐƚ͛ &ƌĞĞŵĂŶ ƚŚĞ ĐŽŶŇŝĐƚ ĂŶĚ ƚŚĞŝƌ ŽƉŝŶŝŽŶ ŝƐ ůŝŬĞůǇ ƚŽ ďĞ ƐŬĞǁĞĚ͘ /Ŷ ĂƌŽƵŶĚ ŚŝƐ ǁŽƌŬƐŚŽƉ ĂŶĚ ŽƉĞŶůǇ ĚŝƐĐƵƐƐĞĚ ŚŝƐ ƚŚŽƵŐŚƚƐ ŽůůĞŐĞ͖ WƌŽǀŝĚĞƐ ƐƉĞĐŝĂůŝƐƚ ĨƵƌƚŚĞƌ ĞĚƵĐĂƟŽŶ͘ ŽƉƉŽƐŝƟŽŶ ^ŝŵŽŶ WĂƌƌŝƐ͕ ĂůƚŚŽƵŐŚ ƉĂƌƚ ŽĨ ƚŚĞ ĐĂŵƉĂŝŐŶ ŽĨ ƚŚĞ ŝŵƉŽƌƚĂŶĐĞ ŽĨ ƚŚĞ ƉůĂĐĞ͘΁ ^ĐŽƟĂ tŽƌŬƐ͕ ĚƵĐĂƟŽŶĂů ƌĞƐŽƵƌĐĞ ĐĞŶƚƌĞ ĨŽƌ ŐƌŽƵƉ͕ ŚĂƐ Ă ĚĞĞƉĞƌ ƵŶĚĞƌƐƚĂŶĚŝŶŐ ŽĨ ĚĞǀĞůŽƉŵĞŶƚ ǁŝƚŚŝŶ ^ŚĞĸĞůĚ ĂŶĚ ƵŶĚĞƌƐƚĂŶĚƐ ƚŚĞ ĚƌŝǀĞƌƐ ŶĞĞĚĞĚ ƚŽ dŚĞ ŵĂŬĞƌƐ͖ DŝĐŬ ^ŚĂǁ ͚^ŚĂǁ ŶŐƌĂǀŝŶŐ͕͛ DĂƌŬ :ĂĐŬƐŽŶ ŽƌŐĂŶŝƐĂƟŽŶƐ ǁŽƌŬŝŶŐ ƚŽǁĂƌĚƐ ƐŽĐŝĂů ŝŶĐůƵƐŝŽŶ ĞŶĂďůĞ ĚĞǀĞůŽƉŵĞŶƚ͘΁ ΀^ƋƵĂƌĞ WĞŐƐ΁͕ ŶĚǇ ŽůĞ ͚tŝŐĨƵůů dŽŽůƐ͕͛ ͚YƵĂůŝƚǇ ^ŝƉĞůŝĂ tŽƌŬƐ͕ ĂĚŵĂŶ ^ƚƌĞĞƚ͕ ͚ ŵŵĂƵƐ͕ ŚŽŵĞůĞƐƐ ĂďŝŶĞƚƌǇ͕͛ ͚WŽƌƚůĂŶĚ ůĞĐƚƌŝĐĂů͕͛ WD> ^ŝůǀĞƌ WůĂƟŶŐ͕ ƐŚĞůƚĞƌ͛ ^ŝŵŽŶ WĂƌƌŝƐ͕ W, ͕ ZĞƐĞĂƌĐŚ &ĞůůŽǁ tĂůŵĂƌ WƌŽĚƵĐƚƐ͕ ͚W, ŶŐŝŶĞĞƌŝŶŐ͕͛ :ŝŵŵǇ ,ŽůŵĞƐ ͚ ŶĐŚŽƌ ƵƚŽ &ŝŶŝƐŚĞƌƐ͛͘ dŚĞ ĂƌƟƐƚƐ͖ ^ŚĞůůǇ ,ƵŐŚĞƐ͕ EƵĂůĂ ĞĞŚŝǀĞ tŽƌŬƐ͕ DŝůƚŽŶ ^ƚƌĞĞƚ ΀^ŝŵŽŶ ĚĞǀĞůŽƉĞĚ ŚŝƐ ƚŚĞƐŝƐ ŽŶ ƚŚĞ ƉƌŽƉĞƌƚǇ ĚĞǀĞůŽƉĞƌƐ ƉƌŝĐĞ͕ DĂƌǇ ^ĞǁĞůů ŝŶ ^ŚĞĸĞůĚ ĂŶĚ ĨŽĐƵƐĞĚ ŽŶ ĐƵƚůĞƌǇ ƉƌĞŵŝƐĞƐ ŝŶ ^ŚĞĸĞůĚ͘ WĞƌƐŝƐƚĞŶĐĞ ǁŽƌŬƐ͕ ŽŶƚĞŵƉŽƌĂƌǇ ĂƌƟƐƚƐ ƐƚƵĚŝŽ ƵƚĐŚĞƌ tŽƌŬƐ ǁĂƐ Ă ƉƌŝŵĂƌǇ ĐĂƐĞ ƐƚƵĚǇ͕ ǁŚŝĐŚ ǁĂƐ dŚĞ ŵƵƐŝĐŝĂŶƐ͖ ͚ ŝŐ ĞǇĞƐ ĨĂŵŝůǇ ƉůĂǇĞƌƐ͕ ͚^ŝŶŐŝŶŐ <ŶŝǀĞƐ ĐŽŵŵŝƐƐŝŽŶĞĚ ďǇ ͚zŽƌŬƐŚŝƌĞ ƌƚ ƐƉĂĐĞ͛ ƚŚĞ ĚŝƌĞĐƚ ƉƌĞĐƵƌƐŽƌ ĨŽƌ ƚŚĞ ͚ŝŶƚĞŐƌĂƚĞĚ ĐƵƚůĞƌǇ ǁŽƌŬƐ͛ ƌĞĐŽƌĚƐ͕͛ ͛^ĐƌĂƉ ^ƚƵĚŝŽ͕͛ ^ĞƋƵŽŝĂ ^ŽƵŶĚ ^ƚƵĚŝŽ͛ ĂŶĚ ƚŚĞ ƚŚĂƚ ƚŚĞ ƉƵƌƉŽƐĞ ďƵŝůƚ WŽƌƚůĂŶĚ ǁŽƌŬƐ ǁĂƐ ŵŽĚĞůůĞĚ ͚'ĞŶƚůĞŵĂŶ͛͘ Wardonia Works ŽŶ͘ ^ŝŵŽŶ ŝƐ ĐƵƌƌĞŶƚůǇ ĞŵƉůŽǇĞĚ ĂƐ Ă ƌĞƐĞĂƌĐŚ ĨĞůůŽǁ Ăƚ ^ŚĞĸĞůĚ hŶŝǀĞƌƐŝƚǇ DĂŶĂŐĞŵĞŶƚ ^ĐŚŽŽů͘΁ ΀dŚĞ ĞǆŝƐƟŶŐ ƚĞŶĂŶƚƐ͕ ŽůĚ ĂŶĚ ŶĞǁ͕ ƉƌŽǀŝĚĞ ƚŚĞ &ƌĞĞĚŽŵ tŽƌŬƐ͕ :ŽŚŶ ^ƚ͘ ŶĂƌƌĂƟǀĞƐ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐ ĂŶĚ ũƵƐƟĨǇ ŝƚƐ ĐŽŶƟŶƵĂƟŽŶ W, ͗ WĂƌƌŝƐ͕ ^ ϮϬϬϵ /ŶƐƟƚƵƟŽŶĂů ĐŽůŽŐŝĞƐ ĂƐ Ă ďƵŝůĚŝŶŐ ĚĞƐŝŐŶĞĚ ĨŽƌ ĂŶ ŝŶƚĞŐƌĂƚĞĚ ĐŽŵŵƵŶŝƚǇ ŽĨ >ŝďĞƌƚǇ tŽƌŬƐ͕ ϭϯϱ DĂƟůĚĂ ^ƚƌĞĞƚ ŽĨ ŽŵŵĞƌĐŝĂů WƌŽƉĞƌƚǇ ĞǀĞůŽƉŵĞŶƚ ŵĂŬĞƌƐ͘ ĐĐĞƐƐ ƚŽ ƚŚĞ ƚĞŶĂŶƚƐ ŝƐ ĞƐƐĞŶƟĂů ƚŽ ƵŶĚĞƌƐƚĂŶĚ ŽƌŶŝƐŚ tŽƌŬƐ͕ ŽƌŶŝƐŚ ůĂŶĞ͖ hŶŝǀĞƌƐŝƚǇ ŽĨ ^ŚĞĸĞůĚ͕ ^ŚĞĸĞůĚ ƚŚĞ ƌĞůĂƟŽŶƐŚŝƉ ďĞƚǁĞĞŶ ƚŚĞ ŵĂŬĞƌƐ ĂŶĚ ƚŚĞ ďƵŝůĚŝŶŐ͘ ,ŽǁĞǀĞƌ ŵǇ ƌĞůĂƟŽŶƐŚŝƉ ǁŝƚŚ ƚŚĞ ƚĞŶĂŶƚƐ ŝƐ ůŝŬĞůǇ ƚŽ tŚĂƌŶĐůŝīĞ tŽƌŬƐ͕ 'ƌĞĞŶ >ĂŶĞ ΀ / ŵĞƚ Śŝŵ ŽŶ ϭϲͬϬϮͬϭϭ͕ ϮͲϰƉŵ͕ ŝŶ :ĞƐƐŽƉ tĞƐƚ ĂĨĞ ĂīĞĐƚ ƚŚĞ ŽďũĞĐƟǀŝƚǇ ŽĨ ŵǇ ƌĞƐĞĂƌĐŚ ƉŽƐŝƟŽŶ͘΁ ƚŽ ĚŝƐĐƵƐƐ ƚŚĞ ŽƉƉŽƐŝŶŐ ĂƌŐƵŵĞŶƚ͖ ƚŚĞ ƌĞĂƐŽŶƐ ĨŽƌ dŚĞƐĞ ĂƌĞ ƐŽŵĞ͕ ďƵƚ ŶŽƚ ĂŶ ĞǆŚĂƵƐƟǀĞ ůŝƐƚ͕ ŽĨ ƚŚĞ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƚŚĞ ĞǀĞŶƚƐ ůĞĂĚŝŶŐ ƵƉ ƚŽ ƚŚĞ ƌĞƐƚŽƌĂƟŽŶ ĂƐĞ ^ƚƵĚŝĞƐ ƌĞŵĂŝŶŝŶŐ ǁŽƌŬƐ ŝŶ ^ŚĞĸĞůĚ͘ ĂŶĚ ƌĞĚĞǀĞůŽƉŵĞŶƚ ŽĨ ƵƚĐŚĞƌ ǁŽƌŬƐ͘ ^ŝŵŽŶ ŝĚĞŶƟĮĞĚ some key resources for his study and gave what I thought WŽƌƚůĂŶĚ tŽƌŬƐ͕ ZĂŶĚĂůů ^ƚƌĞĞƚ͖ ͚ĐŽŵŵƵŶŝƚǇ ŽĨ ŵĂŬĞƌƐ͛ ΀WŽƌƚůĂŶĚ tŽƌŬƐ ŝƐ ƉĂƌƚ ŽĨ ĂŶ ŝŶĚƵƐƚƌŝĂů ůĂŶĚƐĐĂƉĞ ǁĂƐ Ă ďĂůĂŶĐĞĚ ĂƐƐĞƐƐŵĞŶƚ ŽĨ ƚŚĞ ƐŝƚƵĂƟŽŶ͘΁ ƌĞĐŽŐŶŝƐĞĚ ďǇ ŶŐůŝƐŚ ŚĞƌŝƚĂŐĞ͘ dŚĞ ƐƵƌǀŝǀŝŶŐ ƉƌĞŵŝƐĞƐ ^ƚĞĞƌŝŶŐ 'ƌŽƵƉ DĞĞƟŶŐ ϭϲƚŚ EŽǀ͕ ^ŚĂƌƌŽǁ ŽŵŵƵŶŝƚǇ ǀĂƌǇ ŝŶ ƐŝǌĞ ĂŶĚ ĂƌĐŚŝƚĞĐƚƵƌĂů ƋƵĂůŝƚǇ ďƵƚ ĂůƐŽ ŝŶ ĐƵƌƌĞŶƚ sŝŶĐĞ ;>ĂŶĚŽǁŶĞƌ͕ ĚĞǀĞůŽƉĞƌͿ &ŽƌƵŵ͕ ϲͲϳ͘ϯϬƉŵ͘ KŶĐĞ Ă ŵŽŶƚŚ͘ ĐŽŶĚŝƟŽŶ ĂŶĚ ĐƵƌƌĞŶƚ ƵƐĞ͘ ^ŽŵĞ ƉƌĞŵŝƐĞƐ ůĂǇ ǀĂĐĂŶƚ ĂŶĚ ΀dŚŝƐ ŝƐ ůŝŬĞůǇ ƚŽ ďĞ Ă ƉŽůŝƟĐĂůůǇ ĚŝĸĐƵůƚ ŵĞĞƟŶŐ ƚŽ sŽůƵŶƚĞĞƌŝŶŐ͖ KƉĞŶ ĂǇ WƌĞƉĂƌĂƟŽŶ ϱƚŚ &Ğď ϮϬϭϭ Θ ĂďĂŶĚŽŶĞĚ ĂŶĚ ƉƌŽũĞĐƚƐ ůŝŬĞ ƵƚĐŚĞƌ ǁŽƌŬƐ ƌĞƉƌĞƐĞŶƚ ƚŚĞ ĨƵůůǇ ƌĞŶŽǀĂƚĞĚ ĞǆĂŵƉůĞƐ ŝŶĐŽƌƉŽƌĂƟŶŐ Ă ŵŝǆ ŽĨ ŶĞǁ ĐŽŶĚƵĐƚ͘ ƐƚĂƚĞŵĞŶƚ ŽĨ ŵǇ ŝŵƉĂƌƟĂů ǀŝĞǁ ĂŶĚ ĂŶ KƉĞŶ ĂǇ ƚŽƵƌ ŐƵŝĚĞ ϲƚŚ &Ğď ϮϬϭϭ uses and tenants. This is the context for the future and ĂŐƌĞĞŵĞŶƚ ƚŽ ŵďĂƌŐŽ ƚŚĞ ƐƚƵĚǇ ŵĂǇ ĂůůŽǁ Ă ŵŽƌĞ ŽƉĞŶ ƌĞĐĞŶƚ ƉĂƐƚ ŽĨ ƚŚĞ WŽƌƚůĂŶĚ tŽƌŬƐ ĂŶĚ ŚĂƐ ƉƌŽǀĞĚ ǀŝƚĂů ĚŝƐĐƵƐƐŝŽŶ ƚŽ ƚĂŬĞ ƉůĂĐĞ͘ dŚĞ ƟŵĞ͕ ĚĂƚĞ ĂŶĚ ůŽĐĂƟŽŶ sŝƐŝƚ ďǇ >ŽŽŬ EŽƌƚŚ ϭϱƚŚ &Ğď ϮϬϭϭ ƚŽ ŐĂƵŐĞ ƚŚĞ ƉŽƐŝƟŽŶ ĨĂĐĞĚ ďǇ ƚŚĞ ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ͘ ΁ ĂƌĞ d ͘ dŚŝƐ ƉƌŽǀŝĚĞƐ ƚŚĞ ŽƉƉŽƐŝŶŐ ĂƌŐƵŵĞŶƚ ĂŶĚ ƚŚĞ Θ WƌĞƐĞŶƚĂƟŽŶ ŵĂƚĞƌŝĂů͗ ͚dŚĞ ĨƵƚƵƌĞ ŽĨ WŽƌƚůĂŶĚ tŽƌŬƐ͛ ĚƌŝǀĞƌƐ ĨŽƌ ŝƚƐ ĐŽŶǀĞƌƐŝŽŶ ƚŽ ƌĞƐŝĚĞŶƟĂů͘΁ ďǇ ĞƌĞŬ DŽƌƚŽŶ ΀ŶŽŶ ƉƵďůŝƐŚĞĚ Žƌ ƌĞǀŝĞǁĞĚ ĐĂŵƉĂŝŐŶ >ŽĐĂů ƌĐŚŝǀĞƐ ŐƌŽƵƉ ĚŽĐƵŵĞŶƚ΁ ĞƌĞŬ DŽƌƚŽŶ͕ ^ƚĞĞƌŝŶŐ 'ƌŽƵƉ ŚĂŝƌŵĂŶ ΀^ŚĞĸĞůĚ ĐŝƚǇ ĂƌĐŚŝǀĞ ĂŶĚ ůŽĐĂů ƐƚƵĚǇ ůŝďƌĂƌǇ ŽīĞƌƐ ͞Ă ΀WƌĞǀŝŽƵƐůǇ Ă ƚĞĂĐŚĞƌ͕ ĞƌĞŬ ǁĂƐ ŽŶĞ ŽĨ ƚŚĞ ĨŽƵŶĚŝŶŐ ΀^ŚŽƌƚ ĨĞĂƚƵƌĞ ĐĂƉƚƵƌŝŶŐ ƚŚĞ ĂīĞĐƚ ŽĨ ůŽĐĂů ŐŽǀĞƌŶŵĞŶƚ ĐŽůůĞĐƟŽŶ ŽĨ ŽǀĞƌ ϯϬ͕ϬϬϬ ǀŽůƵŵĞƐ ŝŶĐůƵĚŝŶŐ ďŽŽŬƐ͕ ĐĂŵƉĂŝŐŶ ŵĞŵďĞƌƐ͖ ŶŽǁ ƚŚĞ ƐƚĞĞƌŝŶŐ ŐƌŽƵƉ ĐŚĂŝƌŵĂŶ͘ ƐƉĞŶĚŝŶŐ ĐƵƚƐ ŽŶ ƉůĂŶŶŝŶŐ ĂŝĚ͕ Ă ĐŚĂƌŝƚĂďůĞ ŽƌŐĂŶŝƐĂƟŽŶ ƉĂŵƉŚůĞƚƐ͕ ũŽƵƌŶĂůƐ ĂŶĚ ƌĞƉŽƌƚƐ ŽŶ Ăůů ĂƐƉĞĐƚƐ ŽĨ ƚŚĞ Ɛ Ă ƌĞƟƌĞĚ ƚĞĂĐŚĞƌ ŚĞ ƉƌŽǀŝĚĞƐ ŚŝƐ ŽǁŶ ĂŐĞŶĚĂ ƚŽ ƚŚĞ ƚŚĂƚ ƉƌŽǀŝĚĞƐ ĂĚǀŝĐĞ ƚŽ ƚŚŽƐĞ ĐŽŵŵƵŶŝƟĞƐ ĂŶĚ ĐŝƚǇ͛Ɛ ŚŝƐƚŽƌǇ ĂŶĚ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƚŚĞ ůŝǀĞƐ ŽĨ ŝƚƐ ƉĞŽƉůĞ͘ ůĞĂƌŶŝŶŐ ĂŶĚ ĞĚƵĐĂƟŽŶĂů ďĞŶĞĮƚƐ ŽĨ ŝŶĚƵƐƚƌŝĂů ĐƌĂŌ͕ Ăƌƚ ŝŶĚŝǀŝĚƵĂůƐ ǁŚŽ ĐĂŶ͛ƚ ĂīŽƌĚ ĐŽŶƐƵůƚĂŶƚ ĨĞĞƐ͘ WŽƌƚůĂŶĚ /Ŷ ĂĚĚŝƟŽŶ ƚŚĞƌĞ ĂƌĞ ĐŽůůĞĐƟŽŶƐ ŽĨ ŶĞǁƐƉĂƉĞƌƐ͕ ƚƌĂĚĞ ƉƌĂĐƟĐĞ Žƌ ŵĞƚĂů ǁŽƌŬŝŶŐ ƚƌĂĚĞƐ ƚŚĂƚ ĐŽƵůĚ ĨŽƌŵ ƉĂƌƚ ŽĨ ǁŽƌŬƐ ǁĂƐ Ă ŐŽŽĚ ĞǆĂŵƉůĞ ƚŽ ĚĞŵŽŶƐƚƌĂƚĞ ŚŽǁ ĨƵŶĚŝŶŐ ĚŝƌĞĐƚŽƌŝĞƐ͕ ĐĞŶƐƵƐ ƌĞĐŽƌĚƐ͕ ŵĂƉƐ ĂŶĚ ŽƚŚĞƌ ŵĂƚĞƌŝĂůƐ͘͟΁ ĐƵƚƐ͕ ŽĨ ϳϮй ŝŶ ƚŚŝƐ ĐĂƐĞ͕ ǁŝůů ƌĞŵŽǀĞ ƚŚĞ ƐƵƉƉŽƌƚ ŽĨ ƚŚĞ ďƵŝůĚŝŶŐƐ ĨƵƚƵƌĞ͘΁ ĞƚŚŝĐĂů ŽƌŐĂŶŝƐĂƟŽŶƐ ĐƵƌƌĞŶƚůǇ ĂǀĂŝůĂďůĞ ƚŽ ƐƵƉƉŽƌƚ / >/K'Z W,z ůĂŶ ĞĂĚŵĂŶ͕ ͚>ŝƩůĞ ^ŚĞĸĞůĚ ĞǀĞůŽƉŵĞŶƚ dƌƵƐƚ͕͛ ^ƚĂŐ causes like Portland works.] KǁĞŶ ,ĂƚŚĞƌůĞǇ͕ ͚ 'ƵŝĚĞ ƚŽ ƚŚĞ EĞǁ ZƵŝŶƐ ŽĨ 'ƌĞĂƚ Works ΀dŚĞ ƌĞƐĞĂƌĐŚ ƉƌŽƉŽƐĂů ƉƌŽǀŝĚĞƐ ĂŶ ŽƉƉŽƌƚƵŶŝƚǇ ƚŽ ƌŝƚĂŝŶ͛ ;sĞƌƐŽ͕ ϮϬϭϬͿ͘ ΀WƌĞǀŝŽƵƐůǇ Ă ŵƵƐŝĐ ƚĞĂĐŚĞƌ͕ ůĂŶ ŝƐ ĐůŽƐĞůǇ ĐŽŶŶĞĐƚĞĚ ĨŽůůŽǁ ƚŚĞ ƉƌŽŐƌĞƐƐ ŽĨ Ă ůŝǀĞ ƉƌŽũĞĐƚ ŽǀĞƌ ƚŚĞ ĚƵƌĂƟŽŶ ŽĨ ZĞůĞǀĂŶƚ ŚĂƉƚĞƌƐ͗ ͛/ŶƚƌŽĚƵĐƟŽŶ͛ ĂŶĚ ͚^ŚĞĸĞůĚ͗ dŚĞ to the music industry in Stag works (another cutlery ƚŚĞ ƐƚƵĚǇ ĂƐ Ă ƉƌŝŵĂƌǇ ƌĞƐĞĂƌĐŚ ƚĞĐŚŶŝƋƵĞ͖ ƚŽ ĞŵƉŝƌŝĐĂůůǇ &ŽƌŵĞƌ ^ŽĐŝĂůŝƐƚ ZĞƉƵďůŝĐ ŽĨ ^ŽƵƚŚ zŽƌŬƐŚŝƌĞ͛ ƉƌĞŵŝƐĞƐ ĂĚũĂĐĞŶƚ ƚŽ WŽƌƚůĂŶĚ tŽƌŬƐͿ ŝŶ ƚŚĞ ͛>ŝƩůĞ ƵŶĚĞƌƐƚĂŶĚ ƚŚĞ ŝŶƚĞƌĐŽŶŶĞĐƟǀŝƚǇ ŽĨ ďƵŝůĚŝŶŐ͕ ƉůĂĐĞ ĂŶĚ ^ŚĞĸĞůĚ͛ ĂŶĚ ƚŚĞ ͚:ŽŚŶ ^ƚƌĞĞƚ dƌŝĂŶŐůĞ͛ ĂƌĞĂ͘ ůĂŶ ŝƐ ƉĂƌƚ users. The method has raised my consciousness to a ŽĨ ƚŚĞ ͚>ŝƩůĞ ^ŚĞĸĞůĚ ĞǀĞůŽƉŵĞŶƚ dƌƵƐƚ͛ ĂŶĚ͕ ďĂƐĞĚ ŝŶ ǁŝĚĞƌ ƌĂŶŐĞ ŽĨ ƐƉĞĐŝĮĐ ĐŽŶƚĞǆƚƵĂů͕ ƉŽůŝƟĐĂů͕ ŵĂŶĂŐĞƌŝĂů ƐƚĂŐ ǁŽƌŬƐ͕ ŚĂƐ Ă ǀĞƐƚĞĚ ŝŶƚĞƌĞƐƚ ŝŶ ƚŚĞ ĂĚũĂĐĞŶƚ WŽƌƚůĂŶĚ ĂŶĚ ĐŽŵŵĞƌĐŝĂů ĂƐƉĞĐƚƐ ƚŽ ƚŚĞ ƉƌŽũĞĐƚ͘΁ Works in that the outcome of Portland Works is likely to ĚŝƌĞĐƚůǇ ĂīĞĐƚ ƚŚĞ ĨƵƚƵƌĞ ŽĨ ƐƚĂŐ ǁŽƌŬƐ͘ ΁

ĂīĞĐƚ ŽĨ ƉƵďůŝĐŝƚǇ ĂŶĚ ŵĂƌŬĞƟŶŐ ĨŽƌ ŝŶǀĞƐƚŵĞŶƚ ŚĂǀĞ ŽŶ ƚŚĞ ƉƌĞǀŝŽƵƐůǇ ŵĂƌŐŝŶĂů ĂŶĚ ƐĞĞŵŝŶŐůǇ ĨŽƌŐŽƩĞŶ͘ ͞dŚĞ ƉƌĞǀŝŽƵƐůǇ ŵĂƌŐŝŶĂů ǌŽŶĞ ŽĨ ƐƉĂĐĞ ĂŶĚ ƟŵĞ ŝƐ ŶŽǁ ďĞŝŶŐ ƉƌŽŵŽƚĞĚ ĂƐ ĐĞŶƚƌĂů ƚŽ ƚŚĞ ŝŵĂŐĞ ŽĨ Ă ŵŽĚĞƌŶ ͚ ƵƌŽƉĞĂŶ͛ ĐŝƚǇ͟ϭϮ͘ dŚĞ ƉĂƌĂĚŽǆ ŝƐ ƚŚƌŽƵŐŚ ƚŚĞ ƐƚƌĂƚĞŐŝĐ ͚ůĂďĞůůŝŶŐ͛ ŽĨ ĂƌĞĂƐ ůŝŬĞ ƚŚĞ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ ƋƵĂƌƚĞƌ ; /YͿ ĂƐ ĂŶ ĞǆĂŵƉůĞ ƚŚĞ ĂƩƌĂĐƚĞĚ ŝŶǀĞƐƚŵĞŶƚ ŶĞĞĚĞĚ ĨŽƌ ƌĞŐĞŶĞƌĂƟŽŶ ƌĂŝƐĞƐ ŝƚƐ ͚ĚĞƐŝƌĂďŝůŝƚǇ͛ ĂŶĚ ƉŽƉƵůĂƌŝƚǇ͘ &Žƌ ƚŚĞ ĐƵƌƌĞŶƚ ĐŽŵŵƵŶŝƚǇ ŽĨ ŵĂŬĞƌƐ͕ ǁŚŽ ƌĞůǇ ŽŶ ƚŚĞ ŝŶĨŽƌŵĂů ĂŶĚ ĂīŽƌĚĂďůĞ ƚǁĞŶƚǇ ĨŽƵƌ ƐĞǀĞŶ ŶĂƚƵƌĞ ŽĨ ƚŚĞƐĞ ƚǇƉĞƐ ŽĨ ƐƉĂĐĞƐ͕ ƌĂƚĞƐ ďĞŐŝŶ ƚŽ ƌŝƐĞ ǁŝƚŚ ƚŚŝƐ ƉŽƉƵůĂƌŝƚǇ ǁŚŝĐŚ ďĞŐŝŶƐ ƚŽ ƵŶĚĞƌŵŝŶĞ ƚŚĞ ŽƌŝŐŝŶĂů ďĞŶĞĮƚ ŽĨ ƚŚĞƐĞ ƉůĂĐĞƐϭϯ͘ dŚĞ ŚŽƉĞ ŝƐ ƚŚĂƚ ǁŝƚŚ ƚŚĞ ƌŝƐĞ ŝŶ ƉŽƉƵůĂƌŝƚǇ ĨŽŽƞĂůů ĂŶĚ ďƵƐŝŶĞƐƐ ŽƉƉŽƌƚƵŶŝƚǇ ŝŶĐƌĞĂƐĞƐ ƉƌŽƉŽƌƟŽŶĂƚĞůǇ͘ ,ŽǁĞǀĞƌ ƚŚĞƐĞ ƐƉĂĐĞƐ ƉƌŝĚĞ ƚŚĞŵƐĞůǀĞƐ ŽŶ ƉƌŽǀŝĚŝŶŐ ĂŶ ŽƉƉŽƌƚƵŶŝƚǇ͕ ƉĂƌƟĐƵůĂƌůǇ ĨŽƌ ƵƉ ĂŶĚ ĐŽŵŝŶŐ ŵƵƐŝĐŝĂŶƐ ĂŶĚ ŵƵƐŝĐ ƉƌŽĚƵĐĞƌƐ͕ ĨŽƌ ŝŶŶŽǀĂƟŽŶ ĂŶĚ ŶƵƌƚƵƌŝŶŐ ^ŚĞĸĞůĚ ƚĂůĞŶƚ͕ ǁŚŝĐŚ ĐŽƵůĚ ďĞ ůŽƐƚ ŝĨ ĐŽŵŵĞƌĐŝĂů ĚĞǀĞůŽƉĞĚ ĐŽŶƟŶƵĞƐ͘ dŚŝƐ ǁŝůů ƌĞŵŽǀĞ ƐƵƉƉŽƌƚ ĨŽƌ ǇŽƵŶŐ ĐƌĞĂƟǀĞ ƚĂůĞŶƚ ƚŚĂƚ ŚĂƐ ƉƌŽĚƵĐĞĚ ŐƌĞĂƚ ďĂŶĚƐ ŝŶ ƚŚĞ ƉĂƐƚϭϰ and in hard ƟŵĞƐ ƚŚĞǇ ƉƌŽǀŝĚĞ ǀŝƚĂů ĞŵƉůŽǇŵĞŶƚ ĂŶĚ ĞĚƵĐĂƟŽŶĂů ŽƉƉŽƌƚƵŶŝƟĞƐ ĨŽƌ ƚƌĂŝŶŝŶŐ ĂŶĚ ĂƉƉƌĞŶƟĐĞƐŚŝƉƐ͘ ,ŽǁĞǀĞƌ ŝĨ ƚŚĞƐĞ ďƵŝůĚŝŶŐ ĂƌĞ ůĞŌ ƚŽ ĚĞĐĂǇ ƚŚĞǇ ǁŝůů ƌĞĂĐŚ Ă ƉŽŝŶƚ ǁŚĞƌĞ ŝŶǀĞƐƚŵĞŶƚ ŝƐ ŶŽ ůŽŶŐĞƌ ĮŶĂŶĐŝĂůůǇ ǀŝĂďůĞ ĚƵĞ ƚŽ ƚŚĞ ůĂƌŐĞ ĐĂƉŝƚĂů ŝŶǀĞƐƚŵĞŶƚ ŶĞĞĚĞĚ ĨŽƌ ƚŚĞƐĞ ƚǇƉĞƐ ŽĨ ǀĞŶƚƵƌĞƐ͘ hůƟŵĂƚĞůǇ ƚŚŝƐ ǁŝůů ůĞĂĚ ƚŽ ĞǀŝĐƟŽŶ ŽĨ ƚŚĞ ƚĞŶĂŶƚƐ ǁŚĞŶ ƚŚĞ ďƵŝůĚŝŶŐ ĨĂůůƐ ŝŶƚŽ Ă ĚĂŶŐĞƌŽƵƐ ƐƚĂƚĞ ŽĨ ĚŝƐƌĞƉĂŝƌ͘ ,ŽǁĞǀĞƌ ŽƵƌ ĐŝƟĞƐ ĂƌĞ ĞǆƉĞƌŝĞŶĐŝŶŐ Ă ƐŚŝŌ͖ Ă ƉĞƌŝŽĚ ŽĨ ƌĞƐƚƌƵĐƚƵƌŝŶŐ ǁŚĞƌĞďǇ ƉĞƌŝƉŚĞƌĂů ĂĐƟǀŝƚǇ ŝƐ ƉůĂĐĞĚ ĐĞŶƚƌĞ ƐƚĂŐĞ ǁŝƚŚ ŚƵŐĞ ĞŵƉŚĂƐŝƐ ƉůĂĐĞĚ ŽŶ ĐƵůƚƵƌĞ͕ ĐŽŶƐƵŵƉƟŽŶ ĂŶĚ ŝŵĂŐĞϭϱ͘ ƌƟƐƟĐ͕ ĐƵůƚƵƌĂů ĂŶĚ ĐƌĞĂƟǀĞ ŝŶĚƵƐƚƌŝĞƐ ĂƌĞ ďĞŝŶŐ ƉƌŽŵŽƚĞĚ ĂŶĚ ĂĐƟǀĞůǇ ƉƵƐŚĞĚ ƚŽ ůĞĂĚ ƵƌďĂŶ ƌĞŐĞŶĞƌĂƟŽŶ ĂŶĚ ůĞĂĚ ƚŚĞ ƐŚŝŌ ĨƌŽŵ &ŽƌĚŝƐŵ ƚŽ ƉŽƐƚ &ŽƌĚŝƐŵ ĂƫƚƵĚĞƐ ŽĨ ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ͘ /Ŷ ŽƚŚĞƌ ǁŽƌĚƐ &ŽƌĚƐŝŵ͕ ǁŚŝĐŚ ƐƵŐŐĞƐƚƐ ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝƐ ƐƟŵƵůĂƚĞĚ ďǇ ĂƵƚŽŵĂƟŽŶ ĂŶĚ ŵĂƐƐ ƉƌŽĚƵĐƟŽŶ͕ ŝƐ ďĞŝŶŐ ƌĞƉůĂĐĞĚ ďǇ ƉŽƐƚ &ŽƌĚŝƐŵ Ă ŵŽǀĞŵĞŶƚ ƚŽǁĂƌĚƐ ƚĂƌŐĞƟŶŐ ƐƉĞĐŝĮĐ ŵĂƌŬĞƚƐ ďĂƐĞĚ ŽŶ ƐŵĂůů ŇĞǆŝďůĞ ŵĂŶƵĨĂĐƚƵƌŝŶŐ ƵŶŝƚƐ ůŝŬĞ ƚŚŽƐĞ ĨŽƵŶĚ ŝŶ WŽƌƚůĂŶĚ tŽƌŬƐ͘ ͞&ůĞǆŝďůĞ

ĐŽŶƐƚƌƵĐƟŽŶ ŝŶĚƵƐƚƌǇ͘ hƐĞƌƐ ŚĂǀĞ ƉŽƐƚĞĚ ŵĂŶǇ ƉŽŽƌůǇ ŵĂĚĞ͕ ŐĞŶĞƌŝĐ ĂŶĚ ŝŶĐŽŶƐŝĚĞƌĂƚĞ ƐĐŚĞŵĞƐ ŝŶ ƉƌŽƚĞƐƚ ŽĨ >ĂďŽƵƌ͛Ɛ ƐůŽŐĂŶ͘΁ ΀ ĞƚǁĞĞŶ ƚŚĞ ƚǁŽ ƌĞƐŽƵƌĐĞƐ ƚŚĞǇ ƌĞǀĞĂů ƚŚĞ ĚĞĞƉ ƉŽůŝƟĐĂů ĂŶĚ ƉƵďůŝĐ ŶĂƚƵƌĞ ŽĨ ĐŽŶƐƚƌƵĐƟŽŶ ĂŶĚ ƚŚĞ ŝŵƉĂĐƚ ŝƚ ŚĂƐ ŽŶ ŽƵƌ ŝŵŵĞĚŝĂƚĞ ƐƵƌƌŽƵŶĚŝŶŐƐ͘΁ ,ĞƌďĞƌƚ ,ŽƵƐůĞǇ͕ ĂĐŬ ƚŽ ƚŚĞ ŐƌŝŶĚƐƚŽŶĞ ͗ ƉĞƌƐŽŶĂů ƌĞĐŽůůĞĐƟŽŶƐ ŽĨ ƚŚĞ ^ŚĞĸĞůĚ ĐƵƚůĞƌǇ ŝŶĚƵƐƚƌǇ ;^ŚĞĸĞůĚ͗ ,ĂůůĂŵƐŚŝƌĞ͕ ϭϵϵϴͿ͘ ZĞůĞǀĂŶƚ ŚĂƉƚĞƌƐ͗ ͛:ŽŚŶ ^ƚƌĞĞƚ /ŶƚĞƌůƵĚĞ͛ Θ ͚dŚĞ ZĂŶĚĂůů ^ƚƌĞĞƚ ƌŽǁĚ͛ ΀dŚŝƐ ďŽŽŬ ŐŝǀĞƐ Ă ǀĞƌǇ ƉĞƌƐŽŶĂů ĂĐĐŽƵŶƚ ŽĨ ƚŚĞ ůŝĨĞ ŽĨ ƚŚŽƐĞ ǁŽƌŬŝŶŐ ŝŶ ƚŚĞ ĐƵƚůĞƌǇ ƚƌĂĚĞ ŝŶ ƚŚĞ ϭϵϯϬ͛Ɛ ĂŶĚ ŝŶ

:ŽĂŶŶĞ EĞǀŝůůĞ ƐƉĞĂŬŝŶŐ ŽŶ ďĞŚĂůĨ ŽĨ WůĂŶŶŝŶŐ ŝĚ ĨŽƌ Ă >ŽŽŬ EŽƌƚŚ ƉŝĞĐĞ͕ ϭϱƚŚ ĨĞďƵĂƌǇ ϮϬϭϭ

ƐƉĞĐŝĂůŝƐĂƟŽŶ ŵĞĂŶƐ ŵĂƌŐŝŶƐ ŽĨ ĐŽŵƉĞƟǀĞŶĞƐƐ ĚĞƉĞŶĚ ŽŶ ƚŚĞ ŐĞŶĞƌĂƟŽŶ ĂŶĚ ĞǆƉůŽŝƚĂƟŽŶ ŽĨ ŶĞǁ ŬŶŽǁůĞĚŐĞ͖ ƐƵĐĐĞƐƐĨƵů ĮƌŵƐ ĂƌĞ ƌĞƐĞĂƌĐŚ͕ ĚĞƐŝŐŶ ĂŶĚ ŝŶŶŽǀĂƟŽŶ ŝŶƚĞŶƐŝǀĞ͟ϭϲ͘ dŚŝƐ ŬŝŶĚ ŽĨ ƐŚŝŌ ŝŶ ĂƫƚƵĚĞ ĐĂŶ ďĞ ƐĞĞŶ ŝŶ ƚŚĞ ŝǀŝƐŝŽŶ ^ƚƌĞĞƚ ĂŶĚ ĞǀŽŶƐŚŝƌĞ 'ƌĞĞŶ ĂƌĞĂ ŽĨ ^ŚĞĸĞůĚ ĂŶĚ ŵŽƐƚ ĞǀŝĚĞŶƚůǇ ŝŶ DĂŶĐŚĞƐƚĞƌ͛Ɛ ͚EŽƌƚŚĞƌŶ YƵĂƌƚĞƌ͛͘ dŚŝƐ ŚŝŐŚůŝŐŚƚƐ ƚŚĞ ŝŵƉŽƌƚĂŶĐĞ ŽĨ ƚŚĞ ŵĂĐƌŽ ĐŽŶƚĞǆƚ ŽĨ ĐŝƚǇ ĞĐŽŶŽŵǇ ĂŶĚ ƚŚŝƐ ƐŚŝŌ ĂƉƉĞĂƌƐ ƐĞƚ ƚŽ ŚĞůƉ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ ƉƌĞǀĂŝů͘ ,ŽǁĞǀĞƌ ƚŚĞƐĞ ĐŽŵŵĞƌĐŝĂů ĞĐŽŶŽŵŝĞƐ ƚŚĂƚ ƉĞƌŚĂƉƐ ŚŽůĚ ƚŚĞ ŬĞǇ ƚŽ ƚŚĞ ůŽŶŐ ƚĞƌŵ ĮŶĂŶĐŝĂů ǀŝĂďŝůŝƚǇ ŽĨ WŽƌƚůĂŶĚ tŽƌŬƐ ĐĂŶ ƐŽŵĞƟŵĞƐ ďĞ ĐŽŶƚƌĂĚŝĐƚŽƌǇ ƚŽ ƚŚĞ ŝŶĚĞƉĞŶĚĞŶƚ ĂŶĚ ĂůƚĞƌŶĂƟǀĞ ŶĂƚƵƌĞ ŽĨ ďŽƵƟƋƵĞ ƚƌĂĚĞƐ ͞ƚŚĞ ƉƵƌƐƵŝƚ ŽĨ ƚŚĞƐĞ ĂĐƟǀŝƟĞƐ ĂŶĚ ƚŚĞŝƌ ĚŝƐůŝŬĞ ŽĨ ĞǆƉĂŶƐŝŽŶŝƐƚ ĞĐŽŶŽŵŝĞƐ ĐŽŶƐƚĂŶƚůǇ ƚŚƌĞĂƚĞŶƐ ƚŚĞŝƌ ǀĞƌǇ ĞǆŝƐƚĞŶĐĞ͟ϭϳ. Z h^ Θ ^h/d />/dz dŚĞ ůĂǇŽƵƚ ŽĨ ƚŚĞ ĐŽŵƉůĞǆ ƚŚĂƚ ĞǀŽůǀĞĚ ĨƌŽŵ ƚŚĞ ŝŶƚĞŐƌĂƟŽŶ ŽĨ ƐƉĞĐŝĂůŝƐƚ ͚ĐŽƩĂŐĞ ŝŶĚƵƐƚƌŝĞƐ͛ ďĞƚǁĞĞŶ ƚŚĞ ϭϱƚŚ ĂŶĚ ϭϴƚŚ ĞŶƚƵƌǇ ĞŶĐŽƵƌĂŐĞƐ Ă ĚĞůŝďĞƌĂƚĞ ĚŝĂůŽŐƵĞ ǁŝƚŚ ƚŚĞ ƵƐĞƌƐ ŝŶ ƐĞƫŶŐ ƵƉ Ă ĨƌĂŵĞǁŽƌŬ ĨŽƌ ĐŽŵŵƵŶŝĐĂƟŽŶ ďĞƚǁĞĞŶ ƚŚĞ ŝŶĚĞƉĞŶĚĞŶƚ ƚƌĂĚĞƐ Žƌ ƉĂƌƚƐ ŽĨ ƚŚĞ ŵĂŶƵĨĂĐƚƵƌŝŶŐ ƉƌŽĐĞƐƐ͕ ǁŚŝĐŚ ǁĞƌĞ ƉƌĞǀŝŽƵƐůǇ ƐƉƌĞĂĚ ŽƵƚ ďĞƚǁĞĞŶ ƐŵĂůůĞƌ ŝƐŽůĂƚĞĚ ǁŽƌŬƐ͘ dŽĚĂǇ ů Ă ƌĂŶŐĞ ŽĨ ŝŶĚĞƉĞŶĚĞŶƚ ĐƌĞĂƟǀĞ ŝŶĚƵƐƚƌŝĞƐ ŽĐĐƵƉǇ ƚŚĞ ƐƉĂĐĞƐ ĂŶĚ ƐƟůů ĨĞĞů ƚŚĞ ƐĂŵĞ ĐŽůůĞĐƟǀĞ ƐĞŶƐĞ ŽĨ ĐŽŵŵƵŶŝƚǇ ŶŽƐƚĂůŐŝĐĂůůǇ ƌĞĐĂůůĞĚ ďǇ ,ĞƌďĞƌƚ ,ŽƵƐĞůǇ ŝŶ ͚ ĂĐŬ ƚŽ ƚŚĞ 'ƌŝŶĚƐƚŽŶĞ͛ ƐŽŵĞ ϴϬ ǇĞĂƌƐ ƉƌĞǀŝŽƵƐ͘ dŚĞ ďƵŝůĚŝŶŐ ƉƌŽǀŝĚĞƐ Ă ĨƌĂŵĞ ǁŽƌŬ ĨŽƌ ĐŽŵƉĂŶŝŽŶƐŚŝƉ ĂŶĚ Ă ŵĂĐƌŽ ƐĐĂůĞ ĞĐŽŶŽŵǇ ďƵƐŝŶĞƐƐ ŵŽĚĞů͖ ƐƉĂĐĞƐ ƐŽ ĚĞƐƉĞƌĂƚĞůǇ ŶĞĞĚĞĚ ŝŶ ^ŚĞĸĞůĚ͘ dŚŝƐ ǁŝůů ĞŶĐŽƵƌĂŐĞ ͚ŐĞŶĞƌĂƟŽŶ ĂŶĚ ĞǆƉůŽŝƚĂƟŽŶ ŽĨ ŶĞǁ ŬŶŽǁůĞĚŐĞ͛ ĂŶĚ ĂůůŽǁ ƉĞŽƉůĞ ƚŽ ǁŽƌŬ ŝŶ Ă ĚŝīĞƌĞŶƚ ǁĂǇ͕ Ă ǁĂǇ ƚŚĂƚ ƐƵŝƚƐ ƚŚĞŵ ĂŶĚ ƚŚĞŝƌ ŵĂƌŬĞƚ͕ ŽƵƚƐŝĚĞ ŽĨ ƚŚĞ ƌŽďŽƟĐƐ ŽĨ ŶŝŶĞ ƚŽ ĮǀĞ͘ ŽŵďŝŶĞĚ ǁŝƚŚ ƚŚĞ ĐŚĂŶŐĞƐ ŝŶ ƚŚĞ ŐůŽďĂů ŵĂƌŬĞƚ ĂŶĚ ŝŶĐƌĞĂƐĞĚ ŽŶůŝŶĞ ƉƌĞƐĞŶĐĞ ƚŚĞ ďƵŝůĚŝŶŐ ĨĂĐŝůŝƚĂƚĞƐ ŵŽƌĞ ŇĞǆŝďůĞ ǁŽƌŬŝŶŐ ƉĂƩĞƌŶƐ ĂŶĚ ƉƌŽǀŝĚĞƐ ŽŶĞ ŽĨ ƚŚĞ ůĂƐƚ ĐŽŵŵƵŶŝƚǇ ĨŽĐƵƐĞĚ ŵŽĚĞůƐ ĨŽƌ ƐŵĂůů ŝŶĚĞƉĞŶĚĞŶƚ ŝŶĚƵƐƚƌŝĞƐ͘ dŚŝƐ ŝƐ ƉĂƌƟĐƵůĂƌůǇ ŝŵƉŽƌƚĂŶƚ ĨŽƌ ŵƵƐŝĐŝĂŶƐ ĂŶĚ ŵƵƐŝĐ ƉƌŽĚƵĐĞƌƐ ǁŚŽ ĂƉƉĞĂƌ ƚŽ ǁŽƌŬ ŽŶ Ă ĚŝīĞƌĞŶƚ ƟŵĞ ƐĐĂůĞ ƚŽ ŽƚŚĞƌ ŝŶĚƵƐƚƌŝĞƐ͘ KǀĞƌ ƚŚĞ ǇĞĂƌƐ ƚŚĞ ƚĞŶĂŶƚƐ ŚĂǀĞ ŵĂĚĞ ƚŚĞ ŵŽƐƚ ŽĨ ƚŚĞ ŐĞŶĞƌŽƵƐ͕ ůŝŐŚƚ͕ ĂŝƌǇ ƐƉĂĐĞƐ ĂŶĚ ůŽǁ ƌĂƚĞƐ͘ ,ŽǁĞǀĞƌ ƚŚĞ ĐŽŶŶĞĐƟŽŶ ƚŽ ƚŚĞ ďƵŝůĚŝŶŐ ŐŽĞƐ ďĞǇŽŶĚ ƚŚĞ ĨƵŶĐƟŽŶĂů ĂŶĚ ĮŶĂŶĐŝĂů͖ ĨŽƌ ^ƚƵĂƌƚ DŝƚĐŚĞůů ƚŚĞ ŬŶŝĨĞ ŵĂŬĞƌ ĂŶĚ ĐƵƚůĞƌ ƚŚĞ ƉůĂĐĞ ŚĂƐ ǀĞƐƚĞĚ ŵĞŵŽƌŝĞƐ ŽĨ ŚŝƐ ĨĂƚŚĞƌ ǁŚŽ ƚĂƵŐŚƚ Śŝŵ ƚŚĞ ƚƌĂĚĞ͘ ,ŝƐ ǁŽƌŬƐŚŽƉ ŝƐ ƚŚĞ ŽŶůǇ ƉůĂĐĞ ŚĞ ŚĂƐ ĞǀĞƌ ǁŽƌŬĞĚ͘ /ƚ͛Ɛ ƚŚĞ ƉŽĞƟĐƐ ŽĨ ĐŽŶƟŶƵŝƚǇ ƚŚĂƚ ĂƉƉĞĂůƐ ƚŽ ^ƚƵĂƌƚ ƉĂƌƟĐƵůĂƌůǇ ǁŝƚŚ ƚŚĞ ĐĞŶƚĞŶĂƌǇ ŽĨ ƚŚĞ ďŝƌƚŚ ŽĨ ^ƚĂŝŶůĞƐƐ ƐƚĞĞů ƐŽŽŶ ĂƉƉƌŽĂĐŚŝŶŐ͘ >ĂƐƚ ŵŽŶƚŚ ŽŶĞ ŽĨ ^ƚƵĂƌƚ͛Ɛ ĨĂƚŚĞƌ͛Ɛ ŬŶŝǀĞƐ ƌĞƚƵƌŶĞĚ ƚŽ Śŝŵ ĨŽƌ ƌĞƐƚŽƌĂƟŽŶ͕ ƉĞƌŚĂƉƐ ŽŶĞ ĚĂǇ Ă ŬŶŝĨĞ ŵŝŐŚƚ ƌĞƚƵƌŶ ĨŽƌ ^ƚƵĂƌƚ͛Ɛ ƐŽŶ ƚŽ ƌĞƐƚŽƌĞ͍ dŚŝƐ ƐƚŽƌǇ ŝƐ ďǇ ŶŽ ŵĞĂŶƐ ĂůŽŶĞ͘ DĂŶǇ ŽƚŚĞƌ ƚĞŶĂŶƚƐ ŶĚǇ ŽůĞ ;tŝŐĨƵů dŽŽůƐͿ ŝƐ ƚŚĞ ůŽŶŐĞƐƚ ƐĞƌǀŝŶŐ ƚĞŶĂŶƚ ŽĨ ϱϮ ǇĞĂƌƐ͕ DŝĐŬ ^ŚĂǁ ;^ŚĂǁ ŶŐƌĂǀŝŶŐͿ ĂŶĚ :ŝŵŵǇ ,ŽůŵĞƐ ; ŶĐŚŽƌ ƵƚŽ &ŝŶŝƐŚĞƌƐͿ ƚŽ ŶĂŵĞ Ă ĨĞǁ ŚĂǀĞ ŬŶŽǁŶ ƚŚĞ ƉůĂĐĞ ůŽŶŐĞƌ ƚŚĂŶ ŵŽƐƚ͕ ǁŝƚŚ ƚŚŝƐ ŚĂƐ ďƵŝůƚ Ă ƐĞŶƟŵĞŶƚĂů ĂƩĂĐŚŵĞŶƚ ƚŽ ƚŚĞ ƉůĂĐĞ͘ /Ŷ ƚŚŝƐ ƐĞŶƐĞ ƚŚĞƌĞ ŝƐ Ă ĐŽŵƉůĞǆ ŵŝǆ ŽĨ ŝŶƚĞƌǁŽǀĞŶ ŶĂƌƌĂƟǀĞƐ ďĞƚǁĞĞŶ ďƵŝůĚŝŶŐ ĂŶĚ ƵƐĞƌƐ͘ zĞƚ ĚĞƐƉŝƚĞ ƚŚĞ ƉŽŽƌ ĐŽŶĚŝƟŽŶƐ ĂŶĚ ĐŽůĚ ǁŝŶƚĞƌƐ ŽĐĐƵƉĂŶĐǇ ƌĞŵĂŝŶƐ good. dŚĞ ŝŶĚƵƐƚƌŝĂů ĨĂďƌŝĐ ŝƐ ŽĨ ƌŽďƵƐƚ ƋƵĂůŝƚǇ͕ ƵŶůŝŬĞ Ă ƌĞĐŽŶĚŝƟŽŶĞĚ Žƌ ŶĞǁůǇ ĐŽŵŵŝƐƐŝŽŶĞĚ ǁŽƌŬƐ ƚŚŝƐ ŚĞůƉƐ ƉĞŽƉůĞ͕ ŝŶ ƉĂƌƟĐƵůĂƌ ĂƌƟƐƚƐ͕ ƚŽ ĨƌĞĞůǇ ƚĂŬĞ ŽǁŶĞƌ ƐŚŝƉ ŽĨ ƚŚĞ ƐƉĂĐĞ ƚŚĞǇ ŽĐĐƵƉǇ ǁŝƚŚŽƵƚ ĂŶǇ ĚŝƐƉƵƚĞ͘ dŚĞ ĐŽƵƌƚǇĂƌĚ ĂƌƌĂŶŐĞŵĞŶƚ͕ ĚĞƐŝŐŶĞĚ ƚŽ ĚĂŵƉĞŶ ĂŶĚ ƌĞĚƵĐĞ ƚŚĞ ƐƉƌĞĂĚ ŽĨ ŝŶĚƵƐƚƌŝĂů ŶŽŝƐĞ͕ ŝƐ ŝĚĞĂů ĨŽƌ ŵƵƐŝĐŝĂŶƐ ĂŶĚ ŵƵƐŝĐ ƉƌŽĚƵĐĞƌƐ ƌĞĐŽƌĚŝŶŐ ŵƵƐŝĐ ůĂƚĞ Ăƚ ŶŝŐŚƚ͕ ďƵƚ ĨƵŶĚĂŵĞŶƚĂůůǇ ƚŚĞ ďƵŝůĚŝŶŐ ǁĂƐ ĚĞƐŝŐŶĞĚ ĨŽƌ ƚŚĞƐĞ ͚ŚĂŶĚŵĂĚĞ͛ ŝŶĚƵƐƚƌŝĞƐ ǁŝƚŚ ĨŽĐƵƐ ŐŝǀĞŶ ƚŽ ƚŚĞ ŐƌŝŶĚŝŶŐ ĂŶĚ ŵĂŶƵĨĂĐƚƵƌĞ ŽĨ ĞĚŐĞ ƚŽŽůƐ͘ ĞƐƉŝƚĞ this the site does have its disadvantages. The Landlord does not maintain the site in any way and many tenants ŚĂǀĞ ůĞĂŬƐ ŵŝƟŐĂƚĞĚ ďǇ ĐĂƌĞĨƵůůǇ ƉŽƐŝƟŽŶĞĚ ďƵĐŬĞƚƐ͘ 'ĞŶĞƌĂůůǇ ƚŚĞ ĨĂďƌŝĐ ŚĂƐ Ă ĚŝƌƚǇ ƵŶůŽǀĞĚ ĂƉƉĞĂƌĂŶĐĞ ĂŶĚ ƚŚĞƌĞ ĂƌĞ ŵĂŶǇ ƐŵĂƐŚĞĚ ǁŝŶĚŽǁƐ͕ ǁŚŝĐŚ ŵĂŬĞƐ ŚĞĂƟŶŐ ƚŚĞ ƐƉĂĐĞƐ ŝŶ ĐŽůĚ ƉĞƌŝŽĚƐ ďŽƚŚ ĞǆƉĞŶƐŝǀĞ ĂŶĚ ĚŝĸĐƵůƚ͘ ŶŽƚŚĞƌ ƐŝŐŶŝĮĐĂŶƚ ĂƐƉĞĐƚ ĨŽƌ ƚŚĞ ƉƌŽũĞĐƚƐ ĨƵƚƵƌĞ ŝƐ ƚŚĞ ƐŝƚĞƐ ĂĐĐĞƐƐŝďŝůŝƚǇ ĂŶĚ ƐĂĨĞƚǇ ĨŽƌ ŵĞŵďĞƌƐ ŽĨ ƚŚĞ ƉƵďůŝĐ ĂŶĚ ĐŽŵŵƵŶŝƚǇ ŐƌŽƵƉƐ ƚƌǇŝŶŐ ƚŽ ƐĂĨĞůǇ ŶĞŐŽƟĂƚĞ ƚŚĞ ŝŶĚƵƐƚƌŝĂů ŵĂĐŚŝŶĞƌǇ ĂŶĚ ĞƋƵŝƉŵĞŶƚ ƚŚĂƚ ϭϲ ͞ ͞ ƉŐ͘ ϳ ϭϳ :ƵƐƟŶ K͛ ŽŶŶŽƌ͕ &ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ ͗ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů ĐŝƚǇ ; ůĚĞƌƐŚŽƚ ,ĂŶƚƐ ŶŐůĂŶĚ͖ ƐŚŐĂƚĞ WƵď͕ ϭϵϵϲͿ͕ ƉŐ͘ ϭϬ

ƉĂƌƟĐƵůĂƌ ĚĞƐĐƌŝďĞƐ ŚŝƐ ůŝĨĞ ŝŶ WŽƌƚůĂŶĚ tŽƌŬƐ ĂŶĚ ƚŚĞ ƐƵƌƌŽƵŶĚŝŶŐ ĂƌĞĂ͕ ƚŚĞ ͛:ŽŚŶ ^ƚƌĞĞƚ /ŶƚĞƌůƵĚĞ͛ Θ ͚dŚĞ ZĂŶĚĂůů ^ƚƌĞĞƚ ƌŽǁĚ͛͘ &Ƶůů ŽĨ ĂŶĞĐĚŽƚĞƐ͕ ,ĞƌďĞƌƚ ,ŽƵƐůĞǇ Ă ƌĞƟƌĞĚ ĐƵƚůĞƌǇ ŵĂŶƵĨĂĐƚƵƌĞƌ ĨƌŽŵ ƚŚĞ ϭϵϯϬ͛Ɛ ƚĂůŬƐ ǁŝƚŚ ŐƌĞĂƚ ŶŽƐƚĂůŐŝĂ͕ ƉĂƐƐŝŽŶ ĂŶĚ ƌĞǀĞĂůƐ ŚŝƐ ƌĞƐƉĞĐƚ ĂŶĚ ůŽǀĞ ĨŽƌ ƚŚŽƐĞ ǁŚŽ ŚĞ ǁŽƌŬĞĚ ǁŝƚŚ͘ DƵĐŚ ŽĨ ƚŚĞ ďŽŽŬ ƚĂůŬƐ ĂďŽƵƚ ŚŝƐ ůŝĨĞ ŝŶ ŐĞŶĞƌĂů ŝŶ ĂŶ ĂƵƚŽďŝŽŐƌĂƉŚŝĐĂů ƐĞŶƐĞ ďƵƚ ĨŽƌ ŵĞ ƚŚĞ ŵŽƐƚ ƵƐĞĨƵů ĂƐƉĞĐƚ ŝƐ ŝŶ ƵŶĚĞƌƐƚĂŶĚŝŶŐ ƚŚĞ ŶĂƚƵƌĞ ŽĨ ƌĞůĂƟŽŶƐŚŝƉƐ ĂŶĚ ƐŽĐŝĂů ŶĞƚǁŽƌŬƐ ǁŝƚŚŝŶ ƚŚĞ ͚ŝŶƚĞŐƌĂƚĞĚ ǁŽƌŬƐ͕͛ ĂƐ ŝƚƐ ĐůĂƐƐŝĮĞĚ͕ ĚƵƌŝŶŐ ƚŚĞ ϭϵϯϬ͛Ɛ͘ dŚŝƐ ĐĂŶ ďĞ ƵƐĞĚ ĂƐ Ă ĚŝƌĞĐƚ ĐŽŵƉĂƌŝƐŽŶ ƚŽ ƚŚĞ ƌĞůĂƟŽŶƐŚŝƉ ďĞƚǁĞĞŶ ƚŚĞ ĐƵƌƌĞŶƚ ƚĞŶĂŶƚƐ ƚŽ ĞƐƚĂďůŝƐŚ ŵŽƌĞ ĐůĞĂƌůǇ ƚŚĞ ƌĞůĂƟŽŶƐŚŝƉ ďĞƚǁĞĞŶ ďƵŝůĚŝŶŐ ĂŶĚ ƵƐĞƌ͕ ĨƌŽŵ ĂŶ ĞŵŽƟŽŶĂů ĂŶĚ ĨƵŶĐƟŽŶĂů ƉĞƌƐƉĞĐƟǀĞ΁ :ƵƐƟŶ K͛ ŽŶŶŽƌ͕ &ƌŽŵ ƚŚĞ ŵĂƌŐŝŶƐ ƚŽ ƚŚĞ ĐĞŶƚƌĞ ͗ ĐƵůƚƵƌĂů ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŝŶ ƚŚĞ ƉŽƐƚͲŝŶĚƵƐƚƌŝĂů ĐŝƚǇ ; ůĚĞƌƐŚŽƚ ,ĂŶƚƐ ŶŐůĂŶĚ ͖ ƌŽŽŬĮĞůĚ sƚ͗͘ ƌĞŶĂ͖ ƐŚŐĂƚĞ WƵď͕ ϭϵϵϲͿ͘ ZĞůĞǀĂŶƚ ŚĂƉƚĞƌƐ͗ ͚/ŶƚƌŽĚƵĐƟŽŶ͛ ďǇ :ƵƐƟŶ K͛ ŽŶŶŽƌ ͚&ŽƌĚŝƐŵ͕ WŽƐƚͲ&ŽƌĚŝƐŵ ĂŶĚ ƚŚĞ ĐŽŶƚĞŵƉŽƌĂƌǇ ĐŝƚǇ͕͛ ďǇ WŚŝů DŽůĞ ͚>ĞŌ >ŽĂĮŶŐ͛ ŝƚǇ ĐƵůƚƵƌĞƐ Θ ƉŽƐƚŵŽĚĞƌŶ ůŝĨĞƐƚǇůĞƐ͕͛ ďǇ :ƵƐƟŶ K͛ ŽŶŶŽƌ Θ ĞƌĞŬ tǇŶŶĞ ͚dŚĞ ĐŝƚǇ ĂƐ Ă ƐŝƚĞ ŽĨ ĞƚŚŝĐĂů ĐŽŶƐƵŵƉƟŽŶ ĂŶĚ ƌĞƐŝƐƚĂŶĐĞ͕͛ ďǇ :ŽŶĂƚŚĂŶ WƵƌŬŝƐ ΀dŚŝƐ ĐŽůůĞĐƟŽŶ ŽĨ ĞƐƐĂǇƐ ĂŶĚ ǁƌŝƚĞƌƐ ŵĂŝŶůǇ ĨŽĐƵƐĞƐ ŽŶ DĂŶĐŚĞƐƚĞƌ ǁŚŝĐŚ ŝŶ ŵĂŶǇ ǁĂǇƐ ƐŚĂƌĞƐ ƐŽŵĞ ƐŝŵŝůĂƌ ƉŽƐƚ ŝŶĚƵƐƚƌŝĂů ĐŽŶĚŝƟŽŶƐ ƚŽ ^ŚĞĸĞůĚ ĂŶĚ ŽƚŚĞƌ ŶŽƌƚŚĞƌŶ ĐŝƟĞƐ ƌĞĚĞĮŶŝŶŐ ƚŚĞŵƐĞůǀĞƐ͘ dŚŝƐ ĚĞƐĐƌŝďĞƐ ƚŚĞ ƐŚŝŌ ŝŶ ƚŚĞ ƉƵƌƉŽƐĞ ĂŶĚ ƵƐĞ ŽĨ ĐŝƟĞƐ ĂŶĚ ĂůůŽǁƐ ƚŚĞ WŽƌƚůĂŶĚ ǁŽƌŬƐ ƚŽ ďĞ ƉůĂĐĞĚ ǁŝƚŚŝŶ Ă ƐŚŝŌŝŶŐ ůĂŶĚƐĐĂƉĞ ǁŚĞƌĞ ƉĞƌŝƉŚĞƌĂů ĂĐƟǀŝƟĞƐ ŚĂǀĞ ŵŽǀĞĚ ĐĞŶƚƌĞ ƐƚĂŐĞ͘ ĞĮŶŝŶŐ ƚŚŝƐ ůĂŶĚƐĐĂƉĞ ǁŝůů ŚĞůƉ ƚŽ ĐŽŶƚĞǆƚƵĂůŝƐĞ ƚŚĞ ďƵŝůĚŝŶŐ ĂŶĚ ƵŶĚĞƌƐƚĂŶĚ ƉŽƚĞŶƟĂůƐ ĨŽƌ ŝƚƐ ĨƵƚƵƌĞ͘ :ƵƐƟŶ K͛ ŽŶŶŽƌ ĨŽĐƵƐĞƐ ŽŶ ƚŚĞ ƐŚŝŌĞĚ ƌĞůĂƟŽŶƐŚŝƉ ƚŽ ƚŚĞ ƉƌŽĚƵĐƟŽŶ ĂŶĚ ĐŽŶƐƵŵƉƟŽŶ ŽĨ ĐƵůƚƵƌĞ ƚŚƌŽƵŐŚ ƚŚĞ ƉƵƌĐŚĂƐĞ ŽĨ ƐǇŵďŽůŝĐ ŐŽŽĚƐ ǁŝƚŚŝŶ ůŽĐĂůŝƐĞĚ ĐŝƚǇ ĞĐŽŶŽŵŝĞƐ͘ ǆƉůŽŝƟŶŐ͕ ĂŶĚ ďƵŝůĚŝŶŐ ŽŶ ƚŚĞƐĞ ĞĐŽŶŽŵŝĞƐ ĐŽƵůĚ ŚĂǀĞ ĐŽŶƐŝĚĞƌĂďůĞ ďĞŶĞĮƚ ĨŽƌ WŽƌƚůĂŶĚ tŽƌŬƐ ĂŶĚ ŽƚŚĞƌ ďƵŝůĚŝŶŐƐ ŽĨ ƐŽĐŝĂů͕ ĞĐŽŶŽŵŝĐ ĂŶĚ ŚŝƐƚŽƌŝĐĂů ǀĂůƵĞ͘

d, &hdhZ dŚĞ ĨƵƚƵƌĞ ŽĨ WŽƌƚůĂŶĚ tŽƌŬƐ ĂŶĚ ƚŚĞ ƚƌĂĚŝƟŽŶĂů ĐƌĂŌƐ ƌĞůǇ ŽŶ ŝŶǀĞƐƚŵĞŶƚ ĂƩƌĂĐƚĞĚ ƚŚƌŽƵŐŚ ƚŚĞ ŵĂƌŬĞƟŶŐ ƐƚƌĂƚĞŐŝĞƐ ĂŶĚ ƉƵďůŝĐŝƚǇ ĐƌĞĂƚĞĚ ďǇ ŽƉĞŶ ĚĂǇƐ ĂůŽŶŐ ǁŝƚŚ ƌĂĚŝŽ ĂŶĚ ƚĞůĞǀŝƐŝŽŶ ŽƉƉŽƌƚƵŶŝƟĞƐ͘ ůƚŚŽƵŐŚ ƚŚĞƌĞ ƐĞĞŵƐ ƚŽ ďĞ Ă ƉƵďůŝĐ ĂƉƉĞƟƚĞ ĨŽƌ ŝƚƐ ƐƵƌǀŝǀĂů ƚŚĞ ĞǆƉĞĐƚĞĚ άϲϱϬ͕ϬϬϬ ƉŽƵŶĚƐ ŶĞĞĚĞĚ ƚŽ ƉƵƌĐŚĂƐĞ ƚŚĞ ďƵŝůĚŝŶŐ ŝƐ Ă ƚĂůů ŽƌĚĞƌ ƚŽ ĂĐŚŝĞǀĞ ƚŚƌŽƵŐŚ Ă ĐŽŵŵƵŶŝƚǇ ŽĨ ƐƚĂŬĞŚŽůĚĞƌƐ ĂŶĚ ƌĞĂůůǇ ƚŚŝƐ ƌĞůŝĞƐ ŽŶ ƚŚĞ ĂĚĚŝƟŽŶ ŽĨ ŽƚŚĞƌ ŐĞŶĞƌŽƵƐ ĚŽŶĂƟŽŶƐ͘ KŶĐĞ ƚŚĞ ďƵŝůĚŝŶŐ ŚĂƐ ďĞĞŶ ƉƵƌĐŚĂƐĞĚ ĂŶĚ ŝƚƐ ĨƵƚƵƌĞ ŚĂƐ ďĞĞŶ ƐĞĐƵƌĞĚ ďǇ ƚŚĞ ĐŽŵŵƵŶŝƚǇ͘ 'ƌĂŶƚ ĂŝĚ ŽĨ άϱϬϬ͕ϬϬϬ ʹ άϮŵŝůůŝŽŶ ĐĂŶ ďĞ ůĞǀĞƌĞĚ ĨƌŽŵ ƚŚĞ ƚŽǁŶƐĐĂƉĞ ŚĞƌŝƚĂŐĞ ŝŶŝƟĂƟǀĞ ƚŚƌŽƵŐŚ ƚŚĞ ŚĞƌŝƚĂŐĞ ůŽƩĞƌǇ ĨƵŶĚ ĂǀĂŝůĂďůĞ ĨŽƌ ƚŚŽƐĞ ĂƌĞĂƐ ĞǆƉĞƌŝĞŶĐŝŶŐ ƐŽĐŝĂů ĂŶĚ ĞĐŽŶŽŵŝĐ ŶĞĞĚ͘ dŚŝƐ ĂƉƉůŝĐĂƟŽŶ ǁŝůů ŚĂǀĞ ƚŽ ďĞ ƐƵƉƉůĞŵĞŶƚĞĚ ǁŝƚŚ Ă ŵŝŶŝŵƵŵ ŽĨ Ϯϱй ĐĂƉŝƚĂů ĨƌŽŵ ŽƚŚĞƌ ŝŶǀĞƐƚŽƌƐ ĂŶĚ ĮŶĚŝŶŐ ƚŚĞ ͚ƌŝŐŚƚ͛ ĐŽŵƉĂƟďůĞ ŝŶǀĞƐƚŽƌƐ ǁŝůů ďĞ ĞƐƐĞŶƟĂů͘ DŽƐƚ ŽĨ ƚŚĞ ŝŶŝƟĂů ŐƌĂŶƚ ǁŝůů ďĞ ƚŽ ƐƚĂďŝůŝƐĞ ĂŶĚ ĐĂƌƌǇ ŽƵƚ ƌĞŵĞĚŝĂů ƌĞƉĂŝƌ ǁŽƌŬ ƚŽ ƚŚĞ ƐƚƌƵĐƚƵƌĞ ĂŶĚ ŵĂŬĞ ƚŚĞ ďƵŝůĚŝŶŐ ǁĂƚĞƌ ƟŐŚƚ͘ ZĞĨƵƌďŝƐŚŝŶŐ ƐƉĂĐĞƐ ĐƵƌƌĞŶƚůǇ ŶŽƚ ŝŶ ǁŽƌŬ ǁŝůů ŚĞůƉ ŝŶĐƌĞĂƐĞ ŽĐĐƵƉĂŶĐǇ ĂŶĚ ŵĂǆŝŵŝƐĞ ŝŶĐŽŵŝŶŐ ƌĞǀĞŶƵĞ ŝŶ ƚŚĞ ƐŚŽƌƚ ƚĞƌŵ ǁŚŝĐŚ ĐĂŶ ďĞ ƉŽƵƌĞĚ ďĂĐŬ ŝŶƚŽ ĮŶĂŶĐŝŶŐ further work. ^ƚĞƌůŝŶŐ ĂŶĚ ƵƚĐŚĞƌ tŽƌŬƐ ĂƌĞ Ă ŐƌĞĂƚ ĞǆĂŵƉůĞ ŽĨ ŚŽǁ ĮŶĚŝŶŐ ĂŶ ŝŶǀĞƐƚŽƌ ǁŚŝĐŚ ŝƐ ŝŶ ƚƵŶĞ ǁŝƚŚ ƚŚĞ ƉůĂĐĞ ĂŶĚ ƐƉĂĐĞ ĐĂŶ ŐŝǀĞ Ă ƐŝƚĞ ŶĞǁ ůŝĨĞ ĂŶĚ ƉƌŽǀŝĚĞ ĂŶ ŽƌŐĂŶŝƐĂƟŽŶ ǁŝƚŚ Ă ŶĞǁ ŚŽŵĞ͘ ͚dŚĞ ZƵƐŬŝŶ Dŝůů ĚƵĐĂƟŽŶ dƌƵƐƚ͛ &ƌĞĞŵĂŶ ŽůůĞŐĞ͕ ǁŚŽ ŽƌŝŐŝŶĂůůǇ ĐĂŵĞ ƚŽ ƚŚĞ ĐŝƚǇ ŝŶ ƚŚĞ ϭϵϯϬ͛Ɛ ƚŽ ĚĞǀĞůŽƉ ĐƵůƚƵƌĂů ĂŶĚ ĞĚƵĐĂƟŽŶĂů ŽƉƉŽƌƚƵŶŝƟĞƐ ĨŽƌ ŝƚƐ ƐƚĞĞůͲǁŽƌŬĞƌƐ ĂŶĚ ŵŝŶĞƌƐ͕ ƉƌŽǀŝĚĞƐ Ă ďĞƐƉŽŬĞ ƚŚƌĞĞ ǇĞĂƌ ĞĚƵĐĂƟŽŶ ĨŽƌ ƐŝǆƚĞĞŶ ƚŽ ƚǁĞŶƚǇ ĮǀĞƐ ǁŝƚŚ ůĞĂƌŶŝŶŐ ĚŝĸĐƵůƟĞƐ͘ /ƚ ŚĂƐ ďĂƐĞĚ ŝƚƐ ĞĚƵĐĂƟŽŶ ŵŽĚĞů and curriculum around the metal working industries ŽĨ ^ŚĞĸĞůĚϭϴ͘ /ƚ ŝƐ ĐůĞĂƌ ǁŚǇ ƚŚŝƐ ŽƌŐĂŶŝƐĂƟŽŶ ĨŽƵŶĚ ŝƚƐ ƉůĂĐĞ ƚŚĞƌĞ ĂŶĚ ĐŽŵďŝŶĞĚ ǁŝƚŚ ͚dŚĞ ĐĂĚĞŵǇ ŽĨ DĂŬĞƌƐ͛ ǁŚŝĐŚ ƉƌŽǀŝĚĞƐ ĂƉƉƌĞŶƟĐĞƐŚŝƉ ƉůĂĐĞŵĞŶƚƐ ĨŽƌ ƐƚƵĚĞŶƚƐ ĨƌŽŵ ƚŚĞ &ƌĞĞŵĂŶ ŽůůĞŐĞ ƚŚĞ ƐŝƚĞ ŚĂƐ Ă ƉŽĞƟĐ ĂƵƚŽŶŽŵǇ͘ dŚĞ ŽƌŐĂŶŝĐ ĐĂĨĞ ͚&ƵƐŝŽŶ͛ ŽŶ ƐŝƚĞ ŚĂƐ ďĞĞŶ Ă ŐƌŽǁŝŶŐ ƐƵĐĐĞƐƐ ƐƚŽƌǇ ŐĞŶĞƌĂƟŶŐ ƌĞǀĞŶƵĞ ĨŽƌ ƚŚĞ ŽƌŐĂŶŝƐĂƟŽŶ͘ ,ŽǁĞǀĞƌ ƚŚĞ ƐƵĐĐĞƐƐ ŽĨ ƵƚĐŚĞƌ ǁŽƌŬƐ ŝƐ ƉĂƌƚůǇ ĚŽǁŶ ƚŽ ŝƚƐ ŵŽƌĞ ĐĞŶƚƌĂů ůŽĐĂƟŽŶ ǁŝƚŚŝŶ ĐůŽƐĞ ƉƌŽǆŝŵŝƚǇ ƚŽ ^ŚĞĸĞůĚ ,ĂůůĂŵ hŶŝǀĞƌƐŝƚǇ ĂŶĚ ƚŚĞ ͚ĚĞƐŝƌĂďůĞ͛ /Y ĂŶĚ ǁŝƚŚŝŶ ƌĞĂĐŚ ŽĨ ŐŽŽĚ ƚƌĂŶƐƉŽƌƚ ůŝŶŬƐ͘ Like Portland Works not all of the remaining works ĂƌĞ ŝĚĞĂůůǇ ƐŝƚƵĂƚĞĚ ƚŽ ĨƵŶĐƟŽŶ ĐŽŵŵĞƌĐŝĂůůǇ͘ tŚŝůƐƚ ƚŚŝƐ ŝƐ ƚƌƵĞ ƐŽŵĞ ƉĂƩĞƌŶƐ ĚŽ ĞŵĞƌŐĞ ĨƌŽŵ ƚŚĞ ƚǇƉĞƐ ϭϴ

ŚƩƉ͗ͬͬǁǁǁ͘ƌŵĞƚ͘ĐŽ͘ƵŬ͕ ͚ĨƌĞĞŵĂŶ ŽůůĞŐĞ͛

΀͘͘͘͘͞WƌŽďĂďůǇ ƚŚĞ ďĞƐƚ ďŽŽŬ ŽŶ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ ǁǁǁ͘ƐƚƵĚŝŽƉŽůƉŽ͘ĐŽŵ ƋƵĂƌƚĞƌƐ͕ ǁŚŝĐŚ ŚĂƐ Ă ĐĂƐĞ ƐƚƵĚǇ ŽŶ ^ŚĞĸĞůĚ͟ ^͘WĂƌƌŝƐ΁ dŚĞ ZƵƐŬŝŶ ĚƵĐĂƟŽŶ dƌƵƐƚ :ƵƐƟŶ >ĞǁŝƐ͕ ƌƚ͕ ĐƵůƚƵƌĞ͕ ĂŶĚ ĞŶƚĞƌƉƌŝƐĞ ͗ ƚŚĞ ƉŽůŝƟĐƐ ŽĨ Ăƌƚ ĂŶĚ ƚŚĞ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ ;>ŽŶĚŽŶ ͖͖EĞǁ zŽƌŬ͗ www.rmet.co.uk ZŽƵƚůĞĚŐĞ͕ ϭϵϵϬͿ͘ WůĂŶŶŝŶŐ ŝĚ ƵůƚƵƌĂů /ŶĚƵƐƚƌŝĞƐ YƵĂƌƚĞƌ ŐĞŶĐǇ͕ ϭϵϵϵ ƵůƚƵƌĂů /ŶĚƵƐƚƌŝĞƐ YƵĂƌƚĞƌ ĐƟŽŶ WůĂŶ ^ŚĞĸĞůĚ ŝƚǇ ŽƵŶĐŝů͕ ǁǁǁ͘ƌƚƉŝ͘ŽƌŐ͘ƵŬͬƉůĂŶŶŝŶŐĂŝĚ ^ŚĞĸĞůĚ͘ ΀ ůƚŚŽƵŐŚ WŽƌƚůĂŶĚ tŽƌŬƐ ŝƐ ŶŽƚ ǁŝƚŚŝŶ ƚŚĞ /Y ŝƚ ŽƵƚůŝŶĞƐ ƚŚĞ ƐƚƌĂƚĞŐŝĞƐ ĨŽƌ ƌĞŐĞŶĞƌĂƟŶŐ ĐŝƚǇ ͚ƋƵĂƌƚĞƌƐ͛ [The context of Portland works involves many ethical ŽƌŐĂŶŝƐĂƟŽŶƐ ĂŶĚ ĨƵŶĚŝŶŐ ƐƚƌĞĂŵƐ͘ dŚĞƐĞ ĂƌĞ ũƵƐƚ ĂŶĚ ĂƫƚƵĚĞƐ ƚŽ ĐŝƚǇ ĚĞǀĞůŽƉŵĞŶƚ͘΁ a few involved and sets out the wider network of ŽƌŐĂŶŝƐĂƟŽŶƐ ƚŚĂƚ ĞƚŚŝĐĂů ĐĂŵƉĂŝŐŶ ŐƌŽƵƉƐ ůŝŬĞ ƚŚŝƐ ƌĞůǇ ƌƟĐůĞƐ ŽŶ ĨŽƌ ƐƵƉƉŽƌƚ͘΁ ͚EŽǁ dŚĞŶ͛͘ /ƐƐƵĞ ϯϭ KĐƚ ϮϬϭϬ ZĞƐŽƵƌĐĞ ^ƵŵŵĂƌǇ ͚WŽƌƚůĂŶĚ tŽƌŬƐ͕ EĞǁƐ ĨƌŽŵ ƚŚĞ ůŝƩůĞ ŵĞƐƚĞƌƐ͕͛ ďǇ ĞƌĞŬ ΀dŚĞ ǁŝĚĞ ƌĂŶŐĞ ŽĨ ƌĞƐŽƵƌĐĞƐ ŝĚĞŶƟĮĞĚ ĂďŽǀĞ ŚĂƐ ŽŶůǇ DŽƌƚŽŶ ďƌŽĂĚĞŶĞĚ ƚŚĞ ĚŝƐĐƵƐƐŝŽŶ ĂŶĚ ĐŽŶƚĞǆƚ ĨŽƌ WŽƌƚůĂŶĚ 'ƌĂĐĞ WĂƌŶĞůů͕ ͞^ĂǀŝŶŐ WŽƌƚůĂŶĚ tŽƌŬƐ͕͟ ͕ ǁŽƌŬƐ͘ / ĨĞůƚ ŝƚ ǁĂƐ ŝŵƉŽƌƚĂŶƚ Ăƚ ƚŚŝƐ ƐƚĂŐĞ ƚŽ ŽƉĞŶ ƵƉ ĂƐ Ɖƌŝů Ϯϯ͕ ϮϬϭϬ͕ ƐĞĐ͘ WĞŽƉůĞ Θ WůĂĐĞƐ͕ ŚƩƉ͗ͬͬŶĞǁƐ͘ ŵĂŶǇ ĂǀĞŶƵĞƐ ĂƐ ƉŽƐƐŝďůĞ ďĞĨŽƌĞ ĨŽĐƵƐŝŶŐ ŽŶ Ă ƉĂƌƟĐƵůĂƌ ďďĐ͘ĐŽ͘ƵŬͬůŽĐĂůͬƐŚĞĨĨŝĞůĚͬŚŝͬƉĞŽƉůĞͺĂŶĚͺƉůĂĐĞƐͬ ĞůĞŵĞŶƚ ĚƵƌŝŶŐ ƚŚĞ ůĂƩĞƌ ŚĂůĨ ŽĨ ƚŚĞ ƌĞƐĞĂƌĐŚ ƉĞƌŝŽĚ͘ dŚĞ ŶĞǁƐŝĚͺϴϲϯϱϬϬϬͬϴϲϯϱϯϬϬ͘Ɛƚŵ ŵŽƌĞ ƐƵďũĞĐƟǀĞ ĂŶĚ ĞǆƉĞƌŝĞŶƟĂů ƉĂƌƟĐŝƉĂƚŽƌǇ ƌĞƐĞĂƌĐŚ ƚĞĐŚŶŝƋƵĞƐ ŚĂǀĞ ƉƌŽǀĞŶ ƚŽ ďĞ ƚŚĞ ŵŽƐƚ ŵĞĂŶŝŶŐĨƵů ŝŶ dŚĞ 'ƵĂƌĚŝĂŶ ͚,ĞƌŝƚĂŐĞ ĐƌĂŌƐ Ăƚ ƌŝƐŬ͛ ƌƟĐůĞ ϮϮŶĚ ƚĞƌŵƐ ŽĨ ƚŚĞ ŝĚĞŶƟĮĐĂƟŽŶ ŽĨ ŽƚŚĞƌ ƌĞůĞǀĂŶƚ ƌĞƐŽƵƌĐĞƐ DĂƌĐŚ ϮϬϭϬ͕ ďǇ :ŽŶ ,ĞŶůĞǇ͘ŚƩƉ͗ͬͬǁǁǁ͘ŐƵĂƌĚŝĂŶ͘ĐŽ͘ƵŬͬ and gaining a vital insight into the context and workings ƵŬͬϮϬϭϬͬŵĂƌͬϮϮͬŚĞƌŝƚĂŐĞͲĐƌĂŌƐͲĂƚͲƌŝƐŬ ŽĨ ƚŚĞ ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ͘ ĐĐĞƐƐ ƚŽ ƚŚĞ ͚ŵĂŬĞƌƐ͛ ŚĂƐ ĂůƐŽ ΀dŚĞƌĞ͛Ɛ Ă ŶĞĞĚ ƚŽ ďĞ ĐĂƵƟŽƵƐ ŽĨ ƉŽůŝƟĐƐ ĂŶĚ ŶĞĞĚ ƚŽ ďĞĞŶ ŝŶǀĂůƵĂďůĞ ƚŽ ƵŶĚĞƌƐƚĂŶĚ ƚŚĞ ƌĞůĂƟŽŶƐŚŝƉ ŽĨ ƚŚĞ ƵƐĞƌƐ ǁŝƚŚ ƚŚĞ ďƵŝůĚŝŶŐ͕ ƚŚĞ ƉƌŽďůĞŵƐ ƚŚĞǇ ĨĂĐĞ ĂŶĚ ƚŚĞŝƌ ƵŶĚĞƌƐƚĂŶĚ ƚŚĞ ͚ƌĞĂůŝƟĞƐ͛͘΁ ĂƐƉŝƌĂƟŽŶƐ ĨŽƌ ŝƚƐ ǁŽƌŬŝŶŐ ĨƵƚƵƌĞ͘΁ KƚŚĞƌ ŽĐƵŵĞŶƚƐ ŝƐƟŶĐƟǀĞ ^ŚĂƌƌŽǁ dŽŽůŬŝƚ͛ dŽŽů <ŝƚ ĨŽƌ ĐƟŽŶ͕͛ :ƵůŝŽ hĚĂůů ;^ŚĂƌƌŽǁ ŽŵŵƵŶŝƚǇ &ŽƌƵŵͿ͕ ϮϬϬϴ ΀dŚŝƐ ƐĞƚƐ ƚŚĞ ůŽĐĂů ĐŽŶƚĞǆƚ ĂŶĚ ĂƐƉŝƌĂƟŽŶƐ ƚŽ ƌĞƚĂŝŶ Ă ĚŝƐƟŶĐƟǀĞŶĞƐƐ ŽĨ ƉůĂĐĞ ŝŶ ŽƵƌ ĐŝƟĞƐ͕ ŝĚĞŶƟĨǇŝŶŐ ƉŽƚĞŶƟĂů ƐŝƚĞƐ͕ ĐŽŶƚĂŝŶƐ ĐƌĞĂƟǀĞ ƐƵƌǀĞǇ ƚĞĐŚŶŝƋƵĞƐ ĂŶĚ ƌĞŇĞĐƚƐ͘΁ ͚^ƵƐƚĂŝŶĂďůĞ ĨƵƚƵƌĞƐ ĨŽƌ ^ŚĞĸĞůĚ /ŶĚƵƐƚƌŝĂů ,ĞƌŝƚĂŐĞ͗ ZĞͲŝŵĂŐŝŶŝŶŐ WŽƌƚůĂŶĚ tŽƌŬƐ͛ ƌƟĐůĞ͕ dŚĞ hŶŝǀĞƌƐŝƚǇ ŽĨ ^ŚĞĸĞůĚ͕ ƌŝƐƟŶĂ ĞƌƵůůŝ ĂŶĚ :ƵůŝĂ hĚĂůů͘ ,ĞƌŝƚĂŐĞ >ŽƩĞƌǇ &ƵŶĚ͕ ͚dŽǁŶƐĐĂƉĞ ŚĞƌŝƚĂŐĞ /ŶŝƟĂƟǀĞ ^ĐŚĞŵĞ͕͛ ^ŚĞĸĞůĚ ƵůƚƵƌĂů /ŶĚƵƐƚƌŝĞƐ YƵĂƌƚĞƌ ƵĚŝŽ sŝƐƵĂů

ZĂĚŝŽ ϰ ďƌŽĂĚĐĂƐƚ ϭϵͬϬϰͬϮϬϭϬ ZŝŐŚƚůǇ ŝƚ ƌĂŝƐĞƐ ƚŚĞ ŝƐƐƵĞ ŽĨ ĐĞŶƚƌĂůŝƐŝŶŐ ƚŚĞ ƉƌĞǀŝŽƵƐůǇ ŵĂƌŐŝŶĂůŝƐĞĚ ĂŶĚ ŚŽǁ ƚŚŝƐ ĂīĞĐƚƐ ƚŚĞ ĚĞƐŝƌĂďŝůŝƚǇ ŽĨ Ă ZĂĚŝŽ ^ŚĞĸĞůĚ Ɖƌŝů ϮϬϭϬ ƉůĂĐĞ ĂŶĚ ĐŽŶƐĞƋƵĞŶƚůǇ ŝƚƐ ĂīŽƌĚĂďŝůŝƚǇ ĨŽƌ ƐŵĂůů ƐĐĂůĞ ͚ZĞͲŝŵĂŐŝŶŝŶŐ WŽƌƚůĂŶĚ tŽƌŬƐ͛ Θ ͚zŽƵ ĂƌĞ ǇŽƵƌ ŽǁŶ ďƵƐŝŶĞƐƐĞƐ ũƵƐƚ ƐƚĂƌƟŶŐ ŽƵƚ͘ ƐŽƵƌĐĞ ŽĨ ǁŽƌŬ͕͛ YƵŝĐŬƐĂŶĚ &ŝůŵ ϮϬϭϬ ,Žǁ ƉŽƉƵůĂƌ ĐƵůƚƵƌĞ ƌĞůĂƚĞƐ ƚŽ ƐƉĂĐĞ ĂŶĚ ƉůĂĐĞ͕ ĂŶĚ ƵŶĚĞƌƐƚĂŶĚŝŶŐ ƚŚĞ ƐŚŝŌ ŝŶ ŽƵƌ ƌĞůĂƟŽŶƐŚŝƉ ǁŝƚŚ ƚŚĞ ƉŽƐƚͲ ŚƩƉ͗ͬͬǁǁǁ͘ƋƵŝĐŬƐĂŶĚĮůŵƐ͘ĐŽŵͬƉŽƌƚůĂŶĚͲǁŽƌŬƐͬ ŵŽĚĞƌŶ ĐŝƚǇ ĐŽƵůĚ ďĞ ŬĞǇ ƚŽ ĚĞĮŶŝŶŐ ĂŶĚ ƵŶĚĞƌƐƚĂŶĚŝŶŐ tĞďƐŝƚĞƐ ǁŚĂƚ ƌŽůĞ WŽƌƚůĂŶĚ ǁŽƌŬƐ ĐŽƵůĚ ŚĂǀĞ ŝŶ ƚŚĞ ĨƵƚƵƌĞ͕͘ ǁŚĞƚŚĞƌ Ă ŵĂƌŐŝŶĂůŝƐĞĚ ĞǆŝƐƚĞŶĐĞ Žƌ ƉůĂĐĞĚ ĐĞŶƚƌĂů ƚŽ WŽƌƚůĂŶĚ tŽƌŬƐ KĸĐŝĂů ǁĞďƐŝƚĞ͖ ůŝǀĞ ĞĐĞŵďĞƌ ϮϬϭϬ ^ŚĞĸĞůĚ͛Ɛ ŝĚĞŶƟƚǇ ĂŶĚ ƌĞŐĞŶĞƌĂƟŽŶ ƐƚƌĂƚĞŐŝĞƐ͘΁ ǁǁǁ͘ƉŽƌƚůĂŶĚƐǁŽƌŬƐ͘ĐŽ͘ƵŬ ΀ ǀĞƌǇ ŝŶĨŽƌŵĂƟǀĞ ǁĞďƐŝƚĞ :ĂŶ sĞƌǁŝũŶĞŶ ĂŶĚ dĂŝĚĞƚĞŽůůŝŶĞŶ ŬŽƌŬĞĂŬŽƵůƵ͕ ƌĞĂƟǀĞ ƉƵƚ ƚŽŐĞƚŚĞƌ ďǇ ƚŚĞ ĐĂŵƉĂŝŐŶ ŐƌŽƵƉ͕ ŚŽǁĞǀĞƌ ŶŽƚ ƉĞĞƌ ĐŝƟĞƐ ͗ ĐƵůƚƵƌĂů ŝŶĚƵƐƚƌŝĞƐ͕ ƵƌďĂŶ ĚĞǀĞůŽƉŵĞŶƚ ĂŶĚ ƚŚĞ reviewed.] ŝŶĨŽƌŵĂƟŽŶ ƐŽĐŝĞƚǇ ;,ĞůƐŝŶŬŝ͗ hŶŝǀĞƌƐŝƚǇ ŽĨ ƌƚ ĂŶĚ ,ĞƌŝƚĂŐĞ >ŽƩĞƌǇ &ƵŶĚ ͛^ŚĞĸĞůĚ ƵůƚƵƌĂů /ŶĚƵƐƚƌŝĞƐ ĞƐŝŐŶ ,ĞůƐŝŶŬŝ͕ ϭϵϵϵͿ͘ YƵĂƌƚĞƌ͛ ΀tŝĚĞƌ ĐŽŶƚĞǆƚ ĐŚĂŶŐĞ ǀŝƐŝďůĞ ŝŶ ͛ĐƌĞĂƟǀĞ ĐŝƟĞƐ͛͘ dŚĞ ĞǆƉŽŶĞŶƟĂůůǇ ƐŚŝŌŝŶŐ ĐŝƚǇ ŵŽǀŝŶŐ ĨƌŽŵ ƚŚĞ ƐŽĐŝĂůůǇ www.hlf.org.uk ŽƌŝĞŶƚĂƚĞĚ ĂŶĚ ĞƐƚĂďůŝƐŚŵĞŶƚ ŽĨ ƚŚĞ ǁĞůĨĂƌĞ ƐƚĂƚĞ ŝŶ ƚŚĞ ϭϵͬϮϬƚŚƚŚ ĐĞŶƚƵƌǇ ƚŽǁĂƌĚƐ ƚŚĞ ĐƵůƚƵƌĞ ĂŶĚ ŝŶĨŽƌŵĂƟŽŶ English Heritage ůĞĚ ƌĞƉƵƌƉŽƐŝŶŐ ŽĨ ŽƵƌ ĐŝƟĞƐ ƚŽĚĂǇ͘ ΁ www.english-heritage.org.uk &ƵƌƚŚĞƌ ZĞĂĚŝŶŐ

Portland Works ͚dŚĞ ǁĞůů ŝŶŚĂďŝƚĞĚ ƌƟƐƚ ^ƚƵĚŝŽƐ͛

has accumulated in the courtyard. Some of tenants ǁŽƌŬ ǁŝƚŚ ĐŽŵŵƵŶŝƚǇ ŐƌŽƵƉƐ ŽīƐŝƚĞ ĂƐ ƚŚĞǇ ĂƌĞ ƵŶĂďůĞ ƚŽ ƐĂĨĞůǇ ƌƵŶ ǁŽƌŬƐŚŽƉƐ ŝŶ ƚŚĞ ǁŽƌŬƐ͘ DĂƌǇ ^ĞǁĞůů ŝƐ ĐƵƌƌĞŶƚůǇ ǁŽƌŬŝŶŐ ǁŝƚŚ ƚŚĞ ĂƌƚƐ ŵĞĚŝĂ ƉƌŽũĞĐƚ ƌƵŶŶŝŶŐ ƉŚŽƚŽŐƌĂƉŚǇ ǁŽƌŬƐŚŽƉƐ ǁŝƚŚ ǇŽƵƚŚ ŐƌŽƵƉƐ ĨƌŽŵ ĂƌŽƵŶĚ ^ŚĞĸĞůĚ͘ dŚŝƐ ĐŽƵůĚ ƉƌŽǀŝĚĞ Ă ĨƵƚƵƌĞ ƌĞǀĞŶƵĞ ƐƚƌĞĂŵ͕ allow further networking could occur with some of the ŽƚŚĞƌ ďƵƐŝŶĞƐƐĞƐ ĂŶĚ ĂůůŽǁ ĂĐƟǀĞ ƉƵďůŝĐ ĞŶŐĂŐĞĚ͘ dŚĞ ŚĞĂǀŝůǇ ǁŽƌŶ ƐƚĞƉƐ ĂŶĚ ĚĂŶŐĞƌŽƵƐůǇ ƐƚĞĞƉ ƐƚĞĞů ĞǆƚĞƌŶĂů ƐƚĂŝƌĐĂƐĞƐ ƉƌŽǀŝĚĞ ƐŽŵĞ ŽĨ ƚŚĞ ŽƚŚĞƌ ĐƵƌƌĞŶƚ ŚĂǌĂƌĚƐ͘ ůƚŚŽƵŐŚ ĐůĞĂƌŝŶŐ ĂŶĚ ƉƌĞƉĂƌŝŶŐ ƚŚĞ ƐŝƚĞ ĨŽƌ ŽƉĞŶ ĚĂǇƐ ŚĂƐ ŚĞůƉĞĚ ĐůĞĂƌ ƐŽŵĞ ŽĨ ƚŚĞ ǀĞŐĞƚĂƟŽŶ͕ ŵƵĚ͕ ĚƵƐƚ ĂŶĚ Ěŝƌƚ ďƵƚ ĨƵŶĚĂŵĞŶƚĂůůǇ ƚŚĞ ĨĂĐƚŽƌǇ ǁĂƐ Ă ƉůĂĐĞ ĨŽƌ ŚĂƌĚ ƉŚǇƐŝĐĂů ǁŽƌŬ ĂŶĚ ƐŽ ǀŽŝĚ ŽĨ ĂĐĐĞƐƐŝďŝůŝƚǇ ĐŽŶƐŝĚĞƌĂƟŽŶƐ ĨŽƌ ƚŚĞ ŐĞŶĞƌĂů ƉƵďůŝĐ͕ ƉĂƌƟĐƵůĂƌůǇ ƚŚĞ ƉŚǇƐŝĐĂůůǇ ŝŵƉĂŝƌĞĚ͘ EŽǁ ŝƚ ŝƐ ĂŶ ŝŵƉŽƌƚĂŶƚ ĐŽŶƐŝĚĞƌĂƟŽŶ ƚŽ ŝŶƐƵƌĞ ŝŶĐůƵƐŝŽŶ ĂŶĚ ĂĐĐĞƐƐŝďŝůŝƚǇ ĨŽƌ Ăůů ƚŚĞ ƉƵďůŝĐ͘

ƵƌŽƉĞĂŶ ZĞŐŝŽŶĂů ĞǀĞůŽƉŵĞŶƚ &ƵŶĚ ŝŶ ƚŚĞ EŽƌƚŚ tĞƐƚ

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School of English Literature, Language and Linguistics ‘Sense of Place’, Local and Regional Identity. As part of their module “Sense of Place, local and regional identity”, coordinated by Prof Joan Beal, a class of English Students have been working to develop projects such as oral histories, a record of how Portland has been documented throughout the city and a narrative and exhibition plan for a shop window in the city centre in the context of the Galvanize Sheffield Festival of Contemporary Metal. The content and insights developed in the context of these project will be used by the Portland Works campaign in the development of the business plan, the website, and, in particular, development of strategies for outreach to other parts of the city. The making of Portland Works The John Street Triangle and Portland Works Portland Works is a Grade II* Listed cutlery factory, in the mainly residential neighbourhood of Sharrow, situated just outside of Sheffield City Centre. Known as an ‘integrated works’, it is a three-story courtyard building with a series of small workshops surrounding a now derelict central shared engine house and chimney. Since it was built in the 1870s, it has been in continuous use for its intended purpose and significantly, was the first place in the world that stainless steel cutlery was manufactured, nearly a century ago. Current metalworking tenants include toolmakers, artisan knife makers, engravers, silver platers, steel-product manufacturers and even a chastity belt maker. In the last forty years the works has diversified; there are now musicians’ and artists’ studios, and a range of small businesses as well as the more traditional “Little Mesters”. “For us artists it’s about having a fantastic space with the metalwork going on, noise, dirt, the mix of makers being here influences the kind of work we do... To think that our studio was where Def Leppard first started? imagine the goings-on! ...It’s cold, and I don’t think there are any toilets that work... and we have mice and pigeons in the studio... but the light is fantastic...” Clare Hughes, Portland Works Artist A number of the Portland Works artists’ previous studios have been closed down or redeveloped and they state their concern for the dwindling affordable studio space available in Sheffield. This is echoed within the music industry: “Portland Works is situated in the John Street Triangle Conservation area, and is part of the largest concentration of music studios in the North of England. In other cities places to record like these have simply disappeared- and that has really affected their music scene... Portland Works, Stag Works next door, and Kenilworth and Electro Works down the road are the places where Warp Records, the Arctic Monkeys, Def

http://www.galvanizefestival.com/

Leppard, Reverend and the Makers... too many to name... all started out... and loads of others will too. Places like this feed the Cultural Industries Quarter and other more central places in the city- they’re start ups and crucial to the vitality of the music industry in Sheffield....” Alan Deadman, Little Sheffield Development Trust, Stag Works The works are all in a poor condition and facilities are few, but for this reason, they have some of the lowest rents in the city. The cheap rents mean that few improvements are made by the landlords, but tenants are able to modify the space to suit their basic requirements, often sub-letting, sub-dividing and extending the buildings. “...we all rub up well together... I’ll fix the machinery for Pam upstairs if she needs me to- and ‘The Gentlemen’ rang me to tell me my alarm was going off at night... we help one another out... Stu’s workshop, well he lets bands rehearse there at night when he’s not working... one band told me that they were complimented in having a great bass sound in their new record- and they didn’t know what it was- until they realised it was my hammer, and they’d all been playing in time to it subconsciously.” Andrew Cole, Wigfull Tools, Portland Works In addition to affordability, it is the proximity to other similar businesses and makers that makes it so desirable to the metalwork and creative industries, allowing space to be shared and processes, materials and skills to be exchanged. These layers and practices that exist assert a claim to be acknowledged in any plan for the future for this part of the city and need to be represented. They also offer the potential of a richer and more sustainable future for Portland Works...

Background to this project Last year the landlord of Portland Works submitted an application to close the works and convert it into tiny bedsit flats. The tenants and others have opposed this and are now proposing alternative futures for the site. The current plan is to purchase the building through a community share issue in order to retain it as affordable business space, whilst developing the opportunities for offering education and heritage on site. Part of this campaign has been discovering and representing the value and richness of the place to others- be they planners, funders, local residents, or the tenants themselves. This is important not only to strengthen relationships with and responsibilities for one another, but also to determine how we should move forward and the potential this site offers. Some of this richness is hidden from view, whether because it is tentative and temporary or because it is historical and anecdotal... or in some cases it has been deliberately hidden from view. By making this public we hope to consider what places like Portland and the John Street Triangle contribute to their cities; be it socially, economically or physically.

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Researching with students

Brief Group 1: Metalworking and Heritage Crafts To create an oral history of metalworking and heritage crafts at Portland Works that can become part of the Portland Works website, our archive and feature in our exhibition for the ‘Galvanise’ festival in April. This can draw on the John Street Triangle Business Audit, the “Disappearing Acts” series in the G2 supplement of the Guardian and the upcoming metalwork and heritage crafts audit being carried out by Sheffield City Council as a starting point. There are also opportunities to interview current and past tenants of Portland including (potentially) a metalworker working at Portland in 1939 and others for whom this has been a place for work for their parents before them. Group 2: Music and Art An audit of the John Street Triangle has recently been carried out in order to provide the evidence for it to be designated as an area of Business and Industry in the Sheffield Development Plan, rather than an area of Offices and Housing. During this process we realised that the musicians and artists often use space informally, borrowing or sharing space. This brief would be to map the spaces of the artists and musicians in the John Street Triangle, considering how these provisional, shared or make shift spaces are appropriated. What is the relationship between the place and those who work and create here? How do cities benefit from these kinds of spaces and informal economies? Group 3: What does Portland Works mean to Sheffield? There have been a number of formal and informal exhibitions, news reports, blogs, magazine articles and events about Portland Works over the past few months. Some of these have been instigated by campaign members and others have been spontaneous, instigated by people who understand the city as interconnected and this place as relating to their identity. This group will gather artefacts, texts and images and consider the significance of the ways others have represented Portland Works. A key aspect of this will be to work with and inform filmmakers who are planning a series of short films on Portland Works and to provide the context for the other two identity groups. Group 4: Galvanise Festival and the Portland Works Shop Window To produce a shop window that explores the identity of Portland Works, publicises the campaign and presents the metalworking aspects of the place in a way that resonates with a city centre location and the people of Sheffield. This will be a prominent part of the Galvanize Sheffield Festival of Contemporary Metal, which runs from 25 March – 24 April 2011. You may design a revolving exhibition which changes during the course of the display or there may be one

design which is fixed but perhaps allows the collection of further information useful to your project and the development of an idea of the identity(ies) of the Works. The first version of the window itself must be ready by the 14th March 2011, and prior to this for review by the Portland Works Committee at a board meeting for approval and development. This may involve selecting and curating objects form the works, photographs, history and research carried out by your group, other project groups, or people at Portland Works.

Technical and festival information The window will be directly opposite Debenhams corner entrance in what use to be Samuels Jewellers. The window is 2.5 metres long by 1.7 metres high and the depth is about 50-60cm. The window pane has a join strip of wood down the middle because the area is so large it needs two pieces of glass but the display area is one whole window. There is a slightly smaller window adjacent to it. You must include “In association with Galvanize Sheffield, Festival of Contemporary Metalworking smaller underneath title” and also use the Portland Works branding which has been developed by the campaign. The festival organiser suggests “I think it is very important to personalise this. The place is as much about the people and what they do there. The public get bored of another piece of Archaeology, but your Works is a lively vibrant place.” In addition to the brief set out by the Portland Works Committee the students are asked to keep a diary and reflective diary and portfolio case study of the project. It should be submitted as a portfolio which may include audio-visual material, photographs, clippings, brochures and leaflets, etc., but should include a written account of up to 4,000 words.

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“As part of our research we conducted a survey of people who attended the open day. We had around 48 responses and collated all of these into graphs to represent the data. This graph shows the amount of people who had heard of Portland works before the open day. As we can see most people had heard of Portland works, and so we would assume are there to find out more and show support for the campaign. When we asked people how they had heard of PW. Most heard through friends and family, (word of mouth) and a similar number heard through either the website or through some part of the media campaign. The thing we found the most interesting about this graph is that PW is still best known for its cutlery trade, which is of course its original heritage. We feel this graph is one of the most revealing in terms of the perception and what the building means to the people of Sheffield. After the open day people were more excited and interested than they were before the open day which is a testament to the kind of place it is. The ‘other’ section also rose a lot. This was our particular favourite. Many people expressed some kind of comment about being outraged that it was threatened, but most said it made them feel really proud of Sheffield. The other thing we liked was that no one was bored at any point!!! This set of graphs really shows how successful the open days are, everyone was made aware of the campaign, and everyone wanted to help. This is the most interesting outcome of our questionnaire. The question was, what does PW mean to Sheffield. This image shows all the responses we were given, the bigger the word, the more it was mentioned.”

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Researching with students

The School of Journalism Students from the MA in Broadcast journalism, with course leader Marie Kinsey, chose to feature the Portland Works campaign, as part of their thesis project. The interviews, with tenants, campaigners and local politicians were edited, compiled and posted on YouTube and have contributed to raising the profile of the campaign. They were also embedded on the Sheffield University Journalism website, JUS News in March 2011, with a written piece leading to further interest from the University Newspaper, Forge Press. Students involved included; Emma Wass, Ruth Etherington, Tom Wright and Caroline Nicque.

â&#x20AC;&#x153;JUS News is the place where postgraduate students post up stories. A mix of web, broadcast, print and magazine student journalists learn to use Wordpress, practice writing for the web and add value to their stories using multimediaâ&#x20AC;? JUS News http://www.jusnews.co.uk/about-us/ http://www.youtube.com/watch?v=gRvU 944Th7M http://www.jusnews.co.uk/2011/03/portla nd-works-in-danger/ http://www.youtube.com/watch?v=jiLp_r Nr5bM&feature=related

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Faculty of Architecture: Building History, Building Archaeology and Heritage Conservation, TU Munich Tangible and intangible heritage: a Workshop with undergraduate students This exchange workshop and site visit with students from TUM aimed to discuss the future of the building in terms of conservation of tangible and intangible heritage. Outcomes included discussion around the evaluation of a number of approaches for possible for the future of Portland Works, including reconfiguring the Works as a residential development, an industrial museum and as a working museum. Ideas for outreach and finance were also discussed, with an emphasis on conservation.

Despite the limited duration of this project, a valuable input to the research was brought by this cohort of students catapulted into the context of Portland Works for one day; this project, in particular, was helpful to critically review (and make a case for) decisions made and assumptions developed at earlier stages of the campaign. The workshop also broadened the vision of the project – the students immediately considered Portland in a European and even global context.

Outline of one-day workshop: University of Sheffield School of Architecture and TU Munich (Faculty of Architecture: Building History, Building Archaeology and Heritage Conservation) Date: Tuesday, April 05, 2011 Venue: Sharrow Community Forum, Main Hall, Old Junior School, South View Road, Sheffield 9:30 Welcome and introduction: Jo Lintonbon and Florian Kossak 9.40–10.15 Exhibition viewing (John Street Triangle and Portland Works: MAUD project work) and MAUD student-led presentation of course through project work. 10.20–11.05 Case Study TU Munich: Student led presentation of the historic industrial quarter in Augsburg, Germany 11.05–11.15 coffee break 11.15–11.40 Presentation by MAUD studio leader Irena Bauman: ‘Conflicts and synergies between urban design, regeneration, and conservation’. 11.40–12.00 Discussion MAUD students break away for tutorials. 12.15–12.50 Building visit to Portland Works with TUM students 13.00–14.00 lunch and transfer to School of Architecture SR 01 14.00–14.20 Presentation by Julia Udall: Portland Works Campaign ‘Tangible and Intangible Heritage’ 14.20–14.30 Introduction to workshop for TUM students 14.30 Workshop: scenarios for managing intangible and tangible heritage. Students to prepare arguments 16.15 Debate/presentation of results and summing up 17.00 End of session

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Researching with students

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Academic dissemination

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The Save Portland Works research has generated a number of outputs ranging from a business plan, exhibitions and films to a community share issue prospectus and we feel very strongly that the variety and complementarity of these outputs is one of the strengths of this research. This richness of outputs does include, however, more traditional academic outputs such essays and conference presentations.

OPPOSING PRACTICES: MAKING CLAIMS TO THE â&#x20AC;&#x2DC;WORKSâ&#x20AC;&#x2122; IN A POST-INDUSTRIALISED NORTHERN ENGLISH CITY

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Works I understood the claims on Portland W orks as carriers of energy and knowledge that would enrich and sustain the project, butt also as political gestures. They weree assertions of a need for the public to reclaim space in the city id not own the W orks, and many did not city.. The majority of those making claims did Works, even use it, yet they declared red a relationship to it and with that, â&#x20AC;&#x2DC;matters of concernâ&#x20AC;&#x2122; were brought into to consideration and desires articulated. As Doina Petrescu suggests; sts; â&#x20AC;&#x2DC;Sometimes Sometimes these claims are modest dest and informal, but what is important mportant is how to transform them into nto a brief, a challenge, and sometimes es a proposal that will give room oom to the multiplicity of desires and needs of diverse sets of users.â&#x20AC;&#x2122;â&#x20AC;&#x2122;6 Claims ms are made by people not only ly verbally ions, practices and the objects on which hich verbally,, but also through their actions, these claims bear re made, and how the matter of concern ern bear.. Crucial to this process is how these claims are is represented. Bruno Latour ur reminds us that with each representation ntation come layers of â&#x20AC;&#x2DC;â&#x20AC;&#x2DC;...translation, ...translation, betrayals...assembly, transmissions, betrayals...assembly assemblyy delegation, proof, argumentation, negotiation and conclusionâ&#x20AC;&#x2122;7 that ocess. Claims on Portland Works Works were re will all bear on what and whom are brought into the political process. MADEĂ?BYĂ?SHOWINGĂ? ATĂ?EXHIBITIONS Ă?THROUGHĂ?ARTWORKĂ?CREATEDĂ?FORĂ?THEĂ?CAMPAIGN Ă?INĂ?MAGAZINESĂ?ANDĂ?POSTERS Ă? MADEĂ?BYĂ?SHOWINGĂ? ATĂ?EXHIBITIONS Ă?THROUGHĂ?ARTWORKĂ?CREATEDĂ?FORĂ?THEĂ?CAMPAIGN Ă?INĂ?MAGAZINESĂ?ANDĂ?POSTERS Ă? BYĂ?TELLINGĂ? INĂ?PUBLICĂ?MEETING Ă? Ă? Ă? Ă? GS Ă?BLOGS Ă?NEWSPAPERĂ?ARTICLES Ă?PLAN Ă? Ă? Ă? Ă? NINNGĂ?OBJECTIONSĂ?ANDĂ?WORKSHOPS Ă?ANDĂ?BY Ă? Ă? Ă? Ă? Ă? Ă? BYĂ?TELLINGĂ? INĂ?PUBLICĂ?MEETINGS Ă?BLOGS Ă?NEWSPAPERĂ?ARTICLES Ă?PLANNINGĂ?OBJECTIONSĂ?ANDĂ?WORKSHOPS Ă?ANDĂ?BYĂ? DOINGĂ? THROUGHĂ?USINGĂ?THEĂ?SP Ă? Ă? Ă? Ă? PACE Ă?WORKINGĂ?PRACTICESĂ?ANDĂ?MODIFYING Ă? Ă? Ă? Ă? GĂ?THEĂ?FABRICĂ?OFĂ?THEĂ?BUILDING Ă?%ACHĂ?OFĂ? DOINGĂ? THROUGHĂ?USINGĂ?THEĂ?SPACE Ă?WORKINGĂ?PRACTICESĂ?ANDĂ?MODIFYINGĂ?THEĂ?FABRICĂ?OFĂ?THEĂ?BUILDING Ă?%ACHĂ?OFĂ? h b h with i h them a certain i power, power, related l d to not only l the he content off the claim but the particular l lar these brought nature of of its its form, form, whether whether it it took took the the very very personal personal and and temporal temporal nature nature of of â&#x20AC;&#x2DC;tellingâ&#x20AC;&#x2122;, â&#x20AC;&#x2DC;tellingâ&#x20AC;&#x2122;, or or the the potential potential new new nature meanings created created by by new new forums forums and and juxtapositions juxtapositions through through which which â&#x20AC;&#x2DC;showingâ&#x20AC;&#x2122; â&#x20AC;&#x2DC;showingâ&#x20AC;&#x2122; occurs, occurs, or or the the propositional propos tional meanings ether the potential for the development nt of and performative nature off â&#x20AC;&#x2DC;doingâ&#x20AC;&#x2122;. By understanding these together br ef for for the the future future of of the the works works became became richer richer and and more more democratic, democratic, bringing bringing difference difference in in meanings, meanings, a brief etations. words, visions and interpretations.

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The majority of these publications have has single authorship, which might appear at odds with the collective production ethos of the research. These publications, however, represent moments of reflection and sense-making within individual researchersâ&#x20AC;&#x2122; own body of work and reference systems. They are a preparatory step for collecting reflections and theorising across disciplinary fields of the participants, which is now beginning to emerge. Ă?

The â&#x20AC;&#x2DC;Alternative Futures forr Portland W orksâ&#x20AC;&#x2122; Campaign started inn response to the landlordsâ&#x20AC;&#x2122; decision in Worksâ&#x20AC;&#x2122; early 2009 to close the studios dios and workshops and convert the building into a small number of high-spec spec OFlCESĂ?ANDĂ?@LUXURY Ă?BEDSITĂ?mATS Ă?/NEĂ?OFĂ?THEĂ?KEYĂ?BATTLEĂ?GROUNDSĂ?FORĂ?THEĂ?CAMPAIGNĂ?GROUPĂ?WASĂ?THEĂ?ASSERTIONĂ? OFlCESĂ?ANDĂ?@LUXURY Ă?BEDSITĂ?m Ă? Ă? Ă? Ă?mATS Ă?/NEĂ?OFĂ?THEĂ?KEYĂ?BATTLEĂ?GROUNDSĂ? Ă? Ă? Ă? Ă? Ă? Ă? Ă?FORĂ?THEĂ?CAMPAIGNĂ?GROUPĂ?WASĂ?THEĂ?ASSERT Ă? Ă? Ă? Ă? Ă? Ă? TIONĂ? BYĂ?BOTHĂ?%NGLISHĂ?(ERITAGEĂ?ANDĂ?3HEFlELDĂ?#ITYĂ?#OUNCILĂ?CONSERVATIONĂ?OFlCERSĂ?THATĂ?THEĂ?@HERITAGEĂ?VALUE BYĂ?BOTHĂ?%NGLISHĂ?(ERITAGEĂ?A Ă? Ă? Ă? Ă? NDĂ?3HEFlELDĂ?#ITYĂ?#OUNCILĂ?CONSERVATION Ă? Ă? Ă? Ă? NĂ?OFlCERSĂ?THATĂ?THEĂ?@HERITAGEĂ?VALUE 3 to the city lay within the fabric ic of the building and therefore could be preserved by its conversion into 4 mATS mATS Ă?-AINTAININGĂ?THEĂ?BUILD Ă?-AINTAININGĂ?THEĂ?BUILD Ă? Ă? Ă? DINGĂ?ASĂ?AĂ?PLACEĂ?OFĂ?BUSINESSĂ?ANDĂ?LIGHT Ă? Ă? Ă? Ă? Ă? Ă? Ă? Ă?IĂ?INDUSTRYĂ?WASĂ?SEENĂ?ASĂ?@LOW VALUE Ă?INDUSTRYĂ?WASĂ?SEENĂ?ASĂ? Ă? Ă? Ă? Ă? LOW VALUE andd mATS Ă?-AINTAININGĂ?THEĂ?BUILDINGĂ?ASĂ?AĂ?PLACEĂ?OFĂ?BUSINESSĂ?ANDĂ?LIGHTĂ?INDUSTRYĂ?WASĂ?SEENĂ?ASĂ?@LOW VALUE NOTĂ?SUFlCIENTĂ?MOTIVATIONĂ?FO Ă? Ă? Ă? RĂ?THEĂ?LANDLORDĂ?TOĂ?PAYĂ?FORĂ?REPAIRSĂ?TO Ă? Ă? Ă? Ă? Ă? Ă? Ă? Ă?Ă?THEĂ? EĂ?DETERIORATINGĂ?FABRIC Ă?(OWEVER Ă? Ă?

Ă?MANYĂ? Ă? YĂ?OFĂ? NOTĂ?SUFlCIENTĂ?MOTIVATIONĂ?FORĂ?THEĂ?LANDLORDĂ?TOĂ?PAYĂ?FORĂ?REPAIRSĂ?TOĂ?THEĂ?DETERIORATINGĂ?FABRIC Ă?(OWEVER Ă?MANYĂ?OFĂ? the businesses based theree would not survive a move, and with ttheir closure would be not only mean an the loss of businesses and networks of people, but also the losss of specialist skills that are particular ar to 3HEFlELD 5Ă?Ă?4HEREĂ?WASĂ?AĂ?NEE Ă?4HEREĂ?WASĂ?AĂ?NEEDĂ?TOĂ?CLAIMĂ?0ORTLANDĂ?7ORKSĂ?ASĂ?MOREĂ?THANĂ?ANĂ?ARCHITECTURALLYĂ?SIGNIlCANTĂ?PARTĂ?OFĂ? Ă? Ă? Ă? EDĂ?TOĂ?CLAIMĂ?0ORTLANDĂ?7 Ă? Ă? Ă? Ă? ORKSĂ?ASĂ?MOREĂ?T Ă? Ă? Ă? HANĂ?ANĂ?ARCHITECTURALLYĂ?SIGNIlCANTĂ?PARTĂ? Ă? Ă? Ă? Ă? TĂ?OF Ă? Ă? THEĂ?BUILTĂ?FABRICĂ?OFĂ?3HEFlELD THEĂ?BUILTĂ?FABRICĂ?OFĂ?3HEFlELD Ă? Ă? Ă? Ă?

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quial term used to describe a self-employed ployed cutlery worker in the 19th CCentury. A â&#x20AC;&#x2DC;Little Mesterâ&#x20AC;&#x2122; is a colloquial entury. Individual crafts people would ould rent a unit around a shared furnace, ace, each taking his or her specialist part Individual INĂ?THEĂ?PROCESSĂ?OFĂ?MAKINGĂ?A Ă? Ă? Ă? Ă? Ă? NĂ?ITEM Ă?THISĂ?GAVEĂ?mEXIBILITYĂ?TOĂ?THEĂ?P Ă? Ă? Ă? Ă? Ă? Ă? Ă? ROCCESSESĂ?ALLOWINGĂ?THEĂ?MAKERSĂ?TOĂ?RESPON Ă? Ă? Ă? Ă? Ă? NDĂ? INĂ?THEĂ?PROCESSĂ?OFĂ?MAKINGĂ?ANĂ?ITEM Ă?THISĂ?GAVEĂ?mEXIBILITYĂ?TOĂ?THEĂ?PROCESSESĂ?ALLOWINGĂ?THEĂ?MAKERSĂ?TOĂ?RESPONDĂ? to market demand. Prior to the creation of integrated works suchh as Portland, which brought people sters would cart their goods between works in wheelbarrows. Portland Works Works o together in one place, Mesters usiness, collective, band or sole trader er is still comprised of these workshops and studios, each small business, renting a space around the shared central courtyard.

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rtland Works W Some of those based at Portland collaborate on what they make - either through commissions 356

parties. Each object triggers riggers new occasions to passionatelyy differ and dispute. Each object may also offer new ways of achieving hieving closure without having to agree ee on much elseâ&#x20AC;Ś In other words, objects bjects - taken as so many issues ues - binds us all in ways that map out ut a public space profoundly differentt from what is usually labelled abelled under â&#x20AC;&#x2DC;the politicalâ&#x20AC;&#x2122;.9

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made a 4HEĂ?MEANINGĂ?OFĂ?ANĂ?OBJECTĂ?ISĂ?NOTĂ?RIGIDLYĂ?DElNED Ă?ITĂ?ISĂ?SETĂ?INĂ?AĂ?NETWORKĂ?OFĂ?RELATIONSĂ?ANDĂ?OFFERSĂ?NEWĂ? 4HEĂ?MEANINGĂ?OFĂ?ANĂ?OBJECTĂ?ISĂ?NOTĂ?RIGIDLYĂ?DElNED Ă?ITĂ? SĂ?SETĂ?INĂ?AĂ?NETWORKĂ?OFĂ?RELATIONSĂ?ANDĂ?OFFERSĂ?NEWĂ? possibilities when considered red collaboratively and in the new context ntext of other â&#x20AC;&#x2DC;objects of concernâ&#x20AC;&#x2122;. They hey are not certain facts, they are open for debate and because of this, his, an object-based way of creating the constituency and issues forr the campaign also brings with it the opportunity for transformation.

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Ă? 4HEĂ?lRSTĂ?OFĂ?THESEĂ?OBJECTS Ă?MADEĂ?ASĂ?ANĂ?INITIALĂ?RESPONSEĂ?TOĂ?THEĂ?0LANNINGĂ?!PPLICATIONĂ?TOĂ?CONVERTĂ?THEĂ?7ORKSĂ? 4HEĂ?lRSTĂ?OFĂ?THESEĂ?OBJECTS Ă?M Ă? Ă? Ă? Ă? Ă?MADEĂ?ASĂ?ANĂ?INITIALĂ?RESPONSEĂ?TOĂ?THEĂ?0 Ă? Ă? Ă? Ă? Ă? Ă? Ă? LAANNINGĂ?!PPLICATIONĂ?TOĂ?CONVERTĂ?THEĂ?7 Ă? Ă? Ă? Ă? Ă? ORRKSĂ? INTOĂ?mATSĂ?WASĂ?AĂ?SERIESĂ?OFĂ?DISPLAYĂ?BOARDSĂ?ONĂ?THEĂ?WINDOWSĂ?OFĂ?0ORTLANDĂ?7ORKS Ă?@0ORTLANDĂ?7ORKS INTOĂ?mATSĂ?WASĂ?AĂ?SERIESĂ?OFĂ?D Ă? Ă? Ă? Ă? Ă? Ă? ISPLAYĂ?BOARDSĂ?ONĂ?THEĂ?WINDOWSĂ?OFĂ?0ORT Ă? Ă? Ă? Ă? Ă? Ă? TLANDĂ?7ORKS Ă?@0ORTLANDĂ?7ORKS 10 posters rs

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There might i h be b no continuity i i in i our opinions, i i s, but there is a hidden continuity andd a hidden coherence in whatt we are attached to. Each object gathers thers around itself a different assembly ly of relevant $)34).#4)6%Ă?3(!22/7Ă?!#4)/.Ă?'2/50 $ )34).#4)6%Ă?3(!22/ /7Ă?!#4)/.Ă?'2/50 3HEFlELD Ă?5+ 7(/ Ă?COREĂ?GROUPĂ?OFĂ?RESIDENTSĂ?ANDĂ?ACTIVISTSĂ? Ă?COLLABORATORSĂ?ANDĂ?PARTICIPANTS 7(/ Ă?Ă?COREĂ?GRO Ă? OUPĂ?OFĂ?RESIDENTSĂ?ANDĂ?ACTIVISTSĂ? Ă?COLLABORATORSĂ? Ă? Ă? Ă? Ă? Ă? Ă? Ă?Ă?ANDĂ?PART Ă? ICIPANTS 7(!4 7( !4 4 community munity Design 7%" 7 %" http://www.sharrowcf.org.uk/distinctive-sharrow http://www www.sharrowcf.org.uk/distinctive-sharrow +%97/2$3Ă?community +% 97/2$3Ă? design - urban action - participation - neighbourhood

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The Distinctivee Sharrow Action group formed to carry out ut a series of built environment projects p nded to the desires in their neighbourhood, which responded of people living ng and working there. The Distinctive Sharrow w TToolkit oolkit sets out a series of actions ons and suggests how they can be achieved through collective action; aiming to develop skills and relationships as they happen. appen. Projects may be physical interventions erventions at small or large scale, or temporary ry, making events to temporary, alter the way space is used or perceived. They can be carried ed out by the group OORĂ?BYĂ?INmUENCINGĂ?OTHERS Ă?DEVELOPMENTĂ?PROJECTS Ă?#URRENTĂ?PROJECTSĂ?INCLUDEĂ?SIGNAGE Ă? RĂ?BYĂ?INmUENCINGĂ?OTHERS Ă?DEVELOPMENTĂ?PROJECTS Ă?#URRENTĂ?PROJECTSĂ?INCLUDEĂ?SIGNAGE Ă? THEĂ? DEVELOPMEENTĂ?Ă? OFĂ? AĂ? NEWĂ? PUBLICĂ? SPACE Ă? mAGS Ă? AĂ? TREASUREĂ? HUUNTĂ?Ă? ANDĂ? AĂ? FESTIVALĂ? INĂ? THEĂ?DEVELOPMENTĂ?OFĂ?AĂ?NEWĂ?PUBLICĂ?SPACE Ă?mAGS Ă?AĂ?TREASUREĂ?HUNTĂ?ANDĂ?AĂ?FESTIVALĂ?INĂ? empty shops. Those T involved have commissioned artists, written briefs carried out research, created c events and held workshops. Members of o the group are also involved in the Portland W orks project Works

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had been had been designed des gned featuring featuring a number number of of tenants tenants inn their their place place of of work work with with the the things things that that they they make. make. 4HEYĂ?WEREĂ?P Ă? Ă?Ă?PRODUCEDĂ?INĂ?ORDERĂ?TOĂ?PRESENTĂ?0ORTLANDĂ? Ă? Ă? Ă? Ă? Ă? Ă?ASĂ?AĂ?THRIVING Ă? Ă? Ă? Ă? Ă?WORKINGĂ?PLACEĂ?DElNEDĂ? Ă? Ă? Ă?BYĂ?PEOPLE Ă?SKILLS Ă? Ă? 4HEYĂ?WEREĂ?PRODUCEDĂ?INĂ?ORDERĂ?TOĂ?PRESENTĂ?0ORTLANDĂ?ASĂ?AĂ?THRIVING Ă?WORKINGĂ?PLACEĂ?DElNEDĂ?BYĂ?PEOPLE Ă?SKILLSĂ? Ă? and practices.. es.. The creation of the posters made those featured on them public representatives sentatives of the campaign, gn, empowered to speak by virtue of them being named and visible, also then hen responsible for representing nting others, such as their neighbours. s. A Portlandâ&#x20AC;&#x2122; tenant made a series of display boards so that the posters could be presented on the elevation, evation, in the street, visible to passersby ersby, telling passersby, people what at was happening â&#x20AC;&#x2DC;in hereâ&#x20AC;&#x2122;.11 Their location ation was chosen to address the issuee that the activity in the he courtyard building was hidden from m the street; it was realised that the proximity of a residential population did not guarantee a unitedd community based on physical adjacency ency. We We hoped adjacency. TOĂ?COMMUNI Ă? ICATEĂ?THEĂ?SIGNIlCANCEĂ?OFĂ?THEĂ?PROPOSEDĂ? Ă? Ă? Ă? Ă? Ă? DĂ?PLANNINGĂ?APPLICA Ă? Ă? TIONĂ?TOĂ?THOSEĂ?LIVINGĂ? Ă? Ă? Ă? Ă?NEARBY Ă?ASĂ?THEĂ? TOĂ?COMMUNICATEĂ?THEĂ?SIGNIlCANCEĂ?OFĂ?THEĂ?PROPOSEDĂ?PLANNINGĂ?APPLICATIONĂ?TOĂ?THOSEĂ?LIVINGĂ?NEARBY Ă?ASĂ?THEĂ? 0LANNINGĂ?.O Ă? OTICEĂ?lXEDĂ?TOĂ?AĂ?LAMPPOSTĂ?MIGHTĂ?NOTĂ?HA Ă? Ă? Ă? Ă? Ă? Ă? Ă? AVEĂ?BEENĂ?ADDRESSI Ă? Ă? NGĂ?AĂ?PUBLICĂ?AWAREĂ?O Ă? Ă? Ă? Ă? FĂ?THEĂ?BUSINESSES Ă? Ă? 0LANNINGĂ?.OTICEĂ?lXEDĂ?TOĂ?AĂ?LAMPPOSTĂ?MIGHTĂ?NOTĂ?HAVEĂ?BEENĂ?ADDRESSINGĂ?AĂ?PUBLICĂ?AWAREĂ?OFĂ?THEĂ?BUSINESSESĂ? Ă? based at Portland rtland W orks. Works.

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The second object produced in Portland W orks wass the communal noticeboard, made in answer nswer to the Works question: â&#x20AC;&#x2DC;â&#x20AC;&#x2DC;IfIf there is one immediate change to the building what should that be?â&#x20AC;&#x2122; The nextt week it appeared %%.#/5.4%23 .#/5.4%23

Opposing Practices: Making Claims to the â&#x20AC;&#x2DC;Worksâ&#x20AC;&#x2122; in a Post-industrial Northern English City, by Julia Udall. Pages 355â&#x20AC;&#x201C;364, an invited essay in the book:

maker.. The noticeboard became the place where other under the main entrance arch, h, courtesy of the coat hook maker were with meetings oobjects bjects w ere aassembled; ssemb ed; ppapers apers w ith rrequests equests ffor or iinformation, nformation, m eetings ppromoted, romoted, bbusiness usiness ssupport upport ooffered, ffered, press cuttings placed and business usiness cards pinned. This â&#x20AC;&#x2DC;thingâ&#x20AC;&#x2122; was deemed eemed crucial as a physical entity situated ated in the place that was the object ject of concern; it was the space that those hose involved had in common.12 The third MODIlCATIONĂ?APPEAREDĂ?INĂ?RES Ă? Ă? Ă? SPONSEĂ?TOĂ?THEĂ?ARTISTS Ă?CONCERNĂ?THATĂ?T Ă? Ă? Ă? Ă? Ă? Ă? HEĂ? th step was unsafe and on Portland W MODIlCATIONĂ?APPEAREDĂ?INĂ?RESPONSEĂ?TOĂ?THEĂ?ARTISTS Ă?CONCERNĂ?THATĂ?THEĂ? Works orks Open Days their 7th step wass unsafe and it may be a risk forto public ic access; a shiny new bolt courtesy of the tool maker appeared.13 This This gesture, gesture, as as the the others others before before represented represented a practice, practice, inn this this case case that that of of the the tool tool maker. maker. This â&#x20AC;&#x2DC;practiceâ&#x20AC;&#x2122; consisted sted of his particular knowledge and know-how, know-how ow-how, the material â&#x20AC;&#x2DC;objectsâ&#x20AC;&#x2122; availablee to him, h m, his his care care for for the the artists artists and and the the building build ng and and his his commitment commitment to to tthe he shared shared event event of of the the open open days. days.

@%NCOUNTERSĂ? ISĂ? SĂ? AĂ? 3HEFlELDĂ? BASEDĂ? GROUPĂ? OFĂ? INTERDISCIPLINARYĂ? NTERDISCIPLINARYĂ? YĂ? ARTISTSĂ? WHOĂ? DEVISEDĂ? AĂ? programme of arts projects using disused shop spaces and street treet based interventions that involved participation p ecting of urban histories. with local residents and the collecting W ate participatory processes that enable people people to explore new stories Wee aim to create to live by on individual, inddividual, local, city wide and global levels. These se stories are then retold to a wider community com mmunity through exhibitions, public art, perform mance, publications and performance, UNIQUELYĂ? TAILOR MADEĂ? TAILOR OR MADEĂ? EVENTS Ă? %NCOUNTERS Ă? RECENTĂ? EXPANSIONĂ? EXPANSIOONĂ?Ă? REmECTSĂ? OURĂ? FOCUSĂ? ONĂ? creating spaces es and processes for people from all walks of life liife to re-look at who and how they are inn the world at this time of ecological crisis and nd opportunity opportunity.â&#x20AC;&#x2122;.â&#x20AC;&#x2122;

4HEĂ?FOURTHĂ?MODIlCATIONĂ?WASĂ?TOĂ?AĂ?LETTERĂ?BOX Ă?WHICHĂ?WASĂ?REPAINTEDĂ?ANDĂ?EMBLAZONEDĂ?WITHĂ?AĂ?HANDĂ?ENGRAVEDĂ? 4HEĂ?FOURTHĂ?MODIlCATIONĂ?WASĂ? Ă? Ă? Ă? SĂ?TOĂ?AĂ?LETTERĂ?BOX Ă?WHICHĂ?WASĂ?REPAINTEDĂ? Ă? Ă? Ă? Ă? Ă? Ă? Ă? Ă?ANDĂ?EMBLAZONE Ă? Ă? DĂ?WITHĂ?AĂ?HANDĂ?ENGRAVEDĂ? Ă? Ă? Ă? Ă? DĂ? celebratory sign proclaimingg â&#x20AC;&#x2DC;The Portland W Works orks Committeeâ&#x20AC;&#x2122;14. IItt was made when the campaign group these constituted and were able to accept donations and offers of services. ces. EEach ach of th ese small objects appeared, ared, 359

TRANS LOCAL ACT Cultural Practices Within and Across, edited by Doina Petrescu, ConstantinPetcou and NishatAwan, published by aaa/peprav, Devember 2010 as final output of the EU funded research project Rhyzom. Pdf of the whole book is available free of charge at www.rhyzom.net.

artists Collective, with core membersh self organised art, workshops and pu

3 3HEFlELDĂ?ANDĂ?5+ WIDE Ă? Ă? 7(/ Trish 7(/ Trish O Oâ&#x20AC;&#x2122;Shea, â&#x20AC;&#x2122;Shea, Ruth Ben-Tovim, Ben-Tovim, Teo Teo Greenstreet, Sophie Sopphie Hunter, Hunter, Ruth Nutter, Nutter, Simon Seligman an and Ben Y Yeger eger 7 (!4 4 Relational onal Art 7(!4 7%" 7 %" http://www http://www.encounters-arts.org.uk/ www.encounters-arts.org.uk/ +%97/2$3Ă?creative +% 97/2$3Ă?creative c eati e collaboration - arts - ecology - place-making -making making

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Academic dissemination

Conferences

Transformative Knowledge Production the case of Re-imagining Portland Works KT Project, presented by Cristina Cerulli at the conference: Partnerships, Hybrids and Networks International Social Innovation Research Conference, Sa_d Business School, University of Oxford, 13 - 15 Sept 2010

Abstract This paper will provide a critical account of the Re-imagining Portland Works Project, a Knowledge Transfer project concerned with helping the local community to imagine a future that is environmentally, socially and economically sustainable for Portland Works, one of the outstanding examples of Sheffield’s industrial heritage threatened by redevelopment. The project set out to facilitate the exploration and appraisal of organisation types, business models, legal structures, ownership and management options that are available to small business communities based in industrial heritage (or historical) sites. Thanks to activities generated by this project, tenants felt empowered to organise themselves in Industrial Provident Society for the Benefit of the Community and embarked in a journey to purchase the building. The project is really about exploring how an informal group of ‘makers’ can become empowered to take on the organisation/financing/management of their workspace, to avoid eviction (which for many would mean the end of their current practice/activities), but also how an hotbed of unique local skills could survive creating its own economy. The paper will discuss the active and transformative role of this ‘knowledge transfer’ project and discuss lessons learnt, findings and insight that might be transferrable in similar contexts.

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“Don’t mourn, organise!” Presented by Steve Connelly from the Department of Town & Regional Planning, University of Sheffield at the conference: Working Together: Partnerships, Regeneration and the Common Good in the Arts and Beyond, CADRE School of Art & Design Conference, The Public, West Bromwich, 9 October 2010 http://www.blackcountrycreativeadvanta ge.org

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Academic dissemination

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Abstract This paper discusses the processes and outcomes of ‘Common Grounds’ a studentled colloquium for PhD and early career researchers in architecture and associated disciplines, held in January 2011. The event aimed to explore the specificities of architectural research, including research by design, performative and activist research, with particular focus on methodologies. The intention is to build capacity, develop thematic clusters and ongoing working relationships in order to support highquality research. Participants came from four UK universities, researching within departments including architecture, civil engineering and geography, and spoke across disciplines including art, sociology, theatre, computing, and history. Through a series of presentations, discussions and workshops a number of themes emerged, reflecting a shift in architectural concerns and strategies towards a more socially engaged and critical research practice in the built environment. These included: Approaching research from a design background: valuing and legitimizing design research Reflecting, critiquing or making the world? The role of the researcher/practitioner Design as solution, design as proposition, design as desire? Ontological positions and conflicts between disciplines and traditions Unwieldy work with borrowed tools? Epistemological differences within and across disciplines

Portland Works_Sheffield, presented by Julia Udall in a public session within the context of the: Temporary Urbanism Symposium, organised for the Master of Arts in Urban Design, School of Architecture, Universityof Sheffield, 23rd November 2010. Knowing Common Grounds, presented by Anna Holder and Julia Udall from the School of Architecture, University of Sheffield at the conference: 'Social Change': Different disciplinary perspectives within the Faculty of Social Sciences; The Faculty of Social Sciences Postgraduate Research Student Conference, University of Sheffield, 4th April 2011.

Reflecting further on this final category, the authors consider knowledges of spatial practices and architectural production, referencing practice theory, power knowledge, feminist and activist ways of knowing. These will be discussed with relation to two PhD projects: ‘Initiating architecture: values and agency in transformative design praxis and the role of the architect in socially motivated projects’, and ‘Architecture by Other Means: representation and transformation’, with reference to the development of an alternative future for Portland Works.

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Collective Production and Action: the Re-imagining Portland Works Project to be presented by Cristina Cerulli and Julia Udall at the conference: Sustainable Futures: Enterprising Landscapes and Communities, 34thConference of the Institute for Small Business and Entrepreneurship (ISBE), 9th and 10th November 2011, Sheffield Keywords: collective; activism; empowerment; coproduction;

Abstract Objectives/ This paper will reflect on the aspects of collective production and action to create a shift towards more sustainable business, cultural and civic communities. This reflection is situated within the context of the Re-imagining Portland Works Project, a Knowledge Transfer project concerned with helping the local community to imagine a future that is environmentally, socially and economically sustainable for Portland Works, one of the outstanding examples of Sheffieldâ&#x20AC;&#x2122;s industrial heritage. In particular the complexities and the mutual interplay of actors and networks will be discussed in the context of a collective production that encompasses the cultural, business and civic spheres. Furthermore the strategic role that academia can play, through research and research led teaching, in facilitating the emergence and successful establishment of collectively powered social innovation will be discussed. Prior Work/ Collective production and action will be discussed in relation to literature from the domains of management, psychology, sociology and architecture.

Approach/ The KT project set out to facilitate the exploration and appraisal of organisation types, business models, legal structures, ownership and management options available to small business communities based in industrial heritage (or historical) sites, working, in particular, with Portland Works. A number of activities were designed to achieve this objective, but the research was also deliberately left open to allow meaningful engagement and active contribution from all actors involved. The KT project explored how an informal group of â&#x20AC;&#x2DC;makersâ&#x20AC;&#x2122; can become empowered to take on the organisation/financing/ management of their workspace, to avoid eviction (which for many would mean the end of their current practice/activities), but also how an hotbed of unique local skills could survive creating its own economy. Despite the rhetoric of the funding programme, implying a transfer of knowledge from the University to the outside, the approach was very much one of collective authorship and horizontal production. Results/ Thanks to activities generated by the KT project, tenants and supporters felt empowered to set-up an Industrial Provident Society for the Benefit of the Community and embarked on a journey to purchase the building through community share issue. Implications and Value/ Awareness of the dynamics of collective civic production and action can enable and support social innovation and resilience by strengthening the signal of bottom up initiatives, creating significant changes and results even in the context of general scarcity of resources. It is crucial that policy recognises this to enable strategic and informed allocation of support.

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Acknowledgments

The research described in this book was very much a collective effort, made of many hours of voluntary engagement and input. A collective thank you to all on behalf of everybody.

Photography credits Anna Holder Anya Sutton

Portland Works Tenants, Portland Works Committee, Cllr Jillian Creasy, Cllr Paul Scriven, MP Paul Blomfield, Sheffield University Architecture Department, Sheffield University Journalism Department, Sheffield University English Department, Sharrow Community Forum, Now Then Magazine, Local Sharrow and Sheffield Residents/Activists, Bank Street Arts, Sheffield Civic Trust, Sheffield Town Trust, S1Artspace, Open Up Sheffield, Access Space, Maybridge Commercial, SCEDU, Little Sheffield Development Trust, Quicksand Films, Sheffield Co-ops Development Agency, Sheffield University Planning Department, University of Sheffield Management School, Sheffield City Council Corporate Strategy, Sheffield City Council Forward and Area Planning, Studio Polpo, Cadence Works, The Building Preservation Trust, Sheffield City Council Small Grants, Pictures of Sheffield Old and New, Alex Pettifer MBE, Galvanize, Sheffield City Council Community Assembly, Museums Sheffield, Conservation Advisory Board, Enterprise Learning Coordinator Sheffield University, The Cultural Industries Quarter Agency, Sensoria Festival, The Architectural Heritage Fund, Creative Exchange South Yorkshire, Development Trust Association, Herbert Housley MBE, South Yorkshire Community Foundation, Yorkshire Forward, Business Link Yorkshire, Voluntary Action Rotherham, Co-operative Enterprise Hub, 00:/Architecture, The Useful Arts, Black Country Creative Advantage, The Heritage Crafts Association, IDIR, The Young Foundation, Technische Universit채t M체nchen, Community Matters- National Federation of Community Organisations, Rhyzom Project/Network, Linda McAvan MEP, Richard Shaw, Sheffield Live!, Eleven Design and many other individuals, too numerous to mention who have and will continue to give their time and energy.

Eric Winnert Helen Monro Herbert Housley Ian Spooner Julia Udall Luis Arroyo Mark Wallis Martin Pick Mary Sewell Rohan Francis

Illustrations credits Jordan Jay Lloyd Julia Udall Tom Vigar Dorian Moore Caroline Jackson Cristina Cerulli Mark Parsons Shujie Chen Tian Xiuying Sam Brawon James Sexton Steve Connelly Florian Kossak

For the production of this book we would like to thank Eleven Design for their willingness to help, despite a very tight timescale. Special thanks also go to Jordan Jamie Lloyd and Tom Vigar for their tireless help with graphics and insightful comments. Finally we would like to acknowledge the support of the University of Sheffield through a Rapid Response Knowledge Transfer grant.

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ISBN 978-1-908441-00-3

Antenna Press is an independent publisher that promotes transformative practice in collaboration with Studio Polpo.

RIBA PW cover:Layout 1 12/05/2011 11:12 Page 2

ISBN 978-1-908441-00-3

Antenna Press is an independent publisher that promotes transformative practice in collaboration with Studio Polpo.