Re-Imagining Portland Works

Re-ImaginingPortland Works

ISBN 978-1-908441-00-3

4410107819089

ISBN 978-1-908441-01-090000 >

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

Published in 2011 by Antenna Press, Sheffield, UK.

Written by Cristina Cerulli, Julia Udall with material by manyothers that supported the Save Portland Works Campaign, asmentioned in the book.

Designed and realised by Eleven Design.

Printed at University Print Service, University of Sheffield.

©2011 Cristina Cerulli, Julia Udall, Portland Works IPS,University of Sheffield and Antenna Press.

(Images by kind permission of the photographers, in supportof Portland Works IPS).

This work is licensed under the Creative CommonsAttribution-NonCommercial-NoDerivs 3.0 Unported License.

ISBN 978-1-908441-00-3

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


Cristina Cerulli and Julia Udall

with material by many others that supportedthe Save Portland Works Campaign

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Re-ImaginingPortland Works

RIBA PW inners:Layout 1 12/05/2011 10:31 Page 3

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Introduction 7

Research intent 11

Timeline diagram 14

People and organisations involved diagram 16

Investigating the context 19

Precedents 27

Exploring futures 33

Reorganising 45

Reaching out 53

Researching with students 75

Academic dissemination 95

Acknowledgements 102

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Contents


66


Portland Works is a Grade II* Listed integrated cutlery factory. A hundred yearsago, it was the birthplace of stainless steel manufacturing. Today it is a hub ofcraft and innovation, home to a community of diverse and thriving businessesincluding metalworkers, engravers, artists, wood workers and musicians.

This project was initiated when the landlord submitted a Planning Applicationfor ‘Change of Use’: he proposed to close the Works and convert it into bedsitflats. Tenants, activists and local people worked first to oppose this, and then, topropose alternatives. The campaign started to stop Portland Works being wipedout, rather than preserving it, and in the process hatched a plan for how it mightevolve in the future.

This publication draws together and documents the research carried out by anumber of people wishing to consider what these alternatives might be and howthey might be achieved.

The ‘Portland Works Industrial and Provident Society (IPS)’ is on the cusp oflaunching Sheffield’s first community share issue for the purchase andrefurbishment 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 localplanning policy and galvanised local and national support. We have also got toknow 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 theproject as it developed, with no predetermined outcome. The main aim of thisresearch was the development and implementation of a framework for collectiveproduction and action where engaged scholarship, community activism andcommunity economic development converged to Save Portland Works fromspeculative redevelopment.

This book is a deliberately eclectic collection of fragments, traces and snapshotsof a civic action and a research process that worked together to envision andimplement equitable and sustainable community economic development for oneSheffield’s most significant pieces of heritage: Portland Works as spatial conduitand locus of manufacturing and craft, cultural production and civic engagement.

We hope that it will be useful for others wishing to embark on similar processesto hear about what we did; our successes, our mistakes and explorations.

Cristina Cerulli and Julia Udall

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Researchintent


Research QuestionsThis project set out to address and explore the followingissues:

1. What alternative futures are available to communitieswishing to develop economies, and safeguard theirassets, which are sustainable, just and equitable?

2. What strategies can be developed that empowerpeople to take control of their resources and to engagein collective activities and actions to create wealth andprosperity?

3. What can the role of university based activistresearch be in supporting democratic communityeconomics development?

Whilst these questions are prominent within disciplinessuch as planning, anthropology, geography and politicaleconomics, they are rarely addressed within architecture.

Research Aims and ObjectivesThe research questions were explored with and from acampaign to Save Portland Works (SPW), one of theoutstanding examples of Sheffield’s industrial heritagethat has became threatened by speculativedevelopment.

The aims of this research are to:

• Investigate the collective knowledge-production ofstrategies, tools and tactics available to economicallythreatened communities to enable the envisioning andenacting of sustainable futures.

• Make a case for and creating a useful precedent oftransformative and activist scholarly research withinarchitecture.

• Engage in the development and implementation of aframework for collective production and action whereengaged scholarship, community activism andcommunity economic development converged toactually Save Portland Works from speculativeredevelopment.

• Actively support the SPW campaign through ourresearch, leverage and any resources that we are ableto unlock.

These aims were tackled by setting the followingobjectives:

• Establishing and facilitating a process that allows forthe co-production and co-evaluation of the vision,tools, programme and governance of Portland Worksand a critical understanding of important relationships.

• Facilitating events (for campaign supporters, tenants,local residents, politicians and local, regional, andnational agencies), to positively explore and conceivealternative futures for PW.

• Positively framing and supporting the multiplicity ofapproaches, voices, registers and ways of operating,valuing contrasts, discrepancies and divergences. Thisdirectly resulted in the deliberately diverse,inhomogeneous and often unconventional spread ofresearch 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 anddeveloped by a range of researchers, both within andoutside the academy.

Research Context“...a building cannot be defined by what it is and what itmeans...but only by what it does: what kind of disputes itprovokes and how it resists to attempts oftransformation in different periods of time and accordingto the variable geometry of different human and nonhuman actors...it manifests agency in design; far fromshaping social identities and relationships, it simplyconnects architecturally.” (Yaneva 2009)

The project is concerned with helping the localcommunity to imagine a future that is environmentally,socially and economically sustainable for PortlandWorks, which is the birth place of stainless steelmanufacturing and a still vital part of the creative, smallscale manufacturing and heritage industries in the city.This research has facilitated the exploration andappraisal of business models, legal structures, ownershipand management options that are available. This has ledto the production of a resource pack that not onlydocuments the futures planning and options appraisalprocesses undertaken with the Portland Works tenantsand interested parties, but provides also a concise andaccessible guide for other groups undergoing similarprocesses.

Innovative aspects of this architectural research include:

• A focus on governance and management as designactivities, with the architect in enabling role, in thecontext of collective production.

• The broadening of the spectrum of architects’involvement, beyond the usual participation orconsultation approach, into other elements of theprocess, as participants, and with a view tounderstanding the spatial and relational implications ofthese other aspects.

• Openness of the research process: rather than beingpredetermined or planned from the outset, itgenuinely emerged, gradually, from conversations andcollaborations.

• Collective authorship and deliberate coexistence ofmultiple partial viewpoints

• Range of active participants from a range of local,regional and national community organisations andagencies.

• Extensive input from staff and students from theUniversity of Sheffield from Architecture, English,Journalism, Urban Design, Management, and Town andRegional Planning.

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Research intent

Research Methods and Processes“The question is to organise life according to a set ofpractical and theoretical hypotheses on ways to (self)emancipation... to establish a positive connection withthe subaltern, dispersed, and hidden knowledges, andthe production of a body of practical knowledges ofcounter-power.” (Colectivo-Situaciones 2003)

We consider this work a critically engaged activist pieceof research. By this we mean a research where there is adeclared commitment to engage with a shared politicalgoal amongst participants, whilst remaining critical. Thistype of 'militant research’ is necessarily co-produced andcollaborative. Our approach as university-basedresearchers has been to work with and from a campaigngroup, developing co-authored activist research that isdeeply embedded into the civic action. The genuineopenness to collective authorship determined thestructure of research, with multiple ways of researchingand multiple outputs, and the deliberate establishmentof a framework to mediate multiple and partialunderstandings. Instead of trying to re-conciliate orconceal partial views we tried to make them visible anduse them as a positive asset.

“...at the same time our activism deepened because ofour research” (“Engaged Scholarship and ScholarActivism” (J. Gordon Nembhard, 2008)

Rigour in activist research is about it being appropriateto its aims. Methodological rigour in activist research isof paramount importance as the lack of it could damagethe very cause that the research is working towardssupporting. There is a mainstream association ofmethodological rigour with the absolute control over theresearch process by the scholar; this misconception isoften a barrier in recognising rigour within activistresearch, where the commitment to collective andegalitarian knowledge production demand precisely theopposite: letting go of that control and engage in aresearch process that is open, responsive and horizontal.Activist research methods have also the built in test ofvalidity of whether they are meaningful or they work forthe participants that helped to formulate the researchgoals to start with.

The conceptualisation of activities like holding anexhibition, organising an open day or an audit ofbusinesses, as research but also as a spatial practice thateither changes a space or the way it is perceived, dealtwith and used allows this richness to become part of theproposals for the future of the Works. These activitiescrucially forge emerging relationships in a particular wayand understanding how architecture is configuringparticular kinds of relationships and space withincommunity regeneration research as doing/makingarchitecture. Without each of these partners this researchwouldn't be feasible- it takes all to make it happen.

DisseminationThe research has been disseminated through a widerange of registers, media and audiences; this allowsoutcomes to be specific to their use, and to carry withthem a particular type of knowledge and to be receivedby a broad audience. The project has facilitated themobilisation of people from audience to activeparticipant, and bringing thousands of volunteer hoursand a broad skill set.

The immediate impact of this project has been theupcoming Community Share Issue for the purchase andrefurbishment of Portland Works. Other outcomesinclude a change to local Planning Designation in theSheffield Development Framework instigated by ouraudit, films, a website, extensive media coverage, thedevelopment of a range of networks between social,educational and heritage organisations, including themultiple strands that have emerged between PortlandWorks, 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 foryears to come.

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Colectivo-Situaciones (2003, September 2003). "On the Researcher-Militant." Retrieved May 10th, 2011, fromhttp://eipcp.net/transversal/0406/colectivosituaciones/en

Yaneva, A. (2009). The Making of a Building: A Pragmatist Approach to Architecture, Peter Lang Pub Inc.


PLANNINGPORTAL

VIP

VIPVIPwww www

wwwwww

VIP

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Project timelineFrom January 2009 to Present

This diagram describes the research andactions carried out to support anddevelop the Portland Works campaign. Itcomprises the thousands of hours ofvolunteer support from of a number ofactors, working with a range ofapproaches and networks.


www

www

VIP

www

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VIP

www

PLANNINGPORTAL

PLANNINGPORTAL


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People and organisationsinvolved in the projectA non conclusive list running from 2009 to the present day


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Sheffield Community Enterprise Development Unit

This diagram describes themany partners, people,and organisations whohave contributed to thedevelopment of thePortland Works projectthrough the sharing oftime, skills, or funding.


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Investigating the context


Researched by Simon Parris and Frances ColePortland Works, which is located to the west of Bramall Lane in the 'John StreetTriangle' Conservation Area, is one of the city's last remaining examples of a purposebuilt light metal trades integrated works. Many similar buildings and associatedworking class housing were demolished within the city centre throughout the 1950sand 1960s as part of a national 'slum clearance' program. The works forms part of animportant enclave of 11 nineteenth century industrial buildings. Commissioned byRobert F. Mosley (1841-1921) and designed by J.H. Jenkinson Architects, planningpermission was approved for the building on the 15th of September 1876 and it wasbuilt soon after in one phase. R. F. Mosley & Co. Ltd., manufacturer of cutlery andsilverware, was the first firm in the world to produce stainless steel cutlery and itcontinued to operate on the site until the late 1950s. In typical style workshops withinPortland Works were sublet immediately after construction and by 1879 the buildingalso housed William H. Green (spring knife maker) and George Gill (cutlerymanufacturer).

R.F. Mosley & Co.'s Portland Works was described in an 1888 directory of Sheffield'sindustries as:

"A well erected premises [that] provides every facility for the class of trade carried on.It comprises offices, handsome showrooms, systematically arranged stockrooms, wellequipped packing, cutters, silver and electroplating rooms, forge shops and grindingmills. The different workrooms being provided with all the necessary steam power,machinery and appliances required. Messrs Mosley & Co. manufacture every kind ofcutlery 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 bythem, 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 thebest and highly finished kind (mounted in pearl, ivory, silver metal and other choicemountings. A large quantity are always kept in stock and orders, owing to the resourcesof 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 areto be heartily commended for the high position their establishment has attained undertheir guidance."

British Industrial Publishing Company, 1888

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Portland Works History



Over one hundred years later the PevsnerArchitectural Guide to Sheffield describedthe works' physical features thus:

“On a corner site, the corner of the worksis rounded with a two-storey entrancegateway with rusticated pilasters.Elaborate frontage, the works nameflanked by panelled pedestals with ballfinials. Round headed sash windows tothe first floor and sill and lintel bands, thaton the first floor cogged and incontrasting cream bricks. Ornamentalpanels of diagonal brickwork and anoctagonal chimney. A three-storey rearrange used for grinding has a room withfour transverse fireproof bays, suggestingthe presence of a central engine housewith the position of hearths indicated byridge stacks. On the ground floor of the[west] workshop range are the bestpreserved examples of hand forges in thecity. These may have been let separatelyand retain combined stable-type doorsand a window under a rolled steel lintel.”

Harman & Minnis, 2004

Thanks to the continuity of a number ofsuccessful metal trades businessesoperating within the works, includingWigfull Tools, Stuart Mitchell Knives, ShawEngraving and PML Plating, these details,indeed the entire forge area, continue tobe both well used and preserved. Thebuilding even retains the original lineshafts, which drove R. F. Mosley & Co.'shammers and drop stamps.

Grade II* ListingPortland Works was awarded Grade IIlisted status by English Heritage in 1995,they summarised the importance ofPortland Works in its 2003 listingupgrade description as follows:

“Portland Works is a large integratedcutlery works built in the 1870s. Thecomplex is an extremely good andcomplete example of a large purpose-built integrated cutlery works datinglargely from a single 1870s building phasewith a well designed layout for thisbuilding type. The works wasmechanised, with evidence for a steamengine, but there are also unpoweredworkshop ranges, illustrating the fact thatSheffield based its reputation upon thesupremacy of traditional methods; it wassaid in 1879 that ‘the highest excellencecan be attained only by the employmentof intelligent hand labour’.

“This type of complex is very distinctiveto the industrial identity of Sheffield,which, at this time was known throughoutthe world as a centre of excellence in themanufacturing and processing of steel.Portland Works is an important survivalwhich demonstrates the layout of such acomplex, highlights the limited use ofpower in the cutlery manufacturingprocess, and retains both hand forges andsteam grinding rooms, extremely raresurvivals of building types related tospecific processes, with probably fewerthan five sites in Sheffield now retainingevidence of both. These characteristics,together with the degree ofcompleteness of survival make this site ofparticular importance and justify itsupgrading to Grade II*.”

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

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Thesecharacteristics,together with thedegree ofcompleteness ofsurvival make thissite of particularimportance andjustify its upgradingto Grade II*


A case in Sheffield's Cutlers Hall stillcontains a set of ordinary looking tableknife blanks and blades. These knives -produced in Portland Works by R.F.Mosley & Co. and presented to CutlersCompany of Hallamshire by HarryBrearley Esq. - are the earliest specimensof stainless steel cutlery in the world. Inhis autobiography: 'Knotted String', whichwas published in 1941, Harry commentedthat his discovery of stainless steel wasinitially undervalued:

“...The people in authority sawnothing of commercial valueand still less of scientificinterest in it. The rusting ofiron is universally acceptedand no one seems willing toaccept that it can beovercome. I hope I will not betaken amiss if I say thatworkmen are often much wiserthan their masters”.

Stainless SteelOn the 13th August 1913 Harry Brearleycreated a steel alloy with 12.8% chromiumand 0.24% carbon, which is argued to bethe first* ever batch of what becameknown as 'stainless steel'. His employers,Firth Brown Steels, were not interested inthe armament potential of this new alloy,which Harry called 'rustless steel'.Therefore, he suggested alternative uses,in particular the utility of such an alloy toSheffield's Cutlery Industry. However, hissuggestion that rustless steel would be anexcellent material for cutlery productionwas publically ignored, although privatelyFirth's are known to have sent twosamples to Sheffield cutlers for theiropinions. They reported back that thealloy was useless due to difficulties inforging, grinding and hardening. Thecutlers took no instruction from Harryregarding the correct temperatures orspecifications to produce rustless steelwares and declared both batches afailure. The talk of the town was thatHarry Brearley was "the man whoinvented knives that won't cut" (ibid.).

Being a man of considerable convictionHarry was unperturbed by this setback.Through an intermediary he purchasedone hundred weight of chromium steelfrom his employer and arranged for it tobe made under his own carefulsupervision into rustless steel cutlery by alocal cutlery firm: R.F. Mosley & Co. ofPortland Works, Randall Street. Workingclosely with the cutlery manager of R.F.Mosley & Co., Ernest Stuart, whorecognised that rustless cutlery could beof considerable merit, Harry supervisedthe production of a number of batches ofcutlery, 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 oftesting the corrosion resistance of Harry'snew steel alloy with vinegar for himself,Ernst Stuart commented that stainlesssteel would be a more marketable namethan rustless steel. Thus, 'stainless steel'was born in Portland Works! Harryreturned to his employer adamant thatthis kind of steel had enormous potential.However, the conservative directors atFirth & Brown Steels proclaimed that"restlessness was not so great a virtue incutlery, which of necessity must becleaned after each using", and so he wasagain ignored to the point of reprimandfor being over enthusiastic (Mittal CorpLtd., 2010).

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The John Street Triangle ConservationArea Business Audit (JSTCABA) wascarried out by Caroline Jackson, avolunteer, during summer 2010. The briefwas to interview all the businesses basedin the John Street Triangle over theperiod of two months usingquestionnaires appropriate to either, LightIndustry and Metalworking, HeritageCrafts, Art or Music. The audit wasconceived to meet the followingrequirements of the campaign:

Supporting Planning ApplicationObjections and aiming to change thedesignation of the John Street TriangleArea in the upcoming SheffieldDevelopment Framework

The John Street Triangle is currentlydesignated as ‘Flexible Use’ under theUnitary Development Plan, but was tobecome an area of ‘Housing and Business’ under the Sheffield DevelopmentFramework. If housing is built within thearea, noise regulations would come intoforce through Building Regulations andPlanning Policy that would restrict thenoise that could be made by theworkshops and studios.

There was concern by the PlanningOfficers that the area was largely vacant,in decline and could not continue tosustain industry and so therefore they feltthat changing the makeup of the areawould maintain its viability. However,those who worked in the area knew it asan active area for the creative and lightindustries. The triangle is home to anumber of businessesincluding thelargest concentration of music studios inthe north of England, a number ofmetalwork factories and small industriessuch as jewellery making, leather work,and heritage crafts.

There was however, no formal record of thisand as business is hidden behind shabbyfaçades a short walk around the area wouldnot make the vibrancy immediately visible.Many of the businesses also work early inthe morning, or in the case of themusicians, later in the evening and night-time. We soon realised that in order tosupport our objections to the PlanningApplication we would required an audit ofthe businesses in the area.

Café Euro

Business Name Café Euro

Type of Business Café – everyday breakfasts & lunches

Address 72 John Street

Length of time at current premises 5 Years – first business

Previous Address Established here

No of Employees 2 full-time, 4 part-time

Their Roles…? Cooking, serving, cleaning

What are your reasons for being located here?

Restrictive rents in town for start-up businesses. Too expensive. There was already planning permission for a café. Large customer base: Other businesses – ‘Go Outdoors’, ‘Forge Students’. Large no of staff/workers in the vicinity that use the café. Like the layout of the café. Location in the works and area fits in with ethos – 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 – make food here, have other units in town and elsewhere

Would your business survive a move of premises?

Working on it – 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.

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

Costcutter, Waitrose, Imperial Signage, CCC tow-bars. Used Mash Production Company, Harland Works, to make a training DVD.

Contact Details (phone/email) Yes

Other 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

The John Street Triangle Conservation Area Business Audit

Manufacturing

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

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 Mother’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 Queen’s Road and the iron monger’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 it’s original location on Charlotte Road 20 years ago.

Denby Silverware

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 11 years

Previous Address Established here

No of Employees 1, used to be a partnership of 2 but partner retired

Their Roles…? Soft soldering by hand, polishing, finishing, buffing What are your reasons for being located here?

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 – platers in Portland Works, Luthco. Also, unit was available, rent was right, always lived here, quite flexible working space, works are open all hours – I can spend all Saturday and Sunday working here if I want to.

Do you own your premises?

Rent Do you have any ideas for expansion or relocation?

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

Would your business survive a move of premises?

Where do you get your materials /products from?

Company in Nottingham, businesses in Sheffield – 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?

Chimo’s near Decathlon, Montgomery Collection, Steve Wright’s

Contact Details (phone/email)

Yes

Other Seen posters

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Providing evidence of demand forworkshop and studio space for ourbusiness plan

The audit covered information that will beuseful in the development of our businessplan. This included providing evidence ofdemand for the low-cost studio andworkshop space available at PortlandWorks. Questions focused on whybusinesses were attracted to the area,previous areas/ premises they had beenlocated, what their needs were in terms ofservices and relationships with otherbusinesses and any requirements forexpansion or relocation.

Providing evidence of the cluster effectof small businesses in the area andnetworking

Anecdotally we were aware that many ofthe businesses both within PortlandWorks and the wider area had strongnetworks, based on their trades, such asmetalworking, heritage crafts, art andmusic. These were both formal andinformal, either based on joint projectwork, purchasing supplies and services, orhelping one another out with repairs andadvice. This audit aimed to formalise thisin order to make the case for the impactof Portland Works being lost goingfurther than just the businesses basedwithin it.

Publicising the campaign The process of conducting interviews forthe audit gave us the opportunity tospeak about the campaign with otherbusinesses in the area and understand theimpact of our current campaigning.

Gaps and limitations of the reportDue to capacity the report was compiledrelatively swiftly through interview/questionnaire with those who were willingand available to speak with us. Thismeans that for many of the businesses wemight have got a fuller picture byspeaking to a number of the employees/other members of the firm. This can befollowed up and developed as required/capacity becomes available.

We were also aware of a more significantproblem associated with the moreinformal aspects of the area. Musicians,designers and artists were often eitheronly onsite and night and so wereomitted, or, even more frequently wereunwilling to have this informationrecorded. This was due to the spaces theyoccupied being recorded by theirlandlords as storage space, or themsharing space or sub-letting. Anawareness of these limitations of theJSTCABA led to the initiation and designof a further survey, complementary tothis, with different focus and approach.The complementary survey became thebrief for a project for students from theDepartment English at the University ofSheffield, who were asked to create amore qualitative survey of the music andart within the area (see page 88).

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Feedback

“The John Street TriangleAudit was useful in writingmy policy response to theplanning application andconcluding that theproposal was notacceptable. I also passed onyour report to the officerwho was drafting thePlanning Committee reportbefore the application waswithdrawn.

“Of course your report’sintention is to change theSDF designation. I'vefollowed up on theevidence you've provided,done a little more myselfand we're almost certain topropose to Councillors thatthe designation ischanged. Not to exactlywhat you asked for but it'lllargely have the sameeffect i.e. indicate thathousing development is notacceptable. You'll get aformal response and theprecise details of anyproposed change in duecourse.

“Please let Caroline knowhow effective her work hasbeen. It allowed me to sitdown in a meeting with 3other, more senior officers,and provide really goodevidence about why theproposed applicationwasn't acceptable in termsof policy. The SDFconsultation process is veryslow and laborious. Quite alot of time is spent onbureaucratic matters ratherthan improving the plans,but I think this is probablythe best example I have ofwhere it has really worked.”

Laurie Platt, Area andForward Planning Officer(correspondence to JuliaUdall, 27th April 2011)


Investigating the context 25

Of course your report’s intention is tochange the SDF designation. I’vefollowed up on the evidence you'veprovided, done a little more myselfand we’re almost certain to proposeto Councillors that the designation ischanged. Not to exactly what youasked for but it’ll largely have thesame effect i.e. indicate that housingdevelopment is not acceptable. You'llget a formal response and theprecise details of any proposedchange in due course.

“


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27

Precedents


As part of the Knowledge Transfer ProjectRe-imagining Portland Works: SustainableFutures for Sheffield’s Industrial Heritagea number of case studies were developedaround projects representing a range ofmodels of management, ownership andfunding or with an interesting vision andtherefore with a to offer inspiring ideasfor Portland Works. In particular, the casestudies, funded through the KnowledgeTransfer and Agency, were chosen toassist with the creation of a shared visionfor Portland Works and to develop agovernance model and business plan. Tenprojects including Bank Street Arts, StagWorks, The Riverside, S1 Artspace, HighGreen Development Trust and ButcherWorks in Sheffield, Coexist/HamiltonHouse in Bristol and The Woodmill inLondon, were looked at in detail and adraft of the case studies was used as thebasis for one of the sessions for theExploring Futures workshop, held in June2010 (see 36).

Each case study contains andintroduction, location map, address anddirectory, an indication of the project’ssize and scope, a section on the ethos(people and goals), one onaccommodation (occupancy andtenancy) and one on management ; eachcase study also included a chronologicalfinancial account of projects and asection on difficulties, disputes andfailures. The information was gatheredthrough interviews with a number ofactors and through additional desk basedresearch and site visits where required.

The case studies were compiled by anumber of researchers, individuallycredited, that worked collectively anditeratively on identifying issues to cover,questions to answer and gaps in theirunderstanding of the projects. The casestudy questions and scope weredeveloped collectively through the on-going interview process- so learningsomething was crucial in one case oftenled us to try to understand it in anothercase.

Following the Exploring Futuresworkshop the initial case studies draftwere revised and they became a strategicvehicle to explore and research issuesthat had been identified of relevance froPortland Works. We used them to findout specific things we felt crucial to thePortland Works project, such as howpriorities of social benefit and economicviability could be balanced or more

practical things such as how peoplehandled voting at the AGM. The CaseStudies set out the process ofdevelopment in terms of economic socialand physical aspects and intend to showhow these things are linked together andto the choices made about governance orbusiness model. They also aim to flag uppitfalls and issues for concern to be awareof when embarking onto similar project.

Besides the value of the CaseStudies as precedents, forPortland Works is also the veryprocess of engaging inresearching those precedentsthat is proving of value. In thedevelopment of the casestudies we have creatednetworks and newrelationships with other similargroups and projects. This hasproven useful (and will be inthe future) for sharing adviceand experiences and for thedevelopment of potentialpartnerships.

As the Portland Works campaign andproject gained momentum an eleventhcase study on Portland Work was createdto document and capture its story in thesame format of the initial ten CaseStudies, as a resource for other groupswishing to purchase and developbuildings for community benefit.

The Case Studies are currently onlyavailable in the format of twelve pagelong stand-alone booklets, but are in theprocess of being compiled into ahandbook to be published later in 2011.1

28

Case Studies


Precedents 29

More about Portland Works at

www.portlandworks.co.uk

Knowledge Transfer Partnership 2010

Case Study 1 Bank Street Arts

Page 2 of Case Study 1

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.

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

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.

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

Now, a CIC developing projects to engage young people in architecture.

space, galleries, project spaces, cafe and display areas, an education space and a shared jewellery workshop. They

gallery spaces, a glass covered atrium, a courtyard and basement spaces with barrel vaulted ceilings. Both artists and

exposed to various creative ways of working as opposed to occupying an

Bank Street’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 – 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.

Bank Street has a strong identity in

the city and its extended creative

policy as to how space is let, managed and allocated. There are currently four

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

‘Over to You’, running in conjunction with

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.

A variety of emerging and more established artists have been given the opportunity to exhibit at BSA, and

to their professional practice as well as offering freedom within the exhibition organisation.

Case Study InformationBank Street Arts

Introduction




Case Study 2 The Woodmill


The Woodmill is a large-scale artist-led studio and

building and adjoining Victorian warehouse, focused on providing opportunities for emerging artists.

The Woodmill site belongs to Southwark Borough Council who have used them as

building – the curators are unsure of it’s

demolish the buildings and create further

was then formed through the curators

the Woodmill team a regular allowance

whilst acting as a ‘focused but diverse

established and international artists to

council for use of The Woodmill ensured

The Woodmill and later became studio

The team now function as committees (see

Case Study InformationThe Woodmill

Introduction


Project Size Area Breakdown

West Street

Park Square

Sheffield

Location

Site Information

SM

LXL

Location Map100 m approx.

Bank Street Arts

AddressBank Street ArtsWest Bar

South YorkshireS1 2DS

9,000 sq/ft useable space and circulation


Resident Tenancy Rents are scaled according to use,

practitioners. Businesses pay slightly higher rents, but these are still considered affordable for City Centre space. Commercial spaces average 12.50 per square metre per month. All tenants have access to shared services and facilities.

Overall Organisation Tenancy Leased, with ownership being pursued.

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

AccomodationOccupany and Tenancy

Schedule of Accomodation

Other NotesTenants

26 tenants, a changing mix of organisations and individuals. Bank Street Arts

does not monitor how many visitors come to the site.

26 Studios, 5 gallery spaces and workshop, education, cafe, cellar and courtyard spaces

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facilities.All tenants have access to shared services and month.

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ownership.part owned by Pension Fund and part leased with a view to Annual Rent for Entire Space

Pension Fund and part leased with a view to Amount unavailable. Building or Entire Space

with a view to ilable. Building

e Ssaf Coe 6 gaP

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Abbey Street

LocationBermondsey, London

Site Information

SM

LXL


The Woodmill

AddressThe WoodmillNeckinger LondonSE16 3QN


If I did this again, I would...

A typical studio space at The Woodmill




Case Study 3Butcher Works


Butcher Works is a historic Grade II* listed former cutlery and edge tool courtyard factory - also known as an ‘integrated works’ - which now houses commercial

residential conversions.

Butcher Works lies in a central location

Case Study InformationButcher Works

Introduction


Butcher Works after renovation Image Charlotte A Morgan


Ongoing Issues

Funding and Tenancy

Site and Building References




Case Study 4 Coexist atHamilton House



Bristol

Queen Square

University of Bristol

Brandon Hill

ifton

LocationBristol, Avon

Site Information

SM

LXL


Hamilton House AddressHamilton HouseStokes CroftBristolAvonBS1 3QY



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

Overall Organisation Tenancy Private ownership - Coexist management company pay rent from tenants direct to the landlords, taking a percentage to cover their costs.

breakdown of accommodation.


Tenants

Other Notes

120 tenants, a mix of organisations and individuals


2007 2008 2009 2010 2011

Building and SiteRefurbishment

AWhen 2007 - 2008Who Connolly and CallaghanAmount UndisclosedPurpose Initial necessary improvements to reach safety standards. Many refurbishments, including the studios,

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.

BWhen 2008Who Coexist sister companyAmount £175,000Purpose Design, refurbishment and development of the Canteen venue,

Management / Site Maintenance / Marketing

CWhen 2008Who Connolly and CallaghanAmount UndisclosedPurpose Feasibility study and seed funding for Coexist.

DWhen 2009 - PresentWho TenantsAmount Purpose Wages, running costs and publicity of Coexist.

EWhen 2009 - PresentWho TenantsAmount Purpose Site maintenance.

Special Projects and Organisational Development

FWhen 2010Who The University of BristolAmount UndisclosedPurpose Research into and development of a community energy company and social enterprise incubator.

sustainability rather than to rely on grants, however the security of their position came from their seed-funding

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

Funding and FinanceTimeline

A

B

C

E

F

D


30




Case Study 5 High GreenDevelopmentTrust



Ecclesfield

Burncross

High Green

Thorpe Hesley

Harley

M1

42,000 sq/ft useable space 10,000 sq/ftcirculation

10,000 sq/ftunsafe

LocationHigh Green, South Yorkshire

Site Information

SM

LXL

Location Map1 mile approx.

HGDTPaces Campus

AddressPaces CampusPack Horse Lane

South YorkshireS35 3HY




Case Study 6 Waverley Advanced Manufacturing Park


The former Orgreave Coking Plant site

The Waverley Master Plan Image AMP Waverley


Overview

High Green Development Trust (HGDT)

High Green Development Trust Capital Development BoardPrivate sector business people and architects

High Green Development Trust StaffEmployed part time

No less than3 members

No more than12 members

The trust was formed in 2004 and is run as a co-operative, involving representatives of it’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.

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

High Green Development Trust BoardOne member, one vote

ManagementHigh Green Development Trust’s Organisation

Southwark Borough CouncilOwner

Barker Billiards

Paces occupies the largest space and makes the biggest contribution to rates and

management. Paces and the moreestablished organisations provide the structure and leadership to support

and attract smaller organisations in the membership.

Abbey Care & Nursing at Home

High Green Sports

Steps Community Nursery

Hullaballoos Ltd

F. Brailsford Accountant

Coterie Gallery & Fine Art Studio

Paces Cafe

Stomp Out of School Club

CoSY IT

Cleaners

Caretaker

Premises M

anager

Trust Manager

Enterprise Manager


Coterie Studios Image Charlotte A Morgan

Paces Image Charlotte A Morgan


Resident Tenancy The AMP advertises a range of property

and developer Strategic Sites. There are 14 of these units

leasehold.

Overall Tenancy


Schedule of Accomodation

Other Notes

Tenants

14 units in Evolution, undisclosed no.

of units for the rest of the AMP


Image AMP Waverley

AMP construction underway




Case Study 7 S1 Artspace



The Moor

Sheffield HallamUniversity

Train Station

Fitzwilliam Street

Ring Road

Location

Site Information

SM

LXL


S1 Artspace

AddressS1 ArtspaceUnit 4/6Trafalgar Court2 Milton Street

South YorkshireS1 4JU



The Library Image Charlotte A Morgan

S1 Artspace Entrance Image Charlotte A Morgan


1995 2003 2006 2007 2008 2009 2010 2011


AWhen 1995Who Founding resident members Amount £3000 approximately, through voluntary contributions and time given in kind.Purpose Initial refurbishment including painting breeze block walls and concrete

self installing electricity and lighting.

BWhen 2008Who Arts Council EnglandAmount £7000Purpose Improvements to gallery space including full plastering of walls, removal of internal studio room and installation of window and sky light blinds.

CWhen 2008Who Arts Council EnglandAmount Following the Fire Safety checks, a £1000 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

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.

Marketing and Programme

DWhen 2003 - PresentWho Arts Council EnglandAmount £70,000 per annumPurpose Commissions of new work by exhibiting artists, materials and running costs, employment of Curator and invigilators, rental costs for gallery and

for print, website and advertisements in art press.

EWhen 2006 - presentWho The Henry Moore Foundation, Elephant Trust, Esmee Fairbairn,

Charitable TrustAmount One off grants, approximately £3000 per annumPurpose As above, one off events and special programming, including touring exhibitions and publications.

FWhen 2008 - PresentWho Hirers of gallery space for events and functionsAmount £1000 per annumPurpose As above

Funding and Finance

A

B

C

E

F

D




Case Study 8 The Stag Works


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.

Stag Works is a light industrial building lying in the John Street Triangle

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

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

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

formed and incorporated to champion a re-visioning of the site, bringing the building into better functioning use while

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.

Initiative funding, and an offer from the Ethical Property Company to purchase the building once this grant

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

story of those industries. The Ethical

with Camberwell Projects and favoured

similar projects and with refurbishment

participative management models. For a

redevelopment plans looked promising. The landlord, City Estates decided that it would not be economic to convert

status and access issues, and instead made some repairs and improvements and raised the rents for those that do not have long standing agreements.

problems hindered the progress of

Estates state they have no plans for Stag

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.

Case Study InformationThe Stag Works

Introduction


The Stag Works, Door Image


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

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

community is not negatively affected, and can in fact grow and attract people to the city.

provide a luxury that drives certain tenants out. The proposed plans would need to be actualised in consultation with tenants

assure tenants of their community based motivations behind

practitioners would leave. They also perceive the plans as being

the proposed spending, eliminating some of the proposed improvements in line with tenants perspectives and the current economic climate.

funding and still cite Stag Works as a supported project on their

experienced with dealing with such organisations and the potential changes that may take place throughout the process.

this may be due in part due to the credit crunch, and because

changeover of staff on the council at the time which prolonged

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

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.

Currently tenants are offered little in the way of management, and there is little overall structure to tie them together as a

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.

capacity for activities such as large scale fund raising.

Management Model

Ongoing Issues


Precedents 31




Case Study 9The HUB



LocationWorldwide

Site Information

SM

LXL

The HUB King’s Cross & Islington

AddressHUB IslingtonCandid Arts Trust 5 Torrens Street LondonEC1V 1NQ

HUB King’s Cross34b York WayLondon N1 9AB

building the programme is inserted into.




Case Study 10The Riverside


Point Blank Theatre Company

company and registered charity, founded in 1999 by co-

since Sept 2007 have consolidated under the name of their

cultural themes and aims to present challenging perspectives

Creative Exchange South Yorkshire (CE:SY) Funding

Industries Quarter that facilitates the development of the creative industries infrastructure, enterprise and employment

Future Builders Funding

so that it can play an ever greater role in improving the lives of

Key Fund Funding

them reach their potential and play a positive role in their

Charity Bank Funding

to charities, social enterprises and community organisations,

Lan Kelly Chase Fund Funding

particularly on areas of social need to help the most

Future Jobs Fund Supporters

former government initiated several strategies to combat the

Vinspired SupportersVinspired fund and support opportunities to engage young people, through projects such as Vinvolved, a volunteering

16-25 into volunteering opportunities and championing youth-

Ethos

Stakeholders/Actors


The HUB cafe, King’s Cross Image 00:/


Overview

HUB World Foundation

Individual HUB (i.e, HUB Islington)

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 – the HUB is not a collective or democracy with all members having votes.

The next level is the individual HUBs and network of members. The members are self-organising

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

diverse points of view, experience and capabilities.

The day-to-day ‘hosting’ 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.

HUB Board of DirectorsMade up of Founding Members

ManagementThe HUB’s Organisation

JV with Good Brand

Host Members

Amsterdam Atlanta Bay Area Bergen Bombay

Brussels Capetown Halifax Helsinki Johannesburg

LON Westminster LON King’s Cross LON Islington Madrid Melbourne

Milan New York Oaxaca Porto Prague

Riga Rotterdam Rovereto Sao Paolo Stockholm

Tampere Tel Aviv Toronto Vienna Global Network


2008 2009 2010 2011


AWhen 2008Who Lan Kelly Chase FoundationAmount £25,000Purpose Purchase of the building.

BWhen 2008Who Charity BankAmount £150,000 loanPurpose Put towards the £300,000 asking price for purchase of the building.

When 2008Who Key FundAmount £100,000 (£90,000 loan, £10,000 grant)Purpose Put towards the £300,000 asking price for purchase of the building.

DWhen 2008Who FuturebuildersAmount £25,000 (£21,000 loan, £4,000 grant)Purpose Put towards the £300,000 asking price for purchase of the building.

EWhen 2008Who CE:SYAmount £8000Purpose Legal fees and architects / surveyors costs. FWhen 2008 Who Point Blank Theatre CompanyAmount £8000Purpose Contribution towards building works, as well as staff running costs.

Management / Site Maintenance / Marketing

GWhen 2008 & 2010Who FuturebuildersAmount £25,000 (£21,000 loan, £4,000 grant), and a further £26,000 grantPurpose Staff development time and funding for Development Director time

manage the project. Further 26’000 grant was used to write off retrospective set up costs.

HWhen 2009 - 2011Who Future Jobs FundAmount 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.

IWhen 2009 - PresentWho VinspiredAmount SupportPurpose Provision of support for volunteering programmes opportunities for young people.

Programme

JWhen 2009 - PresentWho Riverside customersAmount VariesPurpose Delivery of further arts and community activities for a range of demographics and development of sustainable social enterprise and training opportunities.

KWhen 2010Who FuturebuildersAmount £10,000 loanPurpose Set up of kitchen to be used for social / commercial purposes.

Funding and Finance

A

B

D

E

F

G G

H

I

J

K


The Riverside bar

Point Blank Theatre Company




Case Study 11Portland Works



Sheffield UnitedFootball Club

John Street

arrow Lane

Lond

on R

oad

Location

Site Information

SM

LXL


Portland Works

AddressPortland WorksRandall Street

South YorkshireS2 4SJ

c. 30,000 sq/ft of accommodation excluding toilets, shared circulation and

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Overview

Management

Current

Proposed

LandtaskDevelopers

Current Management Model

Tenants individually paying rent directly to landlords

Shareholder OwnersAsset Lock (preventing the de-mutualisation of the assets)

John Holland and Vince SteeleOwner / Landlords

Proposed Management Model

Tenants individually paying rent for their own work space.

New Management Board

Made up of volunteers.

Management Company

Looking at social enterprise who may manage a number of local buildings, or a building preservation trust


Open Day at Portland Works Image Portland Works

A typical day at Portland Works Image Martin Pick

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


32


33

Exploring futures


The Knowledge Transfer Workshop, heldin June 2010, brought together tenants,campaigners and a number of advisorsfrom a diverse backgrounds andorganisations including the creativeindustries, business advice, cooperativesupport, local government, socialenterprise, heritage, arts, regionaldevelopment, architecture, conservationand community development. Theopportunity to bring this range peopletogether in one place allowed us todebate both the vision for Portland Worksand explore how this might be realisedthrough every aspect of the project planwe conceived, including governance,approach to conservation, networking,and education. People attending wereable to see how they might offer help inthe future to the campaign and fullyunderstand the context and collectivedesires for the future.

The day consisted of a tour of the works,a series of presentations, workshops,debates and informal conversations thatled directly to the decision to form an IPSfor the benefit of the community. TheWorkshop Report details the events andoutcomes of the day, a summary of whichcan be found below.

Campaign AimsThere is a lot of enthusiasm for thePortland Works Campaign and adviceand ideas are pouring in from a numberof places. In order to progress, theCampaign Team needed to understandthe implications of taking a certain routein relation to the goals of the projectteam. These priorities were defined as:

1. Maintaining affordable business space

2. Retaining the mixture of tenants

3. Understanding the site as a workingplace, with dirt, noise and risks

4. The potential for education andheritage on the site

5. The project being ‘Roots Up’

Workshop AimsThe workshop, held on the 11th June 2010was a crucial part of the KnowledgeTransfer Project. It was designed to bringeveryone who had shown an interest inthe project together in one room. By theend of the day both the campaign groupand researchers wanted to have a clearstrategy for moving forward, havingdebated the possibilities open to us andworked through what we collectivelyunderstood to be the tenants’ priorities.Those facilitating the day hoped theworkshop could help to define how aparticular structure or model wouldimpact on the day to day life of the works.

The landlords, investors, agencies andfunders we have spoken to all haveparticular aims, requirements andambitions for Portland Works. In somecases Portland Works is perceived interms of its heritage and architecturalsignificance, in others it was considered interms of the contribution the buildingmade to culture or to business in the city;pursuing any one of these would impacton the place Portland would become.

The success of the campaign thus far hadopened up a number of options, but thecampaigners were increasingly aware thatthey now needed to refine their approachin order to best achieve their stated aimsand priorities. The campaigners andtenants also saw this workshop as anopportunity to present their priorities tolocal and regional bodies andorganisations to which they may link inthe future.

34

Knowledge Transfer Workshop and Report


Exploring futures

Pre-session visit to Portland WorksTour round the workshops and studios ofPortland Works, including briefintroduction to the John Street TriangleConservation area, the adjacent StagWorks and the workshops and studios ofPortland Works. The tour also includeddemonstrations of the heritage skills andcrafts in the building, including knifegrinding by Stuart Mitchell of StuartMitchell Knives, tool making by Andy Coleof Wigfull Tools, a workshop tour ofSquarepegs (patented coat hookmanufacturer), and a welcome into thestudios of Portland based artists, MarySewell, Clare Hughes and Nuala Price.

35


36

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

www


37


38

Invite.

University of Sheffield School of Architecture.

Littl e

S h ef f iel d

D ev el op m ent

T rust

Portland Works is a Grade II* Listed Cutlery factory, situated in the John Street Conservation area and is home to a wide range of makers, from metalworkers and carpenters to musicians and artists. It is currently under threat from the developer/ landlord to be converted into bedsit flats and its occupants evicted. Those within the works wish to resist this and propose alternative futures for the works that maintain the affordable workspace and potentially develop heritage and education elements within the site that will open the building to the community in which it is situated.

In order to move forward this vision needs to be considered in terms of models of management, ownership, fund raising and refurbishment available to the group as each will impact upon the feasibility of this vision.

Within the workshop we want to address the culture and vision for the works, the business proposals/models available and the risks those involved with the project are willing to take on. Participants will be involved in evaluating a number of case studies in terms of their strengths and weaknesses (and how they operate in terms of risk, business and culture), but also to suggest imaginative propositions for this exceptional community of makers.

We have invited tenants of Portland Works and guests that we hope will be able to bring their experience and particular knowledge to the session. We hope that the workshop will be lively, offering insight into practical ways that Little Sheffield Development Trust and the Portland Works Steering group can move forward.

This workshop is part of the activities that the Agency Research Centre is organising in the framework of the EU funded project Rhyzom, concerned with local cultural production and trans-local dissemination (www.rhyzom.net).

Sustainable Futures for Sheffield’s Industrial Heritage.

Re-imagining Portland Works:

Workshop.

11th June 2010

Little Sheffield Development Trust and the Agency Research Centre at the School of Architecture, University of Sheffield, would like to invite you to join us for a workshop to explore alternative futures for Portland Works.

The session will be held in a site, to be confirmed, close to Portland Works to allow us to visit during the day.

It would be fantastic if you would join us.

Please RSVP to [email protected] by 28th May 2010.

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Timetable.

University of She eldSchool of Architecture.

Little Sheffield Development Trust

Sustainable Futures for Sh eld’sIndustrial Heritage.

Re-imagining Portland Works:

Workshop.

11th June 2010

10.15 am Pre-session visit

11.00am Session 1: Vision

12.30pm Lunch

1.30pm Session 2: Case Studies

3.30pm Session 3: Business Plan

5.00pm Summing-Up

Venue: Harland Works, John Street

Alternative Futures for Portland Works

Pre-session: Site visit and Welcome10.15 Visit to Portland Works for guests.

Session 1: The Culture of Portland Works11.15 Introduction11.35 Group discussions/ workshop12.15 Feedback to the group

12.30 Lunch at Cafe Euro

Session 2: Case Studies, Management and Ownership1.30 Introduction and presentation of case studies2.30 Group discussion/ workshop3.00 Feedback to the group

Session 3: The Business Plan and Risk3.30 Introduction 4.00 Group discussion4.45 Feedback to the group

Summary and Future Plans5.00 Summing up of the day5.15 Close of session

If you cannot attend the full day, why not attend one or more of the sessions?

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Business Plan and Risk

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Studies, Management and Ownership

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3.30pm Session 3: Business Plan

1.30pm Session 2: Case Studies

12.30pm Lunch

11.00am Session 1: Vision

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4.45 Feedback to 4.00 Group discussion3.30 Introduction

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Session 1: The Culture,Our VisionThe first session focusedon the way Portland Workscurrently operates, andwhat people’s aspirationsare for the future in termsof the social and culturalaims. It was a chance forpeople to understand eachothers’ priorities and whatis crucial to the success ofthe place.

Session 2: Case StudiesThis session looked intohow other people haveapproached similarscenarios, the difficultiesthey have encounteredand the opportunities thatthey present. The casestudies have been chosenby the researchersbecause they use a rangeof models of management,ownership and funding orhave an interesting visionand therefore potentiallyoffer inspiring ideas forPortland. They will bepublished on the updatedPortland Works Website asa resource for the projectgroup.

Session 3: BusinessPlan, Management andOwnership StructuresThis aspect examined thevarious structures andoptions that are open to usin terms of structuring thebusiness with a briefexplanation of the fundsand support they will allowus to access. This processwas facilitated by DaveThornett.



40

Outcomes and decisionsPriority: Maintaining affordable business space

• The ability to control the rents or at least to ensurethey were maintained within ‘affordable’ margins wasessential.

• The question of affordability would also impact on thestrategy for refurbishment because if the landlord wasto invest in extensive repairs and refurbishment andupgrading of the works this would be likely to bereflected in rental increases, unless grant funding couldbe obtained for this work.

• There were also more subtle threats, relating to thepotential for gentrification associated with a successfulproject and the knock on effect of increased demand.

• Businesses could be supported through creating a“Made in Portland Works’ brand, which we couldmarket collectively. This may also provide theopportunity for supplementary income for the worksto carry out refurbishments or maintenance.

Priority: Retaining the mix of tenants

• Control over the length of tenancies and the ability tosub-let would also be required. The needs of artistsand musicians are often for short-term informal lets, orsub-lets and metalworkers often required the securityof a longer tenancy as they were likely to have largeinitial costs of installing machinery.

• By the nature of the building, the space is flexible andcan and has been adapted to a variety of uses.However, in the long term, this could be furthersupported by considering zoning the building and/orcreating infrastructure or services to suit the needs ofthese businesses and individuals.

• Through considering the offer of the John StreetTriangle as a whole, this area could purposely bedeveloped as a start up area for the creative industriesin Sheffield and our position would be stronger. Manymetalworkers, musicians and artists move betweenstudios and workshops within the area and if the offerand facilities were created we could also ensureconstant demand for Portland Works. In order tosupport this we would need to ensure the SheffieldDevelopment Framework designated the area asbusiness 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 understandhow the various companies and individuals use thebuilding.

• The large, derelict looking machinery in the courtyard isactually used for spare parts for the forges andfurnaces and other historic machinery on site. It maynot, in some people’s opinion, be the most aestheticallypleasing, but without it Wigfull Tools would not be ableto operate. This, and other similar requirements, maynot be compatible with a large number of visitors, andcertainly not if they visit in an informal way.

• Due to the type of businesses based at the works, thesite will be dirty, noisy, and busy with forklift trucks,furnaces, chemicals and other risks. These can beregulated, but there is significant cost associated withthis and any future proposals must take this intoaccount.

Priority: The potential for education and heritage on the site

• Links to institutions were something that in someacases were already in place; Stuart Mitchell, of StuartMitchell Knives is considering taking an apprenticefrom Freeman College. It was felt that a deliberateeffort to develop these would strengthen thebusinesses and also contribute to Sheffield in terms ofskills and employment.

• Portland Works is already part of the annual‘Galvanised’ and ‘Open-Up Art’ festivals and it was feltthat an open day which built on all the people andbusinesses in Portland Works could be very successful.We are currently putting together proposals for thisthat include art, music, lectures, storytelling, metalworkdemonstrations and heritage talks. We will apply forfunding from the Heritage Lottery for this, and this willbe an opportunity to promote the works to EnglishHeritage and the Heritage Lottery and prove our abilityto manage funds and to meet their aims.

• It was suggested that having the works as a museumor heritage centre would be less successful as it is aworking place with the inherent risks associated. It wasalso suggested that by having prearranged days forvisits this would mean the demand on those at theworks would not be too great. We are also aware thatto create Portland as a museum would meanexpensive infrastructure such as extensive car parking,cafes, and facilities that may not necessarily benefitthe aims of the tenants.

Priority: The project being ‘Roots Up’

• The campaign developed first from a position ofresistance, to that of being propositional, and thetenants and campaigners felt this gave it its strength.Those who were involved had committed time andenergy and were passionate about seeing it succeed.Although it is inevitable that we will need to draw inskills and support from those outside of the campaign,a roots up approach was centred on a clearunderstanding of the place and its people.




42

Outcomes• It was decided that the Campaign

Group would pursue the option offorming an Industrial and ProvidentSociety, with investor members. Thiswas seen by many as a strong option asit allowed the tenants to have influenceon the decision making for the prioritiesfor the works and also broughtinvestors in that would give time andexpertise as well as financial support. Itwould also allow us to meet ourpriorities to maintain affordable rentsand the variety of tenants.

• The tenants expressed that they werewilling to take on a certain amount ofrisk, in the form of loans to partiallyfund the project. They did not howeverwant to have to deal with the day today management of the works andmade it clear that their own businesseswould have to be their priority.

• It was agreed that although the tenantsshould have influence they should nothave overall control of Portland Worksas there may be a conflict of interestbetween tenants and the management/required investment into the building.This is something which should bewritten into the rules of the IPS.

• It was agreed that Portland Worksshould be seen as for the benefit of thecommunity and that there should be anasset lock to ensure the building wasn’tsold on later for profit.

Reflections on the dayThe workshop brought people togetherand informed them of and developed thepriorities and desires for the future ofPortland Works. We met the campaigngroup’s and researcher’s aims of settingout our vision, informing our next stepsand coming to a decision about themodel of management and ownershipthat we wanted to pursue. In addition tothis, the project was further promotedand the richness of Portland Works wascommunicated to a number of newpeople. It is testament to the interest inthe project that, due to lack of space anumber of people had to be turned awaythat were interested in attending theworkshop.

However it is worth noting that onlyaround ten tenants (around 33%) attendedany of the sessions, although a core of fiveparticipated in all of them. This could be inpart because they did not know what toexpect of the workshop- and more timewould have allowed us to speak to eachtenant individually before the workshopand discuss their involvement in moredetail. However, since the workshop thePortland Works committee has had amuch improved tenant attendance andparticipation. The research carried out forthe case studies and the contacts madethrough working in this way have greatlyinformed our next steps and the energyand time that was invested on behalf ofthe project has boosted the confidence ofthe project group.

The campaign group will continue towork to develop useful relationships andto understand Portland Works in thewider context of the City.



Feedback from participants

“Prior to the workshop I hadn’trealised the sheer number anddiversity of firms andindividuals in Portland Works” Christine Ball, Sheffield Civic Trust

“I learnt how large thePortland Works site is, and sotherefore now understand thepossibility of bringing morespace into use. Though, ofcourse this also made merealise how much needs to beinvested in the building!” Jean Cromar, local resident and activist

“I felt the most successfulaspect of the day was that itgave me a clear idea of thevision and what all partieswant – it was verycomprehensive and a well puttogether day.” Craig Wallace, Yorkshire Forward

“The most successful aspectfor me was the discussion ofpossible alternative routesforward - and that a decisionwas reached, albeit unofficiallyat that point.” Stephen Connelly, local resident and activist

“The workshops were great-having ideas from previousdiscussions meant we were notreinventing the wheel andcould get on with prioritising.” Jillian Creasy, Local Councillor

“Our aim is to preserve theWorks (as) it’s an idealenvironment for the nurture ofall manner of skills. (We want)to make it a centre of learningand teaching for generationsto come...” Stuart Mitchell, Stuart Mitchell Knives, Portland Works


44


45

Reorganising


46

The decision to choose the IPS businessmodel, leading to a community shareissue, was made during the final sessionof the Knowledge Transfer Workshop bytenants and campaigners. The workshopbrought the vision of the tenants andcampaigners with those able to provideadvice on the appropriate structure toenable the desired approach. The fundingto carry out the work necessary, includingthe accreditation by the FSA and theadvice in drawing up an appropriatedocument was funded by Little SheffieldDevelopment Trust- our neighbours andpartners in the project.

As the campaign developed it becameclear that the strength of the project hadbeen the support and involvement of abroad range of people, each withdifferent skills and networks. As a form ofgovernance, an Industrial and ProvidentSociety would allow us to draw on thissupport by enabling a number of shareholders. The structure provided for oneperson, one vote- whether you had asingle share at £100 or the maximum of£20,000.

The share issue for PortlandWorks is launched on 16th June2011, and will hopefully enableus to purchase the building forthe benefit of the community.An asset lock will ensure thatthe building continues to be forthe benefit of the communityand cannot be sold on forprivate gain, ensuring a legacyfor the project.

The Industrial and Provident Society and The Share Issue

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, and is registered und er th e Ind ustrial and Prov id ent

S oc ieties Ac t 1965.

T h e F S A is th e registering auth ority f or soc ieties w h i c 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 s m 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 i c 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 und er F S MA - w i l 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 i c h h av e C onsum er C red it Lic enc es w il l h av e ac c ess to F O S on issues rel ating to th eir l oans

A S oc iety is res p 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 inanc ial

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 p tions1 or

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 ated ac tiv ity

d oes not p rov id e th e nec essary auth orisation ñ th ere is a sep arate ap p l i c 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 .

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

s p ec ial reasons w h y th e soc iety s h oul d not b e registered as a c om p any.

1 as, f or ex am p l e, set out in:

ï th e ' F inanc ial S erv i c es and Mark ets Ac t 2000 ( Regul ated Ac ti v i ties) O rd er 2001' ; and

ï th e ' F inanc ial S erv i c es and Mark ets Ac t 2000 ( C arrying on Regul ated Ac ti v i ties By Way of Business) O rd er 2001' .

T h is is not an ex h austi v 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 en th e 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 s h oul d al so c l arif y th e m atter. Y ou c an al so use th e F S A Mutual s Register to 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 ]

Ap p end ix 1 [ D O C ]

N otes [ PD F ]

N otes: Ap p l i c 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 1 [ D 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 ]

Ind ustrial & Prov id ent S oc ieties

25/04/2011 Industrial & Provident Societies

fsa.gov.uk/pages/doing/…/index.shtml 1/2

Page l ast up d ated 01/07/10 | © F inanc ial S erv ic es Auth ority

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 ]

T rans f er of engagem ents [ D O C ] N otes [ PD F ]

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 ]

C onv erting f rom a c om p any to an Ind ustrial and Prov id ent

S oc iety [ PD F ]



N otes [ PD F ]

N otes: Ap p l i c ation f ees p ayab l e to register a new soc iety [ PD F ]

C h ange of registered of f i c e [ D O C ] N otes [ PD F ]

N otif i c ation of c h arges [ D O C ] N otes [ PD F ]

Bac k to top

25/04/2011 Industrial & Provident Societies

fsa.gov.uk/pages/doing/…/index.shtml 2/2

Investing in community shares

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

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.

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,

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.


Have you been invited to buy shares in acommunity enterprise? Then you are notalone. You are one of thousands takingthe opportunity to invest in your localshop, rescue a pub, finance alternativegreener energy or even support your localfootball club. In the past you may havejust made a donation but now you havethe opportunity to invest in a communityshare offer. Through a community shareoffer you can support what is important to you, and help community enterprisesbecome more sustainable.

Buying any type of shares involves risks. You could lose some or all of themoney you invest. But it also offersrewards. You become a member of theenterprise, 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.

This guide explains what communityshares are, and will help inform yourdecision on whether you should invest ina community share offer. It focusesexclusively on organisations that areregistered with the Financial ServicesAuthority as co-operatives or communitybenefit societies, which are subject todifferent legislation from companies,and have their own unique form of shares.At the back of the guide there is anA to Z of technical terms that you mightcome across in a share offer document.

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 usingcommunity shares to finance their work. Further details can be found at:www.communityshares.org.uk

Introduction Give, lend or invest?

Investing incommunity shares

! Maximum £20,000 limit on

individual shareholdings

! One vote per shareholder, which

means that decisions are democratic

! Can only pay limited interest

on shares, “sufficient to attract and

retain the investment”

! 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

! Shares can go down in value,

but they cannot increase in value

above their original price

! If a society is wound up, some or all

of the money that is left, after

shareholders have cashed-in their

shares, will be given to an organisation

with similar aims

! No maximum limit – one person can

own all the shares in a company

! One vote per share, which means

a majority shareholder can make all

the decisions

! There are no legal limits on the

dividend rate paid on shares

! A tax-credit of 10% is deducted

from all dividend payments on

company shares

! Shares cannot be cashed-in.

Shareholders must find a buyer to

whom they can ‘transfer’ (by selling)

their shares

! 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 company is sold or wound up,

any money that is left is distributed in

full to shareholders, according to how

many shares they hold

The sale of community shares is not

regulated by the Financial Services

Authority, because investors are deemed

to be investing for social returns, not

financial gain. This is good news for

community ventures, which would

otherwise face prohibitively expensive

regulations when marketing community

shares. But it comes at a cost to

community investors, who have no right

of complaint to the Financial Ombudsman

Service and cannot apply to the Financial

Services Compensation Scheme.

Community shares are far more risky

than keeping your money in a savings

account with a bank or building society,

where currently the first £50,000 is fully

protected. You can lose everything you

invest in a community shares offer.

This is why it is important to look carefully

at a community share offer before

deciding to invest.

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

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.

Withdrawable shares are very different

from ‘transferable shares’, which are the

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

are bought and sold through stock markets,

but these markets do not cater for smaller

companies where there are very few

buyers or sellers. Finding someone willing

to buy shares in a small venture can be

very difficult. Co-operative and community

benefit societies can issue transferable

shares, or shares that are both withdrawable

and transferable. A few societies do offer

these types of shares, and should tell you

how you can sell your shares.

The main reason for buying community

shares is to support the social aims

of the venture concerned. Unlike shares

in private companies, where personal

financial gain is the main motive, community

shares are subject to laws that limit

financial gain and emphasise social benefit.

The following table highlights the most

important differences between community

shares and company shares:

What are community shares?


Community shares in co-operativeand community benefit societies

Company shares


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

What community? Are you part of this community?

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

community of shared interests (e.g. green energy, fair trade)? How

many other people identify themselves with this community? Will

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

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

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

anyone be adversely affected?

Is it a good business proposition? Your investment will

only be safe if the venture is profitable and sustainable.

Is there evidence that the venture will make sufficient profits to

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

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

have enough information to make a judgement about the offer?

A good offer document should provide you with clear enough

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

consult an expert.

Do you know and trust the people making this offer?

What is their track record? Do they have the skills and

experience needed to make a success of this venture? What

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

have they themselves invested?

How much should you invest? What is the minimum and

maximum amount you can invest? Do you have to invest

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

amount you invest affect the interest rate you receive?

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

land and buildings, machinery and vehicles may hold

their value, but other costs, such as marketing campaigns or

researching business plans, are non-recoverable. You also need

to know whether your money will stay in the organisation, or

whether it will be invested in another organisation over which you

will have less control.

How can you get your money back when you need it?

Is the offer document clear about how long you will have

to wait before you can withdraw your investment? For new

ventures there may be an initial period of several years before

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

societies retain the right to refuse your request if the directors

think it might jeopardise the finances of the business. Some

societies have rules that limit the percentage of shares that can

be withdrawn in any one year.

Who else is putting money into the organisation? Has it

received any grants or public support? Is it borrowing

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

paying? What proportion of the total funding will come from

community shares?

Is the promised financial return realistic? Some offer

documents say how much interest will be paid on shares.

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

these claims? Established ventures should show you their track

record, as well as providing evidence that the new investment will

be profitable.

Is your money safe? Do you fully understand the risks

involved, and do you accept these risks? All investments

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

these risks if the social and financial returns are sufficiently

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

What should you look for in a community shares offer?

0107

08

09

10

02

03

04

05

06

Further information

All co-operative societies and community benefit societies

are registered with the Financial Services Authority (FSA),

which maintains a public register of societies at

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

The FSA has also established an independent body called

the Consumer Financial Education Body which has developed

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

which provides impartial information and guidance about

consumer savings and investment products.

The guide has been produced by the Community Shares

Programme, a government funded project working

with ten community community organisations in England,

all of which are using community shares to finance

their work. The programme is delivered in partnership by

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

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

Further details on the programme can be found at

www.communityshares.org.uk

For more information email: [email protected]


Reorganising 47

Rules of

…PORTLAND WORKS LIMITED (Registered under the Industrial and Provident SocietiesActs 1965-2002)

Name

1. The name of the Society shall be Portland WorksLimited.

Objects

2. The objects of the Society shall be to carry on anybusiness for the benefit of the community

By:

(i) Purchasing, preserving, adapting and managingPortland Works, a Grade 2* listed metal trades building ofhistorical significance, with regard to its original purposeof providing workshops for independent ’little mesters’.

(ii) Offering low cost workshop and studio space withinthe works, to metal trades, artists, musicians and othercraftspeople.

(iii) Supporting creative industry and small scalemanufacturing, within and beyond the building: byoffering facilities for start-up businesses; education workand promoting Sheffield’s historical heritage.

Powers

3. The Society shall have power to do all things necessaryor expedient for the fulfillment of its objects and inparticular:

(a) to establish and contribute to pension orsuperannuation schemes for any persons who are or havebeen employed by the Society and their dependants;

(b) to make gifts and donations for social or charitablepurposes;

(c) to draw, accept, make, endorse, discount and negotiatebills of exchange and promissory notes and othernegotiable instruments;

(d) to purchase, feu, hold, sell, charge, mortgage,exchange, develop, rent, lease or sub-lease lands of anytenure in the United Kingdom or elsewhere, and to erect,pull down, repair, alter or otherwise deal with any buildingthereon and to acquire and grant rights, privileges andeasements in, over or in respect of any land or anybuilding thereon and to acquire any machinery, plant,property or rights which may be necessary for orconveniently used with or may enhance the value of anyother property of the Society;

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

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

(g) enter into any agreement for partnership or for sharingprofits, union of interests, co-operation, joint venture, orreciprocal concession with any society, company,corporation or person carrying on or engaged in or aboutto carry on any business or transaction capable of beingconducted so as to directly or indirectly benefit theSociety and to acquire shares, stocks or debentures in anysuch society, company or corporation and if any such

agreement shall so require to depute the management ofany business or adventure to any representative or agentas may be agreed on and to confer all necessary powerson any such agent or representative;

(h) to obtain from time to time upon such terms andconditions as it thinks fit advances of money for thepurpose of the Society and to mortgage or charge and ofthe Society’s property or assets (including its uncalledcapital) and to issue debentures and other securitiesprovided that any such mortgage, charge, debenture orother security may be given or issued as a continuingsecurity to cover any sums or sums due from time to timeby the Society to any person or body with which it mayhave a banking account or transact banking business;

(i) to do all such other lawful things in the best interest ofthe Society.

Registered Office

4. The Registered Office of the Society shall be at:

…………………………………………………

Membership

5. The first members of the Society shall be the signatoriesto the application for registration (the "FounderMembers"). The Board may at its discretion admit tomembership any person or corporate body or thenominee of any unincorporated organisation whosupports the objects of the Society and who has paid oragreed to pay the appropriate annual subscription (if any)for the time being in force.

6. A person who qualifies under Rule 5 above may applyfor membership to the Board, and upon acceptance andpayment of the minimum amount of share holdingrequired as determined by the Board from time to time,and the annual subscription fee (if any) the Society shallissue to her/him/it share certificates as appropriate andshall enter her/his/its name in the register of members.The Board may refuse any application for membership atits absolute discretion. Applications for membership shallbe in such form as the Board may from time to time direct.Any such form may provide that a member may specifyan email address, which shall be used by the Society forany communication required by these rules to be sent tomembers. Any member specifying an email address in thisway shall notify the Society of any change to this emailaddress.

7. The Society shall keep at its registered office a registerof members in which the Secretary shall enter thefollowing particulars:

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

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

(c) a statement of other property, whether in loans orotherwise, held by each member;

(d) the date on which each member’s name was enteredin the register as a member and the date on which anymember ceased to be a member;

(e) the names and addresses of the Directors and officersof the Society, and the offices held by them respectively,and the dates on which they assumed and vacated office.


8. The register of members shall be proof of membershipof the Society, a member misplacing or destroying theirshare certificate may apply to the Society for areplacement, the Directors may allow the Society toreplace a lost or destroyed certificate at their absolutediscretion, and may establish such conditions andprocedures in this with regard as they think fit.

General Meetings Proceedings at General Meetings

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

20. No business shall be transacted at a General Meetingunless a quorum is present in person. Unless and untilotherwise decided by the Society in General Meeting, aquorum shall be one tenth of the members of the Societyor three members, whichever is the greater.

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

Board of Directors 31. The Society shall have a Board of Directors comprisingnot less than three and not more than twelve persons.

The Society shall have a Board of Directors comprising notless than five with a minimum of two tenants and amajority of community members (this is designed toensure that there are always tenant members but thatthey are never in a majority)

The initial Directors of the Society from incorporation untilthe first Annual General Meeting shall be appointed by theFounder Members.

Share Capital 52. The shares of the Society shall be of the nominal valueof £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 bedefined as such number of fully paid shares as the Boardmay determine subject to the Act, or as may be requiredby a particular offer of shares, or, failing suchdetermination or requirement, shall be one share.

a) A member may subscribe for shares in tranches ofshares which are smaller in number than the minimumshareholding, provided that any member who does notachieve the minimum shareholding within 12 months afterher/his first payment shall cease to be a

member and shall have returned to her/him the value ofthe shares paid for to date, and the relevant shares shall becancelled.

b) Shares shall be withdrawable only in accordance withthe provisions of these Rules. Shares shall not betransferable except on death or bankruptcy.

c) Application for shares shall be made to the Board of theSociety who shall allot to members, upon their admission,the share or shares for which they have applied providedthat the total number of shares allotted to any member

shall not exceed the maximum shareholding permitted bylaw.

d) Shares shall be paid for in full on allotment.

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

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

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

(c) the Board may waive the notice required for awithdrawal and may direct payment to be made withoutnotice or on such shorter notice as they consider fit;

(d) the Board at their sole discretion may suspend theright to withdraw either wholly or partially, and eitherindefinitely or for a fixed period. The suspension shallextend and apply to all notices of withdrawal which havebeen received and remain unpaid at the time the Boardsuspend the right to withdraw. Where the suspension isfor a fixed period, such period may be extended from timeto time by the Board;

(e) during any period when the right of withdrawal hasbeen suspended under Rule 53(d), the shares of deceasedmembers may, if the Board agree, be withdrawn by theirpersonal representatives upon giving such notice as theBoard may require;

(f) the amount to be paid to a member on withdrawal shallbe the amount paid up or credited on the shares to bewithdrawn, except where the shares are subject to areduction their value in accordance with the provisions ofthese Rules;

(g) interest shall be payable on any share in respect ofwhich a notice of repayment has been given until the dateof repayment.

54. Any share withdrawn in accordance with the aboveRule shall be cancelled.

55. Members may withdraw from the Society bywithdrawing all their shares in the Society in accordancewith Rule 53 or, if the right to withdraw has beensuspended as provided for in that Rule, by surrendering alltheir shares to the Society. Upon such surrender the Boardmay in their discretion pay to the withdrawing memberthe amount paid up or credited in the shares surrendered.

56. The Society may deduct such reasonable sum to coveradministrative costs of withdrawal from the moniespayable to a member on the withdrawal of shares in theSociety.

Reduction in Share Values 57. If the auditors (or any independent qualifiedaccountants appointed for the purpose by the Board)certify at any time that the aggregate of the Society'sliabilities plus the amount of its issued share capitalexceeds its assets, then (unless in the meantime theexcess has been removed) the Board may determine thatthe amount of this excess, or part of it, shall beapportioned among the members in proportion to (butnot beyond) the amount of the nominal value of the

48


Reorganising

shares paid up and held by each member. Thisapportionment shall be based on the value of the sharespaid up and held by each member at the close of businesson the date of such determination. The value of sharesheld by each member shall be reduced accordingly for thepurposes of withdrawal of shares, notwithstanding thatthe value of shares held by any member may thereby bereduced below the minimum shareholding.

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

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

Application of Surplus 65. Members of the Society will be rewarded primarilythrough a social dividend rather than a monetary dividend.Any surplus generated by the Society shall be applied asfollows, in such manner and in such proportion as theBoard may decide:

(a) in paying interest on members’ share capital at suchrate as may be determined by the Board from time totime, but not exceeding the minimum rate necessary in theopinion of the Board to obtain and retain the capitalrequired to carry out the objects of the Society;

(b) to the continuation and development of the Society;

(c) to making payments for social and charitablepurposes.

Seal 66. If the Society has a seal it shall be kept in the custodyof the Secretary and used only by the authority of theBoard. Sealing shall be attested by the signature of twodirectors or of one director and the Secretary for the timebeing. If the Society does not have seal, a document whichwould have previously required to be sealed, should besigned by a Director and Secretary or two Directors andaccompanied by a written statement that the documenthas been executed by the society as if under commonseal.

Investment of Funds 67. The Society may invest any part of its funds in themanner set out in Section 31 of the Industrial andProvident Societies Act 1965.

Regulations 68. The Society in General Meeting or the Board may fromtime to time make, adopt and amend such regulations inthe form of bye-laws, standing orders, secondary rules orotherwise as they may think fit for the management,conduct and regulation of the affairs of the Society andthe proceedings and powers of the Board and sub-committees. No regulation shall be made which isinconsistent with these Rules or the Act. All members ofthe Society and the Board shall be bound by suchregulations whether or not they have received a copy ofthem.

Dissolution 69. The Society may be dissolved by the consent of three-quarters of the members by their signatures to aninstrument of dissolution, or by winding up in a mannerprovided by the Act. If on the winding up or dissolution ofthe Society any of its assets remain to be disposed of afterits liabilities are satisfied, these assets shall not bedistributed among the members, but shall be transferredinstead to some other non-profit body or bodies subjectto at least the same degree of restriction on thedistribution of surpluses and assets as is imposed on thisSociety by virtue of these Rules, as may be decided by themembers at the time of or prior to the dissolution.

Disputes 70. In the event of a dispute between the Society or itsBoard and a member of the Society or a former member,such dispute shall be referred to an independent arbitratorwhose appointment is acceptable to both parties to thedispute or in the absence of agreement to be nominatedby the Chief Executive of Co-operativesUK. The decisionof such an arbitrator shall be binding. In the event that adispute cannot, for whatever reason, be concluded byreference to an arbitrator, the matter may be referred tothe County Court (or in Scotland, to the Sheriff). Anyperson bringing a dispute must, if so required, depositwith the Society a reasonable sum (not exceeding £100)to be determined by the Board. The arbitrator will decidehow the costs of the arbitration will be paid and whatshould 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 Actsamending or in substitution for them for the time being inforce. “Electronic means” shall include email, video linksand secure authenticated web-site transactions; In theseRules the expression “Board meeting” or “meeting of theBoard” includes, except where inconsistent with any legalobligation:

• a physical meeting;

• a meeting held by electronic means;

• a meeting held by telephone.

Signatures of Founder Members Full Names in BLOCKCAPITALS (no initials)

1. .............................................................

2. .............................................................

3. .............................................................

Secretary: .............................................................

© CO-OPERATIVESUK 2008 - (revised 2010)

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50

The business plan sets out our vision andfinancial planning for the next 5 years; itwill allow us to issue shares for thepurchase of the building and apply forfunding and loans for repairs andrefurbishment. The plan sets out theeconomic, social and physical aims of thecompany and how they will be achieved.

The business plan has been developedsince the Knowledge Transfer Workshopand is funded in part by pro bono adviceoffered by the Cooperatives Hub. Theirdecision to give us this support was madeas a direct result of their being impressedby our approach and the advice andresearch we had carried out to date. Thebusiness plan has drawn on research froma number of sources- including the JohnStreet Triangle Business Audit, theworkshop report, advice from variouslocal partners – including SharrowCommunity Forum, the Cooperatives Hub,SCEDU, Sheffield University Business andPlanning Department, Little SheffieldDevelopment Trust and considerable workfrom the campaign group.

In order to qualify for their assistance wealso had to show we could obtain sharepurchases pledges for a minimum of 10%of the overall figure we required topurchase the building. This was achievedthrough our immediate network within 3months, in parallel to forming the IPS.

The Portland Works Alternative FuturesBusiness Plan


Reorganising 51


52


53

Reaching out


The website is a crucial tool for thecampaign, and will be our main portalthrough which to sell shares in PortlandWorks and to collect donations for theproject. It enables us to maintain ournetworks throughout the UK and beyondvia regular news updates and forms avirtual archive for the campaign throughwhich we can also share and developresearch. Dorian Moore of The UsefulArts, was commissioned as part of theKnowledge Transfer, and worked withPortland Works Committee members todevelop the site.

Members of the Portland WorksCommittee researched into the history ofthe Portland Works. They combinedinvestigations at the local history archivesin Sheffield Graves Library, interviews andconversation with tenants of the worksboth past and present (dating back until1939), and web based research into adetailed account for the web. In additionto this, a number of professionalphotographers have given us access totheir work for campaign use, a changingselection of which can be seen on thewebsite.

The website provides news of thecampaign, links to ‘makers’ websites anddetails of upcoming events andcampaigning. The makers see this as away to promote their work in relation tothe other businesses and artists basedhere, under the shared identity of made in‘Portland Works’. It sets out a clear visionand allows people to grasp our ideas forthe future and working processes. Thewebsite has led to expressions of interestin taking up new tenancies, which isuseful for our business plan. It has also ledto offers of benefit gigs, assistance withthe campaign and commissioning of workfor the businesses based here.

Website designed and built by DorianFraser Moore at The Useful ArtsOrganisation.

Company details –The Useful Arts Organisationwebsite: http://theusefularts.org/email: [email protected]

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The Portland Works Website


Google Analytics1st–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


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


Reaching out

2,466

55

TOTAL VISITS

13,202PAGEVIEWS

185%INCREASE IN VISITS

2,313UK VISITORS


Over the past year and a half tenants,campaigners, artists and photographershave put on a number of exhibitionsabout Portland Works in venues aroundSheffield. Some of these have beeninvitations to us to put somethingforward; others have been initiated byartists, or photographers wanting tocontribute to the campaign.

They have served a number of functionsin terms of the development of the visionfor Portland Works. They have been away to present and understand therichness of skills, history and practicesthat are based in the works. Crucially theyhave also served as a way to buildrelationships between people at theworks, encouraging skill swaps and acloser understanding of the way in whichdifferent businesses and artists work.

The exhibitions have been held at a widerange of venues; galleries, gardens,markets and workshops. This has broughtPortland Works out to people from arange of backgrounds and interests,further strengthening our support andencouraging new people to be involved inthe campaign. This forms a very strongbasis for developing Portland as a placeof heritage and education; for the benefitof the community and has extended the‘space’ of Portland works out into the city.

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Exhibitions

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

Venue: Bank Street ArtsVenue audience and overview: “Bank Street Arts is anarts centre comprised of galleries, studios andproject/meeting spaces in Sheffield City Centre. Housedin listed Georgian terraces only a stone’s throw from themarket and the Cathedral, we aim to provide a home,venue and setting for a wide range of creativeindividuals and organisations. We are an independentcharitable organisation which gives us the freedom todetermine our own remit and operate in ways thatorganisations at the behest of outside targets are unableto do. One of the benefits of this freedom of operation isthat we do not need to define what we do but canrespond to demand and requests. Please get in touch ifyou are interested in becoming involved at this level.”

Exhibition: ‘Over to You’ Bank Street Arts

Exhibition aims: “Over to You is a response to ArtSheffield 2010... 40 plus artists (have) submittedproposals and are now setting up exhibitions... allproposed, created and planned in two weeks.”

Date: March–May 2010

Title: Portland Works’ Makers

Overview: Artists, metalworkers, heritage craftsmen andjoiners based at Portland Works collaborated to createan exhibition of their work and promote Portland as aworking pace within the city. This included individualcollaborative artwork, paintings, photographs, displaysof tools, handmade knives and other itemsmanufactured at the works, the production of exhibitioncases and the curation of the work.

Participants: Stuart Mitchell, Clare Hughes, PaulHopprich, Andy Cole, Nuala Price, Herbert Housley, MickShaw, Mark Jackson, Alison Douglas.


Reaching out

Title: You Are Your Own Source of Work

Overview: “’You Are Your Own Source of Work’ is apiece exploring the plight of Portland Works, a Grade II*listed building in Sheffield that houses a unique blend ofcraftspeople, artists and musicians. It has a rich historyand deserves to be preserved, yet it is currently beinglined up for sale to be converted into flats. This piece is aresponse to that and part of the campaign to save theworks as a whole.”

Participants: Matt Risby of Quicksand Films incollaboration with Nic Bate

Visitors: Press, councillors, artists, and cultural producers

Websites: www.bankstreetarts.org.ukwww.quicksandfilms.com/portland-works/

57


Venue: Access Space Venue audience and overview: “Access Space is theUK's longest running and most sustainable free, openaccess media lab. At Access Space, people interested inart, design, computers, recycling, music, electronics,photography and more meet like minded people, shareand develop skills and work on creative, enterprising andtechnical projects. We operate at a low cost with a lowcarbon-footprint, because we only use recycled donatedcomputers 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 artsorganisation dedicated to the production of artisticactivity about Sheffield’s City Centre regeneration. Itsaim is to give the residents of Sheffield a coherent,creative and exciting voice about what is happening totheir city, their home and their life.”

Title: Portland Works

Overview: The exhibition included photographs by theartist, Eric Winnert and metalworker Herbert Housley,(who was a tenant of Portland Works from 1939) andwords from the campaign and quotes from tenants. Thetalk questioned the values of heritage and regenerationpolicies in the UK and told the story of Portland Worksand the campaign so far.

Website: www.access-space.org/ccs/

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Reaching out 59


Venues: Castle Market, Sheffield Winter Gardensand FacebookVenue audience and overview: Castle Market isSheffield's largest indoor market. It has over 200 stallsoffering a variety of goods, ranging from homewares tofashion, groceries and fresh produce. A large number ofshoppers will have family or friends or have themselvesworked in the metalwork industries. Sheffield WinterGardens is one of the largest temperate glasshouses tobe built in the UK during the last hundred years and isadjacent to the main public space and art gallery in thecity. The facebook group has 2,800 members and alarge number of professional and amateurphotographers post on the site on a daily basis.

Exhibition: Pictures of Sheffield Old and New

Exhibition aims: “As Sheffield goes through manychanges (some good some bad!) I thought it would begood to create a group that shares pictures of Sheffieldand its people. We look forward to viewing your picturesand hearing about your experiences and memories ofSheffield.” Hedley Bishop, Founder member.

Title: Save Portland Works

Overview: Lillian and Brian Hatch and Hedley Bishop arethe lead photographers behind an exhibition ofphotographs of Portland Works held at Castle Market inSheffield. They created petitions, business cards, t-shirtsto support the wider campaign. Jack Wrigley – known as‘The Camera Man’ offered one of his (Portland Workstaken in the 1970s) and was one of many professionaland amateur photographers contributing to the growingand collaborative exhibition.

Date: August 2009

Participants: Lillian and Brian Hatch, Hedley Bishop andothers.

Website:www.facebook.com/#!/group.php?gid=25750519904

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Reaching out

Venue: Portland Works Art StudiosVenue overview: The Portland Works has a longassociation with the history of forging and the manufactureof the finest hand tools. It was once part of a thrivingindustrial 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. Alongsidethe workshops are some of Sheffield’s musicians and artistswho occupy the floor of past cutlers.

Exhibition: Open Up Sheffield

Exhibition overview: “’Open up Sheffield’ offers artistsopportunities to showcase their work, engage a curiouspublic, and network with other artists, all within asupportive digital and live environment. We aim to servevisual artists, participants and audiences by serving anddeveloping their longer-term needs, creating long-termvalue to our work.”

Title: Open Up; Portland Works

Overview: The Artists of Portland Works Open up theirstudios to the public to show their individual work, whichincludes printmaking, painting, photography and sculpture.

Date: April 2010, April 2011

Participants: Mary Sewell, Clare Hughes, Nuala Price,Shelley Hughes, Christine Kennedy, Alison Douglas, LeslieLister.

Website: www.openupsheffield.co.uk/

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A number of films have been produced aspart of the project, each for a differentpurpose. These include:

• You Are Your Own Source Of Work –a multimedia art piece, exploring thecharacter of the Works and the recentlyexhibited at Bank Street Arts

• Re-imagining Portland Works – a filmdocumenting our Knowledge TransferWorkshop

• Portland Works Makers – a filmdocumenting the recent open days andthe skills and practices of the manymakers who work there.

This library of films continues to grow andbuild a complex and layered picture ofthe works. Each film stands alone and willeventually be edited into a final piececomprising of these layers. These havebeen distributed via DVD and on Vimeo,our website and that of Quicksand Films.

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Quicksand Films


Reaching out

The Open Days have been an opportunity to invitepeople into Portland Works to meet with the tenantsand campaigners and to see demonstrations of themaking; it has been in continual use as a metalworkfactory since it was built in 1870. This was important interms of gaining support for the campaign (primarily tooppose the planning application and purchase shares)and to begin to realise the aspiration of education andheritage on site.

At the Knowledge Transfer Workshop much of thediscussion centred on the balance between PortlandWorks as a working industrial building that was noisy,dirty and at time unsafe for the public and the desire toshare the exceptional skills and activity that continueswithin the courtyard, studios and workshops. The OpenDays have managed to balance these two aspects andhave also allowed us to collectively develop a closerunderstanding of the needs of each of the makers- bethey musicians, artists, metalworkers, joiners, heritagecraftsmen or other small business. This has enabled thePortland Works Committee to use this information inwriting the business plan.

Date: 6th March and 30th January

Overview: Ten workshops and studios opened up to a fullhouse of over 300 visitors. The visit includeddemonstrations, talks, displays, films, and a tour of thebuilding which described architectural and historicalfeatures. Visitors included people living in theneighbourhood, invited guests from a range of placesincluding the council, heritage and communityorganisations and the universities. The aim was to makevisible the link between the place and the skills andmaking that happened within the building. Discussionsalso centred on the relationships between the differentmakers within the building and the wider area of theJohn Street Triangle, which is home to 11 metalworkbuildings and the largest concentration of music studiosin 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, ChristineKennedy, 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/

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Portland Works Open Days

“We really enjoyed our tour ofthe works yesterday - pleasepass on our thanks to theorganisers - very impressive. Itwas good to see you again andI was totally thrilled by beingable to hold the piece ofmammoth ivory! I was shockedthat the state of the building insome parts is worse than Iimagined and I hope you getthe project of reconstructionoff the ground. There are somany people in there doing afabulous job.” Dr Joan Unwin

“Great day todaycongratulations to all theteam” Robin Wood – HeritageCrafts Association


64

Portland Works

w w w . p o r t l a n d w o r k s . c o . u k

Images from around the WorksThe History of Portland Works

w w w . p o r t l a n d w o r k s . c o . u k

Rustless steel, the intergrated works and the Little Mesters

The history of Portland Works and the continuing metal trades that operate

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.

important enclave of nineteenth century industrial

the building on the 15th of September 1876 and it was built soon after in one phase.

successfully produce stainless steel cutlery and it continued to operate on the site until the late

within Portland Works were sublet immediately after construction and by 1879 the building also

industries as:

“A well erected premises [that] provides every facility for the class of trade carried on. It

mills. The different workrooms being provided

and appliances required. Messrs Mosley & Co. manufacture every kind of cutlery and have earned a high character for the quality of their productions.

manufacture of case goods of an exceedingly artistic and extensive scale. These cases are

-

choice mountings. A large quantity are always

-

Mr Mosley and Sons are actively engaged in the management of the business and are to be heart-ily commended for the high position their estab-lishment has attained under their guidance.”

Thanks to the continuity of a number of successful metal trades businesses operating

preserved. The building even retains the original

proposes to convert the building into residential

centuries of industrial heritage embodied in this Grade II* listed building.

Over one hundred years later the Pevsner Archi

physical features thus:

rounded with a two-storey entrance gateway

Ornamental panels of diagonal brickwork and an octagonal chimney. A three-storey rear range used for grinding has a room with four transverse

central engine house with the position of hearths

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.

Mark Jackson with patented coathook system

“Behind the neglected facade lies a warren of still thriving workshops which not only tell the story of the city’s industrial past, but are testament to the continued survival of

brand.”


Reaching out

Galvanise aims: “Galvanize is a Sheffield festival which celebratesmetalwork. Now in its fourth year, Galvanize is biggerthan it has ever been, with dozens of fascinating andthings to do – and most of them are free. If you’re out intown, there are no excuses not to see some of theseinspiring pieces of Sheffield craftsmanship.”Galvanise website

Date: April 2011

Overview: Stuart Mitchell hand-crafts Hunter’s,Bushcrafter’s, Bowies and custom knives, selling theminternationally from his workshop, in Portland Works,where he has been based all his working life. This iswhere he learned his cutler’s skills, handed down fromgenerations before him. He opens up his workshop for aseries of demonstrations throughout April as part of thecitywide Galvanise festival.

www.galvanizefestival.com/events/knifemaker.html

Date: 07 May 2011

Venue: Portland Works, Randall Street

Overview: “Many Sheffield musicians have referencedthe industrial sounds and sights of Sheffield as a majorinfluence on their work, the rhythmic sounds of thesteelworks are like the heart and arteries of the city.

Sensoria and Galvanize are co-presenting this uniqueevent that will bring drummers and percussionists fromvarious Sheffield bands together for a performance fullof bombast, set against an industrial backdrop – thesound of a forge hammer will kick off proceedings. Thisevent will be a fundraiser for the Save Portland Workscampaign.”

Drummers played the building – the steps, the handrails,the gas canisters and the machinery; Andy Cole ofWigfull Tools played the drop hammer and everyonedanced.

Website:http://2011.sensoria.org.uk/programme/music/steel-city-pulse/

http://youtu.be/A538FBGNGvY

http://www.flickr.com/photos/pixelwitchpictures/sets/72157626672502618/

65

Galvanise Festival Sensoria Festival


A mobile archive has been designed toallow us to take artefacts, research,photographs and other items from theworks and the wider campaign out ontothe streets around Portland Works. Thiswas deemed as important because muchof what happens both within PortlandWorks and the wider John Street Triangleconservation area is often hidden behindclosed doors and in the courtyards.

It will provide a central storage place forall the research generated during thestudent projects, and Knowledge Transferin addition to the virtual space of thewebsite. Designed by Mark Parsons ofStudio Polpo it will be manufactured onsite, using the skills and tools of tenantsof the works; the design may grow andchange with the knowledge of the makerson site.

The mobile archive is a toolwhich enables certain aspectsof the programme to berealised, such as sharing theheritage and potential foreducation on site, anddeveloping relationships withother metalworkers, artists andmusicians in the area, prior toany major building works. Itcould be used formally atevents such as the Open Days,or as a gathering point todebate current issues that bearon the neighbourhood, such asPlanning Applications, but alsofor impromptu activities suchas picnics.

66

The Portland Works Mobile Archive


Reaching out

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

Save Portland Works written objections toplanning application There have been 199 letters of objection to thedevelopers proposals to close the works and turn it intoflats, including from Former M.P Richard Caborn, PaulBlomfield M.P, Councillor Paul Scriven, Councillor ColinFrance, Councillor Sylvia Dunkley, Councillor JillianCreasy, The Central Ward Labour Party, The VictorianSociety, and The Heritage Crafts Association.

"At a time when YorkshireForward and Sheffield CityCouncil are justifiably proud ofthe efforts they have made toestablish a high technologymetalworking cluster on theAdvanced Manufacturing Park[AMP] at Orgreave, I amdismayed to find that they maybe willing to extinguish anexisting, and equally importantcentre of excellence inmetalworking at Portland Works.

I am currently undertaking a PhDat the University of Sheffield,studying the historical role ofsteel and developing newtechniques for processing it.Nowhere else, not even at theuniversity or the AMP, can I findthe necessary skills required tohelp me in my work? I can onlyfind them at Portland Works. Ican take metal ingots there, havethem indelibly engraved withreference numbers, have thesame ingots worked down tostrips, and then have those stripsmade into tools and cuttingedges all under the same roof.

I am not the first to use theirservices: almost a hundred yearsago Harry Brearley took his firststainless steel ingots there tohave test cutlery manufactured.Does Sheffield really want tothrow away such a heritage?"

Stephen Cater, University ofSheffield, Department ofMaterials Science andEngineering

67

Endorsements and support

1415PEOPLE SIGNED OUR PETITION


68

Thanks for letting me knowabout your plans for thePortland Works. They soundvery exciting. I hope thatlocal planners and those withthe power to make theproposals a reality will givetheir support. Communitiesneed the life that your planswould bring, good luck!

Ken Loach, April 2011

“


Reaching out 69

Sorry for the late reply I am really busy with a projectthat takes up the whole of my mind, I am not verygood at this multi tasking lark.....anyway I am wayahead of you in one respect I have spoken to acouple of my journalist friends in local papers andthey are all aware of the situation as I am. I agreetotally with keeping Portland works out ofdevelopers’ hands and keeping it in the hands ofSheffield people and folks who give a shit about ourrapidly vanishing history. I like many Sheffielders arein despair about the lack of any sort of care or actualplan..... apart from "yes you can convert this fantasticold landmark into worthless shitty flats that willlargely stay empty and unsold Mr Developer...hereyou go, smash away".... it’s a sign of the times, butone good thing about the economic stuff that’sgoing on is it has slowed a lot of it down which givesfolks like yourself time to gather support andmomentum, for the record I fully support any effortsto save this wonderful building from the greedygrasping hands of bastards who don't care..... I canreword that if you like so you can use it as a quote asswearing is good fun and it is occasionally big andclever but not much good if you’re trying to battlethe more genteel folks of the world..... can you put alink up to the petition please? I haven't signed it asmy e-mail address is publicly visible if I do and I haveenough trouble with fuck wits on the internet as it isso apologies there but I have got a lot of mates tosign it so hope that makes up for it...... thanks andbest wishes

Richard x

Richard Hawley, 14th March 2011

“


Portland Works has attracted nationaland regional media coverage over thepast year, boosting tenants’ confidence totake the project on and drawing newpeople in to the camapign. The coveragehas included a feature in the G2 Sectionof the Guardian, a piece on Sky News, anarticle in The Yorkshire Post, a feature onRadio 4’s ‘You and Yours’, a feature onITV Calendar News, a photo essay andarticle on the BBC Website, and a featureon BBC Look North. Local press andmedia interest has included numerousfeatures on BBC Radio Sheffield, TheSheffield Star, The Sheffield Telegraph,Now Then Magazine, Article Magazine,and ‘Sheffield Live!’

The campaign has also featured onnumerous blogs including ‘Indymedia’,‘The Heritage Crafts Association’, ‘NowThen’ and many others. The continuedcoverage has publicised our campaign,bringing new volunteers and oppositionto the planning application. An additionalbenefit of the media focus has been and achance to tell the story of the placetogether, and sharing our different andshared reasons valuing the Works.

70

Blogs, media and press introduction

The coverage hasincluded a featurein the G2 Section ofthe Guardian, apiece on Sky News,an article in TheYorkshire Post, afeature on Radio 4’s‘You and Yours’, afeature on ITVCalendar News, aphoto essay andarticle on the BBCWebsite, and afeature on BBCLook North.


Reaching out 71

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

Community Action.

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

Arts Education.

Heritage Crafts.

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

metalworks factory where stainless asteel cutlery was manufactured in the

metalworkers, heritage crafts workers, artists and musicians. This unique place is threatened with closure and conversion

An alternative is possible. You can take part in this exciting project to keep Portland Works a thriving workplace by:

Buying shares in the Works as a long term investment;Making a donation;Joining the campaign as a volunteer.

See more at www.portlandworks.co.uk

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

The Planning Application, which has already been submitted, will go to Planning Board in February

• The campaign has gained cross party support, notably MP Richard Caborn and local

Portland Works montage By Julia Udall


72


Reaching out 73

The Portland WorksAlternative FuturesBusiness Plan

PORTLAND WORKS

John StreetBusinessAudit

PORTLAND WORKS Knowledge

transferworkshop

PORTLAND WORKS

KnowledgetransferworkshopPhotographic record

PORTLAND WORKS

Alternative futures forPortland Works

Alternative Futures for PortlandWorks box setSet of Documents including this book,Business Plan, Workshop Report,Knowledge Transfer WorkshopPhotographic Record, John Street TriangleBusiness Audit, Case Studies x 11, DVD ofWorkshop Documentary Films, 3 xDiagrams.


74


75

Researching with students


A series of Student Projects have beendeveloped to broaden the reach of theresearch on Portland Works, as animmediate and informal way of taking innew disciplines and perspectives.Conceived to strengthen the linksbetween the University of Sheffield andPortland Works, these Student Projectsalso fulfil particular requirements of thecampaign group. Developed Theseprojects have been carried out bystudents from Sheffield University withinthe School of Architecture, the School ofJournalism and the School of English inresponse to briefs written by the PortlandWorks Committee, in conversation withacademic staff responsible for thecourses where the work was situated.

Moreover a number of students visitedPortland Works and became activeresearchers by their own initiative,choosing to work on/around PortlandWorks, rather than being asked to do soby their tutors. These works includeanalyses and explorations part of designprojects and dissertations.

In addition to the projects developedwithin the University of Sheffield, therehas, been a day-long workshop with theConservation Undergraduate course fromthe Technical University of Munich as partof their tour of the UK.

Each of the Student Projects was part ofthe core curriculum of each of thecourses and each was researched anddisseminated in a different mannerparticular to that course, includingthrough essays, films published online,exhibitions, websites, and presentationsto Sheffield City Council.

All students were given access to our on-going research and resources and takenon tours around Portland Works.Considerable time was invested inbuilding the relationships. Thiscollaboration with students and staff fromvarious disciplines extended ourunderstanding of how Portland Works isperceived, what its potential might be inthe future and created space for reflectionon the research carried out to date.

The outcomes of these student projectshave been and will be used as sourcematerial for the development of thewebsite, marketing strategy, business planand ‘vision’ for the works. Each projectbecomes a strand of investigation thatprovides opportunities and furtherdevelops the network of the campaign.

Masters in Urban Design (MAUD), Mastersin Architectural Design and Masters inUrban Design (MAAD), Master inArchitecture (MArch), The School ofArchitecture, October 2010–March 2011

MA in Broadcast Journalism: The School ofJournalism, January–March 2011

Sense of Place: Local and Regional Identity:The School of English Literature, Languageand Linguistics, March–June 2011

TUM Conservation Undergraduate:Tangible and Intangible Heritage, April 2011

76

Researching with Students



The School of ArchitectureMasters in Urban Design (MAUD): Live Project andUrban Design Project I, Sheffield University

Masters in Architectural Design and Masters in UrbanDesign: Participation in Architecture and Urban Design,Sheffield University

MAUD Live Project The School of Architecture has a long establishedprogramme of live projects for its Master in Architecture(MArch) programme; a live project was set up for thefirst time within the MAUD, programme, coordinated byDr Florian Kossak, creating the opportunity for studentsto work with real ‘clients’, Portland Works committeemembers, to design strategies to support the culturaland small industries.

Brief for the MAUD Live Project1The John Street Triangle Conservation Area: Urbandesign strategies to support the cultural and smallindustries

SiteThe John Street Triangle Conservation area is a cluster ofsmall, largely industrial and manufacturing businessessituated in the residential neighbourhood of Sharrow. It isalso home to the largest concentration of music studios inthe North of England. It is set between London RoadDistrict Centre to the west, Bramall Lane and Queens RoadIndustrial Estate to the east and the Ring Road and CityCentre to the north. It was designated as a ConservationArea in 2007 due to the number of traditional metalworkfactories located there. Key heritage buildings include thecourtyard style, integrated works such as Portland Works(Grade II* Listed status) and Stag Works and KenilworthWorks, (both Grade II Listed) which house a variety ofbusinesses from the metalwork, manufacturing andcreative industries. There are also a number of smallerworks, which are largely still occupied by ‘Little Mesters’.

In the 1970s a number of buildings were demolished andreplaced by large single story tin sheds to housemanufacturing, storage and retail. There are a number ofpublic houses in the area, some of which are now closed.In the mid-noughties large blocks of private studenthousing were built between the triangle and the citycentre. Sites along the Bramall Lane edge of the Trianglehave been left undeveloped due to long term plans, asyet unrealised for the extension of the tram network orthe widening of the carriageway.

A Planning Application has recently been submitted toconvert Portland Works into small flats and the SheffieldDevelopment Framework has proposed the areabecomes a housing and business area (it is currently aflexible use area). The tenants of Portland Works andsome activists have been campaigning to maintainPortland as a place of work, and buy the building fromit’s currently landlord to become a place of benefit tothe local community. As part of this campaign they havealso lobbied for the Council to re-designate the entireJohn Street Triangle area as a place of Businesses andIndustry. In order to gather and provide convincingevidence for Sheffield City Council an audit of thebusiness and industry in the area was carried out.

The John Street Triangle AuditThe John Street Triangle Area is currently home to anumber of metalwork, manufacturing, and creativeindustries. Some key reasons for locating here haveemerged. These are:

• Affordable Rents

• Proximity to the City Centre, London Road DistrictCentre and Suppliers

• Flexibility of accommodation

• Relationships with other specialists within the area ornearby

This Live Project seeks to investigate how we canstrengthen these factors through design and thereforeimprove the conditions for the businesses based in thearea. Aspects for consideration include:

• Typology, flexibility and massing of existingaccommodation. Which parts are the most successful/what type of companies use each type of space? Whatis the potential for intensifying the use of these spaces?

• Access and links to key services and suppliers. Whatare the key routes and key places people need to getto? What is the historic street plan and does this holdany potential for the future development of this area?

• Spaces between the buildings - are there opportunitiesfor people to meet? How does the street relate to thebuildings? What role does and could the courtyardshave? Which sites, buildings or gaps might bedetrimental to the area? What is the role of thecurrently vacant sites?

• Relationship to the adjacent student and councilhousing - could this be improved/is this relationshipimportant? Legibility of the area - pedestrian links tothe City Centre and London Road.

77

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


Project briefIn small groups choose and explore oneor two aspects of the John StreetTriangle. Use these factors to make UrbanDesign proposals to support its evolutionas an area of business and small industry.

• How do the various types of businessesand industries (including creative)operate in the area?

• What are their needs and desires forspace and relationships with others?

• How should and might things changeover time?

• What could happen almost immediately,or in five years or ten or twenty?

• What city, nation or world-wide factorsare likely to impact the area and howcan this be accounted for in your plans?

• What smaller scale factors are likely tochange over these time periods?

Your proposals should take into accountthe existing context which has grown upover time and consider key future driverssuch as the development of PortlandWorks, and pressure from studenthousing and Sheffield United’sdevelopment plans.

Proposed structure of the weekMonday 25th October10am: Group site visit, projectintroduction, meeting withtenants

Monday 25th October2pm: Analysis of brief, assigningof tasks for remainingsurvey info.

Tuesday 26th October10am: Strategic walks, collectionof remaining surveyinformation

Tuesday 26th October2pm: Compiling of surveyinformation, analysis of keyissues

Wednesday 27th October10am: Initial group ideas andproposals

Wednesday 27th October2pm: Development of proposals

Thursday 28th October: Development of Proposals

Friday 29th October,10am: Development of Proposals

Friday 29th October, 2pm: Presentation of Proposalsand Project review

ClientThe client for this project is a broad one,comprising of a number ofrepresentatives of the Portland WorksCommittee. Each will have differentexperiences and knowledge of the area...and slightly different views and prioritieson how the area could and shoulddevelop. You can contact them prior tothe project commencing to ask themsome initial questions on the emailaddresses below. We should also be ableto meet with some of these people earlyon in the week of the project.

Derek Morton, Retired technology teacherChair of Portland Works [email protected]

Stuart Mitchell, Stuart Mitchell Knives,Treasurer of Portland Works Committeeand tenant of Portland [email protected]

Mark Jackson, Squarepegs,Treasurer of Portland Works Committeeand tenant of Portland [email protected]

Clare Hughes, Artist,Member of Portland Works Committeeand tenant of Portland [email protected]

Nuala Price, Artist, architect,Member of Portland Works Committeeand tenant of Portland [email protected]

Andy Cole, Wigfull Tools,Member of Portland Works Committeeand tenant of Portland [email protected]

Alan Deadman, Little SheffieldDevelopment Trust,Secretary Portland Works Committee andtenant of Stag [email protected]

Olly Galvin, Sequoia Sound System,Tenants of Portland [email protected]

The Gentlemen, Band,Tenants of Portland [email protected]

Stephen Connelly, Lecturer,Member of Portland Works [email protected]

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80

Shujie Chen, MAUD



Shujie Chen, MAUD


82

Shujie Chen, MAUD



Shujie Chen, MAUD


84

Shujie Chen, MAUD



Temporary Urbanism: Major UrbanDesign Project IFor this project coordinated by Dr FlorianKossak and Julia Udall, sixteen UrbanDesign (MAUD) students were asked towrite their own brief for the John StreetTriangle and adjacent ring road area,responding to the theme of TemporaryUrbanism. This project was to bedeveloped from the earlier work thatformed the ‘Live Project’, drawing on theirparticular understanding of the site. Aspart of that project students worked withcolleagues from the Master in AdvancedArchitectural Design course (MAAD), on aparticipation module, coordinated byCarolyn Butterworth, where theyexplored, developed and tested ways toengage the local communities.

This work was then exhibited in The OldJunior School, Sharrow CommunityForum (which attracts over 500 visitorseach week) and in shops along thewindows of the district centre. Theopening of the exhibition attracted anumber of local residents and councillorswho discussed the projects at length withthe students. This was crucial indeveloping alternative visions for the JohnStreet Area and exploring the potential ofPortland Works as a catalyst fordevelopment for the wider network oflight industrial and heritage businessesand creative industries. The students, fromall over the world, including China, India,Kuwait, Jordan and the UK each broughttheir experience and understanding ofUrban Design to this site.

This work will be used as source materialfor the development of the marketing,feasibility and vision elements of thePortland Works project and in liaisingwith the urban design and planningdepartments at Sheffield City Council.

Illustration of some of the work producedfor the Participation in Architecture andUrban Design: the Sharrow IndustrialTriangle Garden (SIGT), by Chinesestudent Tian Xiuying, MAUD. SIGT wasdocumented in the website:http://www.sigt.co.uk/

85

Tian Xiuying, MAUD


Portland Works as part of studentinitiated and led researchA number of students visited PortlandWorks in the context of the open days(see page 35) and, by their own initiative,became active researchers, tying inaspects of their individual work with thePortland Works campaign.

Design Work

“I visited Portland Works as I'dheard about it via a lecture givenat an urbanism seminar by JuliaUdall. It sounded like a reallyvibrant assemblage of individuals,sharing facilities and occasionallyworking together on projects,which is exactly the kind of socialmix I am aiming for in my studiodesign project. I wanted to seehow the architecture of anIntegrated Works afforded such avibrant community based aroundmaking things. I was so moved bythe campaign and the passion ofits tenants and volunteers that Ioffered my time at a second openday. I was able to guide groupsaround and talk about myopinions of the place, getting toknow the tenants in the process. Istill aim to help out as and whenI'm needed.”

Sam Brown, Y5 (MArch)

86

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



www.stuartmitchellknives.com-

moth ivory excavated from Icelandic glaciers and hardwoods

Portlands Works

South Yorkshire

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Portlands Works EntrancePost boxes, taken19th November 2010

“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

whole

of

of new stories seem to run through the heart of the

5 to

held with the university was to form ‘Portland Works

to insure its future

5

and advocate a volunteering culture.

factors have lead to this moment?

.

. This sees the move

.

Portlands Works

Portlands Works

.

is more detached from the city centre so the model for

however the John street triangle area does include

for the site does seem to follow in a similar vein to the

Street and within the courtyard (heavier industries likely

industries.

Looking ahead the site faces other challenges. Finding

the high risk nature may detour investors.

maintained in the future?

more rigorous use of the case studies.

the research.

[I need to discuss this with you]

Portland WorksStag Works

Wardonia Works

Freedom Works

Beehive Works

London.

some key resources for his study and gave what I thought

Works

to the music industry in Stag works (another cutlery

Works in that the outcome of Portland Works is likely to

the discourse.]

causes like Portland works.]

users. The method has raised my consciousness to a

failures.]

Wardonia Works

uses and tenants. This is the context for the future and

and in hard

-

14

.

good.

this the site does have its disadvantages. The Landlord does not maintain the site in any way and many tenants

has accumulated in the courtyard. Some of tenants

allow further networking could occur with some of the

further work.

and curriculum around the metal working industries

Like Portland Works not all of the remaining works

Portland Works

reviewed.]

www.hlf.org.uk

English Heritage

www.english-heritage.org.uk

www.erdfnw.co.uk

www.stuartmitchellknives.com

www.rmet.co.uk

[The context of Portland works involves many ethical

a few involved and sets out the wider network of

and gaining a vital insight into the context and workings

Dissertation

One student, James Sexton, decided tofocus his entire dissertation on: The storyof Portland Works through an explorationof its history and occupants; 1870 – 2011+.The final work is due for submission inSeptember 2011, but at the time of writingwe have a work in progress version of thefirst chapter, outlining the scope of thedissertation, the methodology andtheoretical stance.

“…I decided to stick withPortland Works as a researchframework,… the suggestionwas made that some of theideas of 'conflict' are presentwithin the themes raised bythe Portland works campaign”

James Sexton


Leppard, Reverend and the Makers... too many to name...all started out... and loads of others will too. Places likethis feed the Cultural Industries Quarter and other morecentral places in the city- they’re start ups and crucial tothe vitality of the music industry in Sheffield....” AlanDeadman, Little Sheffield Development Trust, StagWorks

The works are all in a poor condition and facilities arefew, but for this reason, they have some of the lowestrents in the city. The cheap rents mean that fewimprovements are made by the landlords, but tenantsare able to modify the space to suit their basicrequirements, often sub-letting, sub-dividing andextending the buildings.

“...we all rub up well together... I’ll fix the machinery forPam upstairs if she needs me to- and ‘The Gentlemen’rang me to tell me my alarm was going off at night... wehelp one another out... Stu’s workshop, well he lets bandsrehearse there at night when he’s not working... one bandtold me that they were complimented in having a greatbass sound in their new record- and they didn’t knowwhat it was- until they realised it was my hammer, andthey’d all been playing in time to it subconsciously.”Andrew Cole, Wigfull Tools, Portland Works

In addition to affordability, it is the proximity to othersimilar businesses and makers that makes it so desirableto the metalwork and creative industries, allowing spaceto be shared and processes, materials and skills to beexchanged. These layers and practices that exist assert aclaim to be acknowledged in any plan for the future forthis part of the city and need to be represented. Theyalso offer the potential of a richer and more sustainablefuture for Portland Works...

Background to this projectLast year the landlord of Portland Works submitted anapplication to close the works and convert it into tinybedsit flats. The tenants and others have opposed thisand are now proposing alternative futures for the site.The current plan is to purchase the building through acommunity share issue in order to retain it as affordablebusiness space, whilst developing the opportunities foroffering education and heritage on site.

Part of this campaign has been discovering andrepresenting the value and richness of the place toothers- be they planners, funders, local residents, or thetenants themselves. This is important not only tostrengthen relationships with and responsibilities for oneanother, but also to determine how we should moveforward and the potential this site offers. Some of thisrichness is hidden from view, whether because it istentative and temporary or because it is historical andanecdotal... or in some cases it has been deliberatelyhidden from view. By making this public we hope toconsider what places like Portland and the John StreetTriangle contribute to their cities; be it socially,economically or physically.

2 http://www.galvanizefestival.com/

School of English Literature, Language andLinguistics‘Sense of Place’, Local and Regional Identity. As part oftheir module “Sense of Place, local and regionalidentity”, coordinated by Prof Joan Beal, a class ofEnglish Students have been working to develop projectssuch as oral histories, a record of how Portland has beendocumented throughout the city and a narrative andexhibition plan for a shop window in the city centre inthe context of the Galvanize Sheffield Festival ofContemporary Metal. The content and insightsdeveloped in the context of these project will be used bythe Portland Works campaign in the development of thebusiness plan, the website, and, in particular,development of strategies for outreach to other parts ofthe city.

The making of Portland Works

The John Street Triangle and Portland Works

Portland Works is a Grade II* Listed cutlery factory, inthe mainly residential neighbourhood of Sharrow,situated just outside of Sheffield City Centre. Known asan ‘integrated works’, it is a three-story courtyardbuilding with a series of small workshops surrounding anow derelict central shared engine house and chimney.Since it was built in the 1870s, it has been in continuoususe for its intended purpose and significantly, was thefirst place in the world that stainless steel cutlery wasmanufactured, nearly a century ago. Currentmetalworking tenants include toolmakers, artisan knifemakers, engravers, silver platers, steel-productmanufacturers and even a chastity belt maker. In the lastforty years the works has diversified; there are nowmusicians’ and artists’ studios, and a range of smallbusinesses as well as the more traditional “LittleMesters”.

“For us artists it’s about having a fantastic space withthe metalwork going on, noise, dirt, the mix of makers -being here influences the kind of work we do... To thinkthat our studio was where Def Leppard first started? -imagine the goings-on! ...It’s cold, and I don’t think thereare any toilets that work... and we have mice andpigeons in the studio... but the light is fantastic...” ClareHughes, Portland Works Artist

A number of the Portland Works artists’ previous studioshave been closed down or redeveloped and they statetheir concern for the dwindling affordable studio spaceavailable in Sheffield. This is echoed within the musicindustry:

“Portland Works is situated in the John Street TriangleConservation area, and is part of the largestconcentration of music studios in the North of England.In other cities places to record like these have simplydisappeared- and that has really affected their musicscene... Portland Works, Stag Works next door, andKenilworth and Electro Works down the road are theplaces where Warp Records, the Arctic Monkeys, Def

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BriefGroup 1: Metalworking and Heritage Crafts

To create an oral history of metalworking and heritagecrafts at Portland Works that can become part of thePortland Works website, our archive and feature in ourexhibition for the ‘Galvanise’ festival in April.

This can draw on the John Street Triangle BusinessAudit, the “Disappearing Acts” series in the G2supplement of the Guardian and the upcomingmetalwork and heritage crafts audit being carried out bySheffield City Council as a starting point. There are alsoopportunities to interview current and past tenants ofPortland including (potentially) a metalworker workingat Portland in 1939 and others for whom this has been aplace for work for their parents before them.

Group 2: Music and Art

An audit of the John Street Triangle has recently beencarried out in order to provide the evidence for it to bedesignated as an area of Business and Industry in theSheffield Development Plan, rather than an area ofOffices and Housing. During this process we realised thatthe musicians and artists often use space informally,borrowing or sharing space.

This brief would be to map the spaces of the artists andmusicians in the John Street Triangle, considering howthese provisional, shared or make shift spaces areappropriated. What is the relationship between the placeand those who work and create here? How do cities benefitfrom these kinds of spaces and informal economies?

Group 3: What does Portland Works mean to Sheffield?

There have been a number of formal and informalexhibitions, news reports, blogs, magazine articles andevents about Portland Works over the past few months.Some of these have been instigated by campaignmembers and others have been spontaneous, instigatedby people who understand the city as interconnectedand this place as relating to their identity.

This group will gather artefacts, texts and images andconsider the significance of the ways others haverepresented Portland Works. A key aspect of this will beto work with and inform filmmakers who are planning aseries of short films on Portland Works and to providethe context for the other two identity groups.

Group 4: Galvanise Festival and the Portland WorksShop Window

To produce a shop window that explores the identity ofPortland Works, publicises the campaign and presentsthe metalworking aspects of the place in a way thatresonates with a city centre location and the people ofSheffield. This will be a prominent part of the GalvanizeSheffield Festival of Contemporary Metal, which runsfrom 25 March – 24 April 2011.

You may design a revolving exhibition which changesduring the course of the display or there may be one

design which is fixed but perhaps allows the collectionof further information useful to your project and thedevelopment of an idea of the identity(ies) of the Works.

The first version of the window itself must be ready bythe 14th March 2011, and prior to this for review by thePortland Works Committee at a board meeting forapproval and development. This may involve selectingand curating objects form the works, photographs,history and research carried out by your group, otherproject groups, or people at Portland Works.

Technical and festival informationThe window will be directly opposite Debenhams cornerentrance in what use to be Samuels Jewellers. Thewindow is 2.5 metres long by 1.7 metres high and thedepth is about 50-60cm. The window pane has a joinstrip of wood down the middle because the area is solarge it needs two pieces of glass but the display area isone whole window. There is a slightly smaller windowadjacent to it.

You must include “In association with GalvanizeSheffield, Festival of Contemporary Metalworkingsmaller underneath title” and also use the PortlandWorks branding which has been developed by thecampaign.

The festival organiser suggests “I think it is veryimportant to personalise this. The place is as muchabout the people and what they do there. The public getbored of another piece of Archaeology, but your Worksis a lively vibrant place.”

In addition to the brief set out by the Portland WorksCommittee the students are asked to keep a diary andreflective diary and portfolio case study of the project. Itshould be submitted as a portfolio which may includeaudio-visual material, photographs, clippings, brochuresand leaflets, etc., but should include a written account ofup to 4,000 words.

89


“As part of our research we conducted asurvey of people who attended the openday. We had around 48 responses andcollated all of these into graphs torepresent the data. This graph shows theamount of people who had heard ofPortland works before the open day. Aswe can see most people had heard ofPortland works, and so we would assumeare there to find out more and showsupport for the campaign. When weasked people how they had heard of PW.Most heard through friends and family,(word of mouth) and a similar numberheard through either the website orthrough some part of the mediacampaign. The thing we found the mostinteresting about this graph is that PW isstill best known for its cutlery trade,which is of course its original heritage.

We feel this graph is one of the mostrevealing in terms of the perception andwhat the building means to the people ofSheffield. After the open day people weremore excited and interested than theywere before the open day which is atestament to the kind of place it is. The‘other’ section also rose a lot. This wasour particular favourite. Many peopleexpressed some kind of comment aboutbeing outraged that it was threatened,but most said it made them feel reallyproud of Sheffield. The other thing weliked was that no one was bored at anypoint!!!

This set of graphs really shows howsuccessful the open days are, everyonewas made aware of the campaign, andeveryone wanted to help.

This is the most interesting outcome ofour questionnaire. The question was, whatdoes PW mean to Sheffield. This imageshows all the responses we were given,the bigger the word, the more it wasmentioned.”

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The School of JournalismStudents from the MA in Broadcastjournalism, with course leader MarieKinsey, chose to feature the PortlandWorks campaign, as part of their thesisproject. The interviews, with tenants,campaigners and local politicians wereedited, compiled and posted on YouTubeand have contributed to raising the profileof the campaign. They were alsoembedded on the Sheffield UniversityJournalism website, JUS News in March2011, with a written piece leading tofurther interest from the UniversityNewspaper, Forge Press.

Students involved included; Emma Wass,Ruth Etherington, Tom Wright andCaroline Nicque.

“JUS News is the place wherepostgraduate students post upstories. A mix of web,broadcast, print and magazinestudent journalists learn to useWordpress, practice writing forthe web and add value to theirstories using multimedia”

JUS Newshttp://www.jusnews.co.uk/about-us/

http://www.youtube.com/watch?v=gRvU944Th7M

http://www.jusnews.co.uk/2011/03/portland-works-in-danger/

http://www.youtube.com/watch?v=jiLp_rNr5bM&feature=related

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Faculty of Architecture: BuildingHistory, Building Archaeology andHeritage Conservation, TU MunichTangible and intangible heritage: aWorkshop with undergraduate students

This exchange workshop and site visitwith students from TUM aimed to discussthe future of the building in terms ofconservation of tangible and intangibleheritage. Outcomes included discussionaround the evaluation of a number ofapproaches for possible for the future ofPortland Works, including reconfiguringthe Works as a residential development,an industrial museum and as a workingmuseum. Ideas for outreach and financewere also discussed, with an emphasis onconservation.

Despite the limited duration ofthis project, a valuable input tothe research was brought bythis cohort of studentscatapulted into the context ofPortland Works for one day;this project, in particular, washelpful to critically review (andmake a case for) decisionsmade and assumptionsdeveloped at earlier stages ofthe campaign. The workshopalso broadened the vision ofthe project – the studentsimmediately consideredPortland in a European andeven global context.

Outline of one-day workshop: Universityof Sheffield School of Architecture andTU Munich (Faculty of Architecture:Building History, Building Archaeologyand Heritage Conservation)

Date: Tuesday, April 05, 2011

Venue: Sharrow Community Forum, MainHall, Old Junior School, South View Road,Sheffield

9:30 Welcome and introduction: Jo Lintonbonand Florian Kossak

9.40–10.15Exhibition viewing (John Street Triangleand Portland Works: MAUD project work)and MAUD student-led presentation ofcourse through project work.

10.20–11.05Case Study TU Munich: Student ledpresentation of the historic industrialquarter in Augsburg, Germany

11.05–11.15coffee break

11.15–11.40Presentation by MAUD studio leader IrenaBauman: ‘Conflicts and synergiesbetween urban design, regeneration, andconservation’.

11.40–12.00Discussion MAUD students break away for tutorials.

12.15–12.50Building visit to Portland Works with TUMstudents

13.00–14.00lunch and transfer to School ofArchitecture SR 01

14.00–14.20Presentation by Julia Udall: PortlandWorks Campaign ‘Tangible and IntangibleHeritage’

14.20–14.30Introduction to workshop for TUMstudents

14.30Workshop: scenarios for managingintangible and tangible heritage. Studentsto prepare arguments

16.15Debate/presentation of results andsumming up

17.00End of session

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94


Academicdissemination

95


The Save Portland Works research hasgenerated a number of outputs rangingfrom a business plan, exhibitions and filmsto a community share issue prospectusand we feel very strongly that the varietyand complementarity of these outputs isone of the strengths of this research. Thisrichness of outputs does include,however, more traditional academicoutputs such essays and conferencepresentations.

The majority of these publications havehas single authorship, which mightappear at odds with the collectiveproduction ethos of the research. Thesepublications, however, representmoments of reflection and sense-makingwithin individual researchers’ own bodyof work and reference systems. They are apreparatory step for collecting reflectionsand theorising across disciplinary fields ofthe participants, which is now beginningto emerge.

Opposing Practices: Making Claims tothe ‘Works’ in a Post-industrial NorthernEnglish City, by Julia Udall. Pages355–364, an invited essay in the book:

TRANS LOCAL ACT Cultural PracticesWithin and Across, edited by DoinaPetrescu, ConstantinPetcou andNishatAwan, published by aaa/peprav,Devember 2010 as final output of the EUfunded research project Rhyzom.

Pdf of the whole book is available free ofcharge at www.rhyzom.net.

96

355

Portland Works is a Grade II* Listed cutlery factory, in the mainly residential neighbourhood of Sharrow,

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 as a series

was manufactured, nearly a century ago. Current metalworking tenants include toolmakers, artisan knife makers, joiners, engravers, silver and nickel platers, steel-product manufacturers and even a men’s chastity-

1 and artists’ studios, and a range of small businesses as well as the more traditional ‘Little Mesters’. It is a ‘rare survival’2 of this type of building and one of the few places left in the city where a number of makers work under one roof.

OPPOSING PRACTICES: MAKING CLAIMS TO THE ‘WORKS’ IN A POST-INDUSTRIALISED NORTHERN ENGLISH CITY

356

The ‘Alternative Futures for Portland Works’ Campaign started in response to the landlords’ decision in early 2009 to close the studios and workshops and convert the building into a small number of high-spec

3 to the city lay within the fabric of the building and therefore could be preserved by its conversion into

4 and

the businesses based there would not survive a move, and with ttheir closure would be not only mean the loss of businesses and networks of people, but also the loss of specialist skills that are particular to

5

I understood the claims on Portland Works as carriers of energy and knowledge that would enrich and sustain the project, but also as political gestures. They were assertions of a need for the public to reclaim space in the city. The majority of those making claims did not own the Works, and many did not even use it, yet they declared a relationship to it and with that, ‘matters of concern’ were brought into consideration and desires articulated. As Doina Petrescu suggests; ‘Sometimes these claims are modest and informal, but what is important is how to transform them into a brief, a challenge, and sometimes a proposal that will give room to the multiplicity of desires and needs of diverse sets of users.’6 Claims are made by people not only verbally, but also through their actions, practices and the objects on which these claims bear. Crucial to this process is how these claims are made, and how the matter of concern is represented. Bruno Latour reminds us that with each representation come layers of ‘...translation, transmissions, betrayals...assembly, delegation, proof, argumentation, negotiation and conclusion’7 that will all bear on what and whom are brought into the political process. Claims on Portland Works were

these brought with them a certain power, related to not only the content of the claim but the particular nature of its form, whether it took the very personal and temporal nature of ‘telling’, or the potential new meanings created by new forums and juxtapositions through which ‘showing’ occurs, or the propositional and performative nature of ‘doing’. By understanding these together the potential for the development of a brief for the future of the works became richer and more democratic, bringing difference in meanings, words, visions and interpretations.

A ‘Little Mester’ is a colloquial term used to describe a self-employed cutlery worker in the 19th Century. Individual crafts people would rent a unit around a shared furnace, each taking his or her specialist part

to market demand. Prior to the creation of integrated works such as Portland, which brought people together in one place, Mesters would cart their goods between works in wheelbarrows. Portland Works is still comprised of these workshops and studios, each small business, collective, band or sole trader renting a space around the shared central courtyard.

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that require a number of the trades, such as forging, grinding, engraving and plating, or less formally through joint art shows.8 They also rely on one another to assist in the repairs of machinery, be it the replacement of an engine or the welding of an item. These informal interdependencies are not visible, yet they are vital both to the feasibility of their businesses and to the identity of the area. As the campaign developed, so did our collective understanding of the needs of individual tenants, groups, makers and activists and, crucially, those things which had become our shared desires. In order to achieve those aims a series of objects and

created, either to present identity, strengthen relationships, or to facilitate further actions necessary to the campaign. As Bruno Latour puts it when he calls for a politics of ‘things’;

There might be no continuity in our opinions, but there is a hidden continuity and a hidden coherence in what we are attached to. Each object gathers around itself a different assembly of relevant

community Design

http://www.sharrowcf.org.uk/distinctive-sharrowcommunity design - urban action - participation - neighbourhood

The Distinctive Sharrow Action group formed to carry out a series of built environment projects in their neighbourhood, which responded to the desires of people living and working there. The Distinctive Sharrow Toolkit sets out a series of actions and suggests how they can be achieved through collective action; aiming to develop skills and relationships as they happen. Projects may be physical interventions at small or large scale, or temporary, making events to alter the way space is used or perceived. They can be carried out by the group

empty shops. Those involved have commissioned artists, written briefs carried out research, created events and held workshops. Members of the group are also involved in the Portland Works project

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had been designed featuring a number of tenants in their place of work with the things that they make.

and practices.. The creation of the posters made those featured on them public representatives of the campaign, empowered to speak by virtue of them being named and visible, also then responsible for representing others, such as their neighbours. A Portland’ tenant made a series of display boards so that the posters could be presented on the elevation, in the street, visible to passersby, telling people what was happening ‘in here’.11 Their location was chosen to address the issue that the activity in the courtyard building was hidden from the street; it was realised that the proximity of a residential population did not guarantee a united community based on physical adjacency. We hoped

based at Portland Works.

The second object produced in Portland Works was the communal noticeboard, made in answer to the question: ‘If there is one immediate change to the building what should that be?’ The next week it appeared

Trish O’Shea, Ruth Ben-Tovim, Teo Greenstreet, Sophie Hunter, Ruth Nutter, Simon Seligman and Ben Yeger

Relational Art http://www.encounters-arts.org.uk/

creative collaboration - arts - ecology - place-making

programme of arts projects using disused shop spaces and street based interventions that involved participation with local residents and the collecting of urban histories. We aim to create participatory processes that enable people to explore new stories to live by on individual, local, city wide and global levels. These stories are then retold to a wider community through exhibitions, public art, performance, publications and

creating spaces and processes for people from all walks of life to re-look at who and how they are in the world at this time of ecological crisis and opportunity.’

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The physical changes mark the development of priorities for the campaign, desires and r

artists Collective, with core membership and external collaborators self organised art, workshops and public interventions

under the main entrance arch, courtesy of the coat hook maker. The noticeboard became the place where other objects were assembled; papers with requests for information, meetings promoted, business support offered, press cuttings placed and business cards pinned. This ‘thing’ was deemed crucial as a physical entity situated in the place that was the object of concern; it was the space that those involved had in common.12 The third

th step was unsafe and on Portland Works Open Days their 7th step was unsafe and it may be a risk forto public access; a shiny new bolt courtesy of the tool maker appeared.13 This gesture, as the others before represented a practice, in this case that of the tool maker. This ‘practice’ consisted of his particular knowledge and know-how, the material ‘objects’ available to him, his care for the artists and the building and his commitment to the shared event of the open days.

celebratory sign proclaiming ‘The Portland Works Committee’14. It was made when the campaign group constituted and were able to accept donations and offers of services. Each of these small objects appeared,

in the place that was the object of concern; it was the space that those involved had in common.press cuttings placed and business cards pinned. This ‘thing’ was deemed crucial as a physical entity situated

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given without announcement by a maker from the works, each changing the communal spaces and relating

tenants; including a ‘sculpture garden’ on the roof, curated and created by the artists that work below and a mobile unit to function as a welcome desk on open days and an archive, designed collaboratively in response to the skills, machinery and materials available at the works.

between people, both within the campaign group and, in the case of the posters, the wider public. They embody know-how and knowledge particular to those at Portland Works and because of this they are

...forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion and motivational knowledge...

elements, and which cannot be reduce to any one of these single elements” making an individual a “carrier of a practice... and a certain routinized ways of understanding, knowing how and desiring... a practice is thus a routinized way in which bodies are moved, objects are handled, subjects are treated, things are described and the world is understood.15

These practicses brought to the forefront matters of concern in a tangible, yet understated manner.

offered for their businesses, how a relationship with a building develops over time, how a community is formed and what aspects of a city might be hidden from view yet make an important contribution to the way it works? The physical changes mark the development of priorities for the campaign, desires and relationships between people.

artists Collective, with core membership and external collaborators self organised art, workshops and public interventions

http://www.black-dogs.org/context - responsive - participation - collective action - intervention

Black Dogs is an artist collective whose activity spans formal exhibitions, publications, events, interventions, workshops, social engagement and curatorial activity. Formed in Leeds in 2003 as a means to conduct artistic activity in the city at a self-organised level, Black Dogs subscribes to a DIY ethos of not-for-

by a commitment to context-responsive, conversation and debate-led working methods and artistic experimentation with modes of life that contribute toward a working alternative to capital-driven society.The free-sharing of information, knowledge, skills and experience underpins the actions of the collective as a method by which to encourage collaboration both within the group and with the audiences and public who experience Black Dogs’ output. It is the group’s aim, through its artistic activity, to understand and facilitate a transformation from a passive-consumer ‘society of extras’ through to a stronger, more participative form of social organisation

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alternative realities. This approach is asserting an alternate understanding of investment, where a close examination of the context and the giving of time and energy are valued most highly. This is in contrast to the terms set out in the planning application where the ‘value’ of this site is considered not to be

obtained. As Jean-François Prost writes in his essay ‘Adaptive Actions;

Resident’s adaptive actions prolong the life of buildings by progressively adapting their environments in a number of small, sustainable moves, thus avoiding accelerated or premature degradation, as well as avoiding the need to resort to large, urban renewal projects.16

The adaptive actions carried out at Portland Works suggest a responsiveness to need, yet the care and skill with which they are carried out separates them from being utilitarian. The approach taken by the tenants of the works asserts a moral system which is similar to that found by Gilligan in her analysis of the development of moral judgement. She found two ways of considering a matter of concern, one of which follows rules and rights and the other, which I see as closer to that performed by the tenants that, ’… privileges the consideration of relations and responsibilities in making judgments... (and) emphasizes participants’ empathy for others and their concern for the sustainability of relations’.17 By acting with care the tenants of Portland Works were asserting a value system other than that prescribed through ownership, legislation, statutory regulations and legal obligations and one which relies on knowledge of one another, and the place in a way that top-down regeneration could not; they were ‘doing’ their

one another and the place and the future which they were proposing. Though subtle as a means of representation, these were powerful acts of resistance; they acknowledge people, desires and knowledges which were informal, hidden or had not been articulated within the public sphere. Chantal Mouffe writes of her term ‘agonism’ as a recognition that;

http://wardscorner.wikispaces.com

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vision of the site; to include preservation of the main Wards building, growth of the market and continuity for local businesses. At once, the possibility of a different future for Wards Corner emerged; one which resonated with local opinion. After nearly three years of relentless,

focused and highly creative campaigning, the WCC recently won a landmark judgement in the High Court, and the developers had their planning permission for the Wards Corner site repealed in July 2010. The Council’s planning processes in respect of this application were found not to have followed duties under Equalities legislation. They had failed to assess the impact of the proposed development on relations between different racial and ethnic groups and on equality of opportunity in this area of Haringey... The WCC campaigns for standards non-standardisation and the development of our local distinctiveness...’

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Essays


Academic dissemination

Transformative Knowledge Productionthe case of Re-imagining Portland WorksKT Project, presented by Cristina Cerulliat the conference:

Partnerships, Hybrids and Networks -International Social Innovation ResearchConference, Sa_d Business School,University of Oxford, 13 - 15 Sept 2010

AbstractThis paper will provide a critical accountof the Re-imagining Portland WorksProject, a Knowledge Transfer projectconcerned with helping the localcommunity to imagine a future that isenvironmentally, socially andeconomically sustainable for PortlandWorks, one of the outstanding examplesof Sheffield’s industrial heritagethreatened by redevelopment. Theproject set out to facilitate theexploration and appraisal of organisationtypes, business models, legal structures,ownership and management options thatare available to small businesscommunities based in industrial heritage(or historical) sites. Thanks to activitiesgenerated by this project, tenants feltempowered to organise themselves inIndustrial Provident Society for theBenefit of the Community and embarkedin a journey to purchase the building.

The project is really about exploring howan informal group of ‘makers’ canbecome empowered to take on theorganisation/financing/management oftheir workspace, to avoid eviction (whichfor many would mean the end of theircurrent practice/activities), but also howan hotbed of unique local skills couldsurvive creating its own economy.

The paper will discuss the active andtransformative role of this ‘knowledgetransfer’ project and discuss lessonslearnt, findings and insight that might betransferrable in similar contexts.

97

Conferences


“Don’t mourn, organise!” Presented bySteve Connelly from the Department ofTown & Regional Planning, University ofSheffield at the conference:

Working Together: Partnerships,Regeneration and the Common Good inthe Arts and Beyond, CADRE School ofArt & Design Conference, The Public,West Bromwich, 9 October 2010http://www.blackcountrycreativeadvantage.org

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Academic dissemination 99


AbstractThis paper discusses the processes andoutcomes of ‘Common Grounds’ a student-led colloquium for PhD and early careerresearchers in architecture and associateddisciplines, held in January 2011. The eventaimed to explore the specificities ofarchitectural research, including research bydesign, performative and activist research,with particular focus on methodologies. Theintention is to build capacity, developthematic clusters and ongoing workingrelationships in order to support high-quality research. Participants came fromfour UK universities, researching withindepartments including architecture, civilengineering and geography, and spokeacross disciplines including art, sociology,theatre, computing, and history.

Through a series of presentations,discussions and workshops a number ofthemes emerged, reflecting a shift inarchitectural concerns and strategiestowards a more socially engaged and criticalresearch practice in the built environment.These included:

Approaching research from a designbackground: valuing and legitimizing designresearch

Reflecting, critiquing or making the world?The role of the researcher/practitioner

Design as solution, design as proposition,design as desire? Ontological positions andconflicts between disciplines and traditions

Unwieldy work with borrowed tools?Epistemological differences within andacross disciplines

Reflecting further on this final category, theauthors consider knowledges of spatialpractices and architectural production,referencing practice theory, powerknowledge, feminist and activist ways ofknowing.

These will be discussed with relation to twoPhD projects: ‘Initiating architecture: valuesand agency in transformative design praxisand the role of the architect in sociallymotivated projects’, and ‘Architecture byOther Means: representation andtransformation’, with reference to thedevelopment of an alternative future forPortland Works.

100

Portland Works_Sheffield, presented byJulia Udall in a public session within thecontext of the:

Temporary Urbanism Symposium,organised for the Master of Arts in UrbanDesign, School of Architecture,Universityof Sheffield, 23rd November2010.

Knowing Common Grounds, presentedby Anna Holder and Julia Udall from theSchool of Architecture, University ofSheffield at the conference:

'Social Change': Different disciplinaryperspectives within the Faculty of SocialSciences; The Faculty of Social SciencesPostgraduate Research StudentConference, University of Sheffield, 4thApril 2011.


Academic dissemination

Collective Production and Action: the Re-imagining Portland Works Project tobe presented by Cristina Cerulli and JuliaUdall at the conference:

Sustainable Futures: EnterprisingLandscapes and Communities,34thConference of the Institute for SmallBusiness and Entrepreneurship (ISBE),9th and 10th November 2011, Sheffield

Keywords: collective; activism;empowerment; coproduction;

AbstractObjectives/ This paper will reflect on theaspects of collective production andaction to create a shift towards moresustainable business, cultural and civiccommunities. This reflection is situatedwithin the context of the Re-imaginingPortland Works Project, a KnowledgeTransfer project concerned with helpingthe local community to imagine a futurethat is environmentally, socially andeconomically sustainable for PortlandWorks, one of the outstanding examplesof Sheffield’s industrial heritage. Inparticular the complexities and themutual interplay of actors and networkswill be discussed in the context of acollective production that encompassesthe cultural, business and civic spheres.Furthermore the strategic role thatacademia can play, through research andresearch led teaching, in facilitating theemergence and successful establishmentof collectively powered social innovationwill be discussed.

Prior Work/ Collective production andaction will be discussed in relation toliterature from the domains ofmanagement, psychology, sociology andarchitecture.

Approach/ The KT project set out tofacilitate the exploration and appraisal oforganisation types, business models, legalstructures, ownership and managementoptions available to small businesscommunities based in industrial heritage(or historical) sites, working, in particular,with Portland Works. A number ofactivities were designed to achieve thisobjective, but the research was alsodeliberately left open to allow meaningfulengagement and active contribution fromall actors involved. The KT projectexplored how an informal group of‘makers’ can become empowered to takeon the organisation/financing/management of their workspace, to avoideviction (which for many would mean theend of their current practice/activities),but also how an hotbed of unique localskills could survive creating its owneconomy. Despite the rhetoric of thefunding programme, implying a transferof knowledge from the University to theoutside, the approach was very much oneof collective authorship and horizontalproduction.

Results/ Thanks to activities generatedby the KT project, tenants and supportersfelt empowered to set-up an IndustrialProvident Society for the Benefit of theCommunity and embarked on a journeyto purchase the building throughcommunity share issue.

Implications and Value/ Awareness of thedynamics of collective civic productionand action can enable and support socialinnovation and resilience bystrengthening the signal of bottom upinitiatives, creating significant changesand results even in the context of generalscarcity of resources. It is crucial thatpolicy recognises this to enable strategicand 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 collectivethank you to all on behalf of everybody.

Portland Works Tenants, Portland Works Committee, Cllr Jillian Creasy, CllrPaul Scriven, MP Paul Blomfield, Sheffield University ArchitectureDepartment, Sheffield University Journalism Department, SheffieldUniversity English Department, Sharrow Community Forum, Now ThenMagazine, Local Sharrow and Sheffield Residents/Activists, Bank StreetArts, Sheffield Civic Trust, Sheffield Town Trust, S1Artspace, Open UpSheffield, Access Space, Maybridge Commercial, SCEDU, Little SheffieldDevelopment Trust, Quicksand Films, Sheffield Co-ops DevelopmentAgency, Sheffield University Planning Department, University of SheffieldManagement School, Sheffield City Council Corporate Strategy, SheffieldCity 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, SheffieldCity Council Community Assembly, Museums Sheffield, ConservationAdvisory Board, Enterprise Learning Coordinator Sheffield University, TheCultural Industries Quarter Agency, Sensoria Festival, The ArchitecturalHeritage Fund, Creative Exchange South Yorkshire, Development TrustAssociation, Herbert Housley MBE, South Yorkshire CommunityFoundation, Yorkshire Forward, Business Link Yorkshire, Voluntary ActionRotherham, Co-operative Enterprise Hub, 00:/Architecture, The UsefulArts, Black Country Creative Advantage, The Heritage Crafts Association,IDIR, The Young Foundation, Technische Universität München, CommunityMatters- National Federation of Community Organisations, RhyzomProject/Network, Linda McAvan MEP, Richard Shaw, Sheffield Live!, ElevenDesign and many other individuals, too numerous to mention who haveand will continue to give their time and energy.

For the production of this book we would like to thank Eleven Design fortheir willingness to help, despite a very tight timescale. Special thanks alsogo to Jordan Jamie Lloyd and Tom Vigar for their tireless help withgraphics and insightful comments. Finally we would like to acknowledgethe support of the University of Sheffield through a Rapid ResponseKnowledge Transfer grant.

Photography credits

Anna Holder

Anya Sutton

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









ISBN 978-1-908441-00-3










ISBN 978-1-908441-00-3

