IQBAL HASHIM
VOL: I Profile & Selected Works
PART I: Personal Information
B MOHD IQBAL BIN HASHIM
+60 16 849 8704 ikebal.hashim@gmail.com L704, Lorong Depo 6, Taman Suriza, Jalan Depo, 93050 Kuching, Sarawak
BIOGRAPHY
S MULTIDISCIPLINARY ENTANGLEMENT The many forms of entanglement, e.g. hybrid, adaptation, and rejection almost always prompts a different perspective on an issue that otherwise obscured from the architectural perspective alone.
Kuching2021
Iqbal Hashim is an conservationist-designer based in Kuching. Graduated with Master of Architecture in 2020, his works are heavily informed by his specialisation: Anthropology in Architecture. Working across disciplines, Iqbal primarily draws from his own socio-spatial investigation to experiment with architecture. His joint work “Palimpsest City” with Ismail Rahim was exhibited in REX:KL during the Kuala Lumpur Architectural Festival 2019. He also has written Inherent (Ir)Rationality & Embodied Consumption for Lanai Zine in 2021. Currently, Iqbal is collaborating with NORIS Architect as one of their associates after working as their assistant architect since 2016. At the same time, he is undergoing an apprenticeship with Saring Society. Under the group, he studies Dusun material culture, and learn to chase & carve copper with Dusunic patterns. As part of his architectural praxis, he sometime posts contents on domestic culture and designs on social media. IG PROFILES @iqbal_hashim @serapi__s @ru__ter
CURRICULUM VITAE Education Background 08.2018-08.2020 UNIVERSITI TEKNOLOGI MARA, KAMPUS PUNCAK ALAM (my) Master of Architecture, LAM Part II 09.2014-09.2015 SHEFFIELD SCHOOL OF ARCHITECTURE, UNIVERSITY OF SHEFFIELD (uk) Master of Arts (Conservation & Regeneration) 01.2008-12.2012 UNIVERSITI TEKNOLOGI MARA, KAMPUS SHAH ALAM (my) Bachelor of Science (Architecture), LAM Part I
Area of Interest Urban bodies framework Ritual & spaces
Professional Experience Associate, 03.2020-current Assisstant Architect, 03.2016-08.2018 NORIS ARCHITECT, AYER KEROH (my) Assisstant Architect, 04.2012-03.2014 K.E.GUAY ARCHITECT, KLANG (my)
Affiliation Architectural Collaborator, 08.2018-current DATUM ARQUITECTURA, VIGO (es) Student in orientation, 12.2020-current Saring Society, SABAH (my)
Language English (proficient) Bahasa Melayu (native)
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Competition, Exhibition, Conference & Teaching ONGOING BAKAT MUDA SEZAMAN 2021 (NATIONAL ART GALLERY) Finalist, ‘The Charter for a Beautiful City’ 09.2021 THE 2ND INTERNATIONAL K@BORNEO CONFERENCE 2021 Paper presenter, ‘A reflection on Dusun brass work as popular literature’ 04.2021 BA (Hons.) INT. ARCH. STUDIO 04: YMCA HOSTEL (UCSI) Invited internal reviewer 06.2019 ESOK LUSA EXHIBITION, KLAF 2019 (REX:KL) Exhibitor: Palimpsest City 05.2019 BSc ARCH STUDIO 06: COMMUNITY CENTRE (UiTM) Critique panel 09.2018-12.2018 BSc ARCH STUDIO 01: DESIGN COMMUNICATION Teaching assistant
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08.2018 DI ANTARA ITU & INI EXHIBITION (NATIONAL ART GALLERY) Participant for Sabri Idrus ‘The Donut Project’
Skills Scholarly research & writings Residential & institutional planning & design Cultural & heritage conservation & management
Awards BDP LIVE PROJECT PRIZE (2016) University of Sheffield (uk) DEAN’S LIST (2008) Universiti Teknologi MARA (my)
SELECTED PROJECTS Cadangan Membina Dan Menyiapkan Dewan Kuliah Dan 4 Bilik Kuliah Beserta Kemudahan Berkaitan Di Atas Lot 2049, Kolej Risda, Mukim Ayer Pa’abas, Daerah Alor Gajah, Melaka Cost: RM 5,100,000 Status: Completed Involvement: Project management (final completion phase) Involvement duration: 2.5 years Roles: Client-consultant & site meeting, leading pre-testing & commissioning tests, leading defects inspections
Cadangan Membina Dan Menyiapkan Sebuah Banglo 2 Tingkat Di Atas Lot No. 128, Jalan Dato’ Hj. Musa, Mukim Jasin, Melaka
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Cost: RM 529,000 Status: Completed Involvement: Project management (contract documentation, contract implementation & final completion phase) Involvement duration: 2.5 years Roles: Contract administrator, leading site inspection & solving onsite issues, liaising with other consultants (surveyor, engineers) & trades specialists
Cadangan Membina Dan Menyiapkan Sebuah Banglo 2 Tingkat Di Atas Lot 3180, Mukim Klebang Besar, Melaka Tengah, Melaka Cost: RM 448,000 Status: Completed Involvement: Project management (contract implementation & final completion phase) Involvement duration: 2.5 years Roles: Contract administrator, leading site inspection & solving onsite issues
Proposed 200 Beds Medical Centre For Selgate At Bandar Baru Bangi, Selangor Cost (proposed): RM 140,000,000 Status: Preliminary design Involvement: Schematic Design Phase Involvement duration: 0.5 years Roles: Commercial (hotel) section designer, conducting design meeting, liaising with medical planner
Cadangan Membina Dan Menyiapkan Rumah Sesebuah Dua TIngkat Di Atas Lot 7762, Mukim Durian Tunggal, Daerah Melaka Tengah, Hang Tuah Jaya, Melaka Cost (proposed): RM 420,000 Status: Completed Involvement: Planning & detail design, Contract selection (schematic design, design development phase & contract documentation phase) Involvement duration: 2 years Roles: Chairing design meeting; liasing with various trades for prices verification; selecting, inviting, evaluating & awarding contract; chairing construction kick-off meeting
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Cadangan Membina Dan Menyiapkan Rumah Sesebuah Satu Tingkat Di Atas Lot 976, Mukim Telok Mas, Daerah Melaka Tengah, Melaka Cost (proposed): RM 150,000 Status: Contract documentation Involvement: Planning & detail design (schematic design & design development phase) Involvement duration: 0.5 years Roles: Liaising with planning department of local approving authority, spatial design detailing, conducting design meeting, leading site study
MOHD IQBAL BIN HASHIM +60 16 849 8704 ikebal.hashim@gmail.com L704, Lorong Depo 6, Taman Suriza, Jalan Depo, 93050 Kuching, Sarawak
REFERENCE
Academic Nik Farhanah Nik Azhari HEAD OF CENTRE OF STUDIES (ARCHITECTURE) CENTRE OF STUDIES FOR ARCHITECTURE UITM KAMPUS PUNCAK ALAM nikfarhanah@uitm.edu.my +60 3 3258 6105 Ar. Embong bin Mohamad SENIOR LECTURER CENTRE OF STUDIES FOR ARCHITECTURE UITM KAMPUS PUNCAK ALAM embong5863@uitm.edu.my +60 19 987 4709
Affiliation Ar. Nor bin Ismail PRINCIPAL ARCHITECT NORIS ARCHITECT noris.architect@hotmail.com +60 6 251 9124 Adrián Rio Lado ARCHITECT DATUM ARQUITECTURA info@datumarquitectura.com +34 616 50 50 98
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PART II: Selected Works
K The 2nd International K@Borneo Conference 2021, sep 2021
A REFLECTION ON DUSUN BRASS WORK AS POPULAR LITERATURE It is widely understood that Dusun local wisdom is transferred visually through its cultural motifs and patterns in various forms. However, few have taken it into consideration beyond the semiotic and aesthetic. Of late, most research has been focusing on deconstructing the cultural patterns into meaning – ‘what is?’. But could it be that the pattern on an object culture is also a form of popular literature? Therefore, the author inquired from the perspective of ‘what for?’, subsequently informing the central idea of the nature of the pattern existence – ‘why?’. In reflecting the author’s experience on traditionally producing the saring, what to portray on the copper object culture was actively negotiated and chosen. Material scarcity, skill demand, and tools and technique limitations all contributed to some things being more important than the others to be portrayed. Combined with the existing body of knowledge on tangon (storytelling), sundait (riddles), and rinait (incantations), the copper object culture then could be seen as an extension to the Dusun oral tradition: popular literary works. This new perspective on Dusun object culture appreciation adds to the depth in evaluating its significance. Crossing into a – postmodernist – artistic direction, the author is keen on re-examining the object culture through exhibiting. This exhibition provides a space for cultural debate hence becoming the site for cultural reconstruction and revival.
Discussion
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• Story is in the form of pattern made from the composition of motifs. • 3 story telling variants all have narrations. • The pattern created is the embodied story telling. • story telling took the form of literature • The saring produced specifically for the author ‘Ranau Plain’ is an assemblage of paddy field & hill. • The most common story told.
Story - Ranau plain (Source: author)
For the st must chang
Story - Winning entry for Skuad Anak Pattern - Paddy between hills Ranau (Source: facebook.com) (Source: author)
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Keywords: Object culture, intangible heritage, Dusun brass work, popular literature, traditional storytelling Kata kunci: Objek budaya, warisan tidak ketara, tembaga Dusun, kesusasteraan rakyat, cerita rakyat Introduction
Figure 1: Saring tambaga.
Dusun copperwork has been recorded as an object culture since late 1800 when Sabah then was British North Borneo 1. Documented evidence pointed out that these brassworks was intentionally used in three situations: daily, war and raid expeditions, and ritual 2. Each situation has its own – sometimes overlapping – set of brass object culture adorned. However, its daily adornment is now uncommon although its consumption is of significant value to its cultural heritage. The evaluating perspective when judging this culture is what needs to be reinterpreted to rediscover the significance of this brass object culture. The focus will be turned towards the brass object culture used daily, forthwith called tambaga 3. For of this article, the tambaga will refer to both surviving traditional and contemporary brass object culture. They can be divided following the area in which they will be adorned: head, torso, arm, and leg. This system of adornment is one of the consumption methods that survived The earliest dated copper object culture in the online collection of the British Museum is around mid-1800s. Most of these objects were collected and donated to the museum by early ethnographers on their field studies around the same year. In 1888, a treaty was signed in agreement to establish North Borneo as British Protectorate (The British Museum, 2021). 2 The digitised collection of British North Borneo showed the extent of coppers being used as daily adornment. Several photographs also depicted the Dusun in full war attire, copper armours, and weapons but only for the sake of the photograph (The National Archives UK, 2021). 3 From the interviews with coppersmith artisan Adam Kitingan, tambaga in Dusunic language refers to both copper and copper alloy. The contemporary differentiation between copper dan brass is tambaga mirah and tambaga kuning. 1
as part of the Dusun cultural heritage. The author however is cautious with the current cultural revivalism trend. Although it brought about the rediscovery of Dusun cultural heritage, it also increases the risk of appropriation and profiteering. This makes understanding the various perspective ever more urgent to prevent an ill-informed consumption of the culture to become normative. This brings us to the very nature of the problem inquired in this paper: the meaning of the tambaga. It is not the purpose of this article to describe the semiotic of the object culture any more than that by itself is an embodiment of the Dusun. The existing body of knowledge on the subject matter brought us to explore another problem that warrants this reflective paper. Could it be that the pattern on an object culture is also a form of popular literature? Two subsequent questions then can be drawn to address the main problem. What does the pattern embody? How does the pattern tell a story? These questions which were drawn from the author’s artisanal praxis provided a new perspective that otherwise was given little attention to. Why, if ever, carve patterns on the tambaga? This perspective is significant in a way that it will add to the depth to appraising the Dusun cultural heritage. As mentioned previously, currently the is no serious attempt to interpret the patterns on the tambaga beyond the semiotic. This article then is an attempt to define the topic as a crucial research niche.
Methodology
The investigation was conducted primarily as the artisanal praxis of the author from late 2020. This is an immersive experience that is intentionally extended into academic research with experiential reflection as the primary analytical method. As an apprentice to a Dusun revivalist coppersmith, the author is learning the art of cold working 4 the copper as were practiced by the Dusun traditionally. Passive interviews were conducted throughout in the form of discussion with the master artisan. This provides insights into the Dusun traditional coppersmithing. Postextension, the reflection of the artisanal praxis is corroborated with an existing body of literatures concerning the oral culture of the Dusun. This methodology is heavily experiential thus, to prevent the argument from becoming arbitrary, both reflective analyses are grounded with the theories on production 5, and constructivism 6. The theories provided the framework for the working of society about to the production and exchange of cultures. The discussion section of this article will be presented following the narrative of the production of the tambaga, its change of hands, and finally its consumption. This narrative is important as the Marxist view of production being incomplete until the product is finally consumed. In other words, an object is only deemed produced as it is used (Marx, 1939). The usage however is never dictated as explained by Glasersfeld; that knowledge is never passed, only reconstructed (Von Glasersfeld, 1995). Therefore, the tambaga as a literary device and its patterns as literature can be understood when looking at this two-part production process, and the consumptions that happen within each. Cold working is the process of shaping, chasing-repoussing, and/or engraving heat-treated copper. The heat treatment is done by annealing the copper in a water bath to soften the metal before working with it. This method is not specific to the Dusun as it is a universal method to work with non-ferrous metal. 5 The seminal work of Marx explained comprehensively the theoretical framework of production concerning the social level. ‘Foundations of the Critique of Political Economy’ established that consumption is a part of the production, in which the production is distributed evenly across the society. 6 Radical Constructivism used mathematical learning as an analogy to the thoughts that posits knowledge can never be handed down; they can only be transferred only to be reconstructed by the student. In ‘Radical Constructivism’, the reality is constructed by personal experience and only true to the person. 4
K Urbanism: Beyond Empiric, International Study Workshop (ARK732), oct 2018
THE INHERENT BEAUTY OF ISTANBUL THROUGH EMBODIED NEGOTIATION WITH HER ALLEY CATS The purpose of this study is to synthesise the sequential process of urban placemaking by serving justice to its inhabitants. Notably, the study seeks to investigate the reflection of the negotiation process between the human and alley cats of Istanbul. This study on an alternative point of view on urban placemaking still lacks as similar areas of research are focusing on the humans and their exigencies only. The author seeks to extend this area of research by first establishing typologies of urban materiality, and second by studying the sequential process of placemaking grounded to the extended theory of justice when applied to the urban realm. The extended theory defined the spatial negotiation process as the act of serving justice within an urban space. An immersive study method was adapted where the author assumes the role of the visitor, actively observing and participating during the course of the field study in Istanbul. It was found that the negotiations that occur at various place embody and create Istanbul, rather than the assemblage of activities and materiality themselves. Currently, Istanbul is seeing an emerging trend of caring for stray animals, and this study can be an evidence-based justification to acknowledge the proper place of the alley cats in Istanbul. Although this study is limited to a specific context, it can contribute to a more profound point of understanding on urban placemaking.
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And to know one’s proper place is to understand its nature, both hidden and visible. This brings us to the second word, which is “construct”. Low has been writing extensively on the urban embodiment as the source of city construction. She theorised in [4] that to build a city, is to embody it with activities. Lastly, the word “beautiful” suggested a temporal quality to the city. The word also implied subjectivity of assessment of what beauty is – by situating it to realities. Rossi in [5] carefully deliberated that a collective logic that can be accepted by most inhabitants, although they are living in their individual realities of the city. This construction of logic is what drives the reconstruction of parts of the city, akin to a palimpsest. Thus, this study can be grounded to the theory positing that the act of negotiations while serving justice embodies spaces, therefore actively – construct and deconstruct – creating place imbued with inherent beauties of the nature of things involved. The beauty then, is experienced as the inhabitants, in turn, reconstruct the place through the assemblage of their mental images. To answer the critical problem posed earlier, two questions need to be satisfied. One question is concerning the negotiations between the alley cats and Istanbul. The question seeks to answer how justice is served to the alley cats of Istanbul. This is important as the act of putting things in its proper place embodies urban spaces. From this question, the materiality of urban space and place can be said as the result of the act of justice towards the cats. However, a preceding question has to firstly be addressed. This question is specifically concerning the habitual and characteristic of the cat, both natural and assigned. This is a crucial step as the question will answer the basis of the justice that should be afforded to the alley cats: their nature both visible and hidden. From this question, it was found that the illogical nature of the alley cats is made logical by anthropomorphising them. 1.2 Immersive study was done to understand the placemaking in Istanbul. During the field study, this author assumed the role of a tourist for one week in February 2020 in Istanbul. While being a part of Istanbul, observations was conducted on what the spatial negotiations in Istiklal thoroughfare has with her alley cats were carefully recorded, capturing how it was intended to be and how it actually became. At the same time, the author also consciously reconstructs his situated reality along the thoroughfare by framing the urban space as the author walked through the site – a method that was delineated in [6].
Figure 1: Istiklal thoroughfare. (Source: Author, 2020)
To ground both methods to the theoretical construct discussed above, the author interacted with the alley cats as how the local do. Therefore, learning to create the collective logic of the Istanbul from the point of view of the locals. This methodology is heavily experiencebased, as this author needed to imitate the locals. Therefore, repetitions of the immersion onsite are key to the data collection. The time constraint is addressed by sourcing documentation on cats. This methodology is beneficial as it can be done off-site both concurrently and outside the period of field study. From both, this author is able to establish the nature of the alley cats in Istanbul and the spatial negotiations between Istanbul and her alley cats. This author then treated the inventory created by simplifying and classifying them to see an emerging pattern. This first step of the analytical process is to study the relationship between urban materials and its use by the alley cats. This process of pattern analysis exposed the typology of peculiar urban structures that was associated with the alley cats. The second step of the analytical process is to map the emerged typologies along the path walked during the repeated immersive study. This step started with producing a figure-ground image of the route taken and then adding a visual boundary showing the extent of perceived space. Lastly, the images that was taken on ground and the typologies developed are mapped on the figureground diagram. As the pictures were taken mostly where the alley cats were found, the images and the typologies are mostly very close to each other. This mapping process exposed the space’s profiles, materials, and activities, therefore, provide an insight into their relationship. Finally, the findings are grounded to the theory of urban place making sequentially from acknowledging the nature, to serving justice, and to constructing the urban place by assigning causality within the grounded discourse. This causality is heavily referred to the existing documented nature of cats in Kedi and in [7]. These documents proved to be essential as the author/director was highly observant towards cats and their peculiar nature. The author will present the discussion in two parts: part 1 will submit the grounded discourse of the theoretical application in Istanbul, and part 2 will submit to this article the resulting urban material typologies from the spatial negotiation between Istanbul and her alley cats. 2 BEAUTIFUL CITY PART 1: AFFORDED JUSTICE When the spatial negotiation regarded as the act of justice towards the alley cats, it should be noted that it cannot happen when the nature of the alley cats has not been established. Therefore, it is important that the discussion in this first part must start with the above requirement. 2.1 Cats do not see human as their master. Though we sometimes treat (alley) cats as pets, they see us as equals. This is seen when they never seek to please us as dogs or horses do. Only sometimes offering gratitude by sharing their caught prey often to our horror. This incompatible valuing system we usually translate as illogical nature of cats. The way they conduct themselves are also illogical. Much to the amusement of the visitor to Istanbul, the cats are usually found perching on top of pedestals, and ledges. What we see as the alley cats perching on top of a hard to reach place is actually one of their habitual stationary activities. However, this author has found that behind this apparent nature, it is their forgotten role as predator that led them to behave in such a way. Much to the dismay of many, cats could not go down from the higher places that they so much preferred. This also has an underlying reason, where the curvature of their claws makes it impossible for them to go down a tree, for instance.
I Cadangan Membina Dan Menyiapkan Dewan Kuliah Dan 4 Bilik Kuliah Beserta Kemudahan Berkaitan Di Atas Lot 2049, Kolej Risda, Mukim Ayer Pa’abas, Daerah Alor Gajah, Melaka
norisarchitect, 2018 The completed complex is programmed to house a lecture hall and lecture rooms. This is a part of several development for the university complex. The planning proposed open circulation and several open spaces intended for various types of activities. Infact, the only enclosed spaces were the academicallyrelated rooms i.e., lecture hall and lecture rooms. This is a response to the requirement of lowered energy consumption, while still maintainng condusive learning spaces inside to rooms. In response to the parallel development, aesthetic treatment strategy were applied to tally with the others at selected part of the complex, while still maintaing its independency. The curvilinear form itself is a hallmark of the complex. Though blunt the forms sits very well with the meandering circulations of the hilly site.
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Cadangan Membina Dan Menyiapkan Sebuah Banglo 2 Tingkat Di Atas Lot No. 128, Jalan Dato’ Hj. Musa, Mukim Jasin, Melaka
norisarchitect, 2018 The client intention for his house is to be the gathering place for his (extended) family. He also intended to reside in the house after receiving his pension, perhaps it is due to his longing to return to his roots. From the stories acquired during several site visits with and without the client, it was understood that his family is well known in the kampung - his late father was an esteemed teacher. He was also birthed here (the original house is next door) where is ‘uri’ was buried on the very site. Technically, his brief required for a room for each of his now married children, we counter proposed for a bathroom that will be shared by two rooms with a common entry. This is so that odor will not seep into the bedrooms while promoting interaction among the family members. Studies were also proposed for the client, and living-dining-kitchen is a continuous space so that the space is effectively enlarged and became very flexible in usage.
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D Cadangan Membina Dan Menyiapkan Rumah Sesebuah Dua TIngkat Di Atas Lot 7762, Mukim Durian Tunggal, Daerah Melaka Tengath, Hang Tuah Jaya, Melaka
norisarchitect, 2018 Addressing the the client’s need for a low capital and maintenance residence, the main strategy applied for the house was the treatement of many bare surface finishes for different materials - bricks and r.c. structures among the others. Apart from being a practical solution, they will also become more attractive as they naturally age. This is unlike when painted of tiled over. Compartmentalised planning is avoided with care to give the owner a greater control to redefine the spaces of their home. The house is intended for a weekend home, and used for large gathering of the client’s family. Therefore, large and open common spaces were planned as to accommodate the activities as needed.
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Source: https://instagram.com/adzwan.ahmadi
R K Proposed 200 Beds Medical Centre For Selgate At Bandar Baru Bangi, Selangor
norisarchitect, 2017 The brief for the medical centre calls for a complex of geneal practitioner clinics, 200 beds hospitals, and apartment-hotel. A relatively new concept, the development is a complex of 3 building use. In response to that, the design proposed for a complex consists of 3 towers each correspond to the different building use. One of the critical part of the planning is the site approach and ciculation. This is due to the different requirement, and therefore management of each zone. The hospital and its requirements controlled the design and planning of the sites, and the other 2 towers. The planing opt for a below ground circulation, allowing a vehicle-free ground level apart from the emergency lane for the ambulance. This is to pedestrianised the level where greens and garden is designed.
Cadangan Membina Dan Menyiapkan Rumah Sesebuah Satu Tingkat Di Atas Lot 976, Mukim Telok Mas, Daerah Melaka Tengah, Melaka
norisarchitect, 2017 Rumah Telok Mas is intended for a family of 4 as the pensioners residence. The main challenge was to propose for a cost effective design which still account for the architectural aesthethic as the main part of the proposal. The solution was to selectively use the material textures as the aesthetic. Planning-wise, spaces were composed so that compartmentation is reduced down to the necessary. The main idea was that the house is effectively a large circulatory space, save for the bedrooms. This circulation was designed to be straight forward so that the reflected form and roof profile was similarly simple. This will allow for a simpler and lighter construction overall. Thus, the design itself provides for a more cost effective costruction.
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LOT 976
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82.50m 130° 35' 45"
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P KLAF 2019: Esok Lusa, REX:KL jun 2019
BEYOND DEATHMASK: PALIMPSEST CITY Coastal cities around the world in 2119 have been irreversably inundated. Water it seems, becomes unusable. Great inundation as we may call it kills cities and their images along with. This is the new narrative, a precursor to setting up the stage for a constructed realities. Cities which long known will disappear. However, potentials aroused in the form of its deathmask. This preconfigured clean slate is the state of rebirth of the cities. The reconstructed realities are then the enabler of such rebirth. ‘Beyond Deathmask’ narrates the death and rebirth of cities wiped by flood in our near future. It is true that we live in a common narrative. But it was being written by networks of agencies . Each of us in turn is affected differently by them. Hence within this narrative, we construct our own reality to existentially materialise ourselves. The collision of these constructed realities are what translate to the never ending persuasion of what is right and wrong in urban structures. However, they are all both at the same time because epistemology are never binary, only embodied.
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R Ephemeral Death: The Habitual Habitation
Constructing Reality: A Rhetoric of Palimpsest
Re-writing the City: A Future That Nobody Talks About
“Never Handed Down”: Constant Erasing & Rewriting
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S ARC6991: Live Projects, Sheffield School of Architecture, University of Sheffield
HEMMINGFIELD COLLIERY, 2014 Hemmingfiled Colliery is a design-conservation studio project involving the real client and stakeholders. The purpose of the exercise was to come out with a conservation planning & management proposal to be used as a guideline for the client to revitalised the redundant colliery in Sheffield. As part of the proposal, conservation works such as historical appraisal, and indirect building surveys was carried out on and off-site. But most importantly, public participation in the form of a public exhibition on the heritage asset was conducted during the project duration. The event was to gauge local attachment towards the colliery as well as to gather (his)stories otherwise undocumented officially. The outcome of the projects, apart from the models and drawings, were the Hemmingfield Colliery revitalisation document pack to be used as the guideline for future proposals of the colliery.
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