Sheffield School of Architecture (SSOA) Y6 Design Manifesto

CONTENT Introduction

About author's memory palace Collaborative production: studio methodologies & work flow Emerging thesis Design methods Site location

1 2-3 4-5 6 7 8-9

Stories of Wicker

19 to 20th century

Pub and steel industries Transportation Immigration

Memories of the immigrants

Memories of the people & the place Culture

End of the steel industry

10-11 12 13 14 15 16-17 18 19

2008-2018

The forgotten land

Media portrayal & people’s perception

Business related to multicultural communities

Importance of SADACCA

2019-2035

Larger context

Circular city: studio strategy

The university of climate emergency

Model of civic university

The concept of smart cities + relationships of technology & education

20-21 22 23 24 25 26-27 28-29 30 31 32 33

Context

34-37

Research question

38-39

Design approach

40

Memories Archive + Research Center

41 42-43 44 45 46-47 48-49 50-53 54-55 56-57 58-59 60 61

Bibliography

63-64

Illustration and images

65-67

Site selection Approaching the site Initial spatial programmes & sizes , Bubble diagram Connections among the programmes, community and other organization Collaboration with other organization Holographic memories chamber/ anticipation for future Technology research lab + memory archive The chamber of climate emergency Social space/ arrival at Wicker Language of spatial exploration Precedent study

INTRODUCTION ‘A work of art functions as another person, with whom one unconsciously converse.’1

1 Juhani Pallasmaa, 2 Ibid. p.69

Pallasmaa suggested that doing design is like projecting your own emotions and feelings onto your work where you eventually encounter yourself in the work.2 Thus, architecture could be perceived as an extension of yourself where you enigmatically interact with the world until resonance is reached between your mind and reality. Hence, this document will start by introducing myself, my studio and methodologies followed by the ideas inspired and the narrative for my design manifesto.

The Eyes of the Skin : Architecture and the Senses (Somerset: John Wiley & Sons, In-corporated, 2012), p.69

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ABOUT AUTHOR’S MEMORY PALACE

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aving inspired by several sci-fi films, I have always imagined having a memory palace inside my mind. It is a complex library which stores all kind of magic books, the magic books that document every single moment in my life. It is a space belongs to myself where the dimension of time and space are infinity. As I walk along my memory palace and enchant selected books, the past starts to resuscitate and reconstruct in my sub-conscious, it is when the journey to my recollections begins.

THE RECORDED MEMORIES Time marches on from day to day, Nothing stays forever in the passage of time.

I shall record the walks of life into magic books, And cast my spell to freeze the time.

Bibbidi bobbidi boo!

Let my books dance in the air, And sprinkled the Earth with pixie dust.

I shall summon the memories to be frozen and remembered.

For we are all time travellers, Prone to be forgotten as time ticked by.

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3

COLLABORATIVE PRODUCTION

STUDIO METHODOLOGIES & WORKFLOW

PERSONAL INTEREST

My interest in memories and conservation has led me to research about the impact of conservation on collective memories of the communities

HAUNTOLOGY LECTURE

Lecture delivered by Dr Luis Hernan on hauntology has introduced me to hauntology and allow me to rethink about nostalgia and the lost future.

This ontology has predominantly shaped my thesis.

DISSERTATION

Collaboration with conceptual artist Steve Pool has taught us to explore visual narrative to capture the essence of the place. Exploration of using films and projections to create a dialogue between nostalgia and anticipation of the future has consequently influenced my design methodologies.

4

ASSEMBLAGE WORKSHOP

STUDIO REVIEW

STUDIO AGENDA

Discussions and debate had been happening in the studio to construct our collective strategy. Besides, architects had also been invited to give us a lecture and a tutorial on education and the future campus that we have envisioned, which further strengthened both our collective strategy and individual approach.

COLLECTIVE STRATEGY

DESIGN MANIFESTO

My thesis question was emerging from this studio methodology and my individual work flow.

The studio worked as a group to investigate our site, of which we eventually form our themes corresponded to studio agenda.

Apart from doing archival research and making models, we had also interviewed the locals, particularly the people in SADACCA.

SITE INVESTIGATION INTERVIEW

5

3 Avery F. Gordon and Janice Radway, 2008, Ghostly Matters:

Haunting and the Sociological Imagination (Minneapolis: University of Minnesota Press, 2008), p.8

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Anthony Dunne and Fiona Raby, Speculative Everything : Design, Fiction, and Social Dreaming (Cambridge: MIT Press, 2013) , p.3

7

SITE LOCATION

WICKER

SHEFFIELD CITY CENTER

8

SITE LOCATION Our studio’s site is located at Wicker, which is located at northeast direction off city center. It was a place thriving with steel industres in the past which is unfortunately, a forgotten land with few activities today.

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STORIES OF WICKER The concept of memory is substantially correlated with time.5 Whereas time and memory are ultimately the elements that define the sense of place.

It is the memories reminisced collectively via tangible material reality and intangible social context through the discourse of time that characterizes the identity of a place. It is said that cities are signified via the roles played by physical urban structures and socio-cultural values they constitute that bring social cohesion and the sense of place. 6 To understand the collective memories and identity of Wicker, this book will start by time travelling to the 19th to 20th century, up to the year 2035 when the manifesto for the project begins.

Note: Since we are currently in year 2035, the voyage to the past shall be described in past tense.

5

Yonca Keremoglu, ‘A data universe made of memories, AI and architecture. Interview with Refik Anadol’, Digicult, [n.d.] <http://digicult.it/articles/a-data-universe-madeof-memories-ai-and-architecture-interview-with-refik-anadol/> [accessed 14 Jan 2020] 6 Maryam Keramati Ardakani and Seyyed Saeed Ahmadi Oloonabadi ,‘Collective memory as an efficient agent in sustainable urban conservation’, Procedia Engineering, 21 (2011), 985-988 <https://doi.org/10.1016/j.proeng.2011.11.2103> (p. 986)

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19TH - 20TH CENTURY 11

PUB & STEEL INDUSTRIES

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heffield was well-known for its cutlery long before it became known as Steel City. The early steel makers supplied to only the cutlery industries but by 1850s, most of the steel in Europe was made by Sheffield.7 It became the centre of world steel production, which accounted for a major British steel-making capacity. During World War I, steelworks in Sheffield had become even vital to produce British war machines.

The flourished steel industry had caused the population in Sheffield to rise exponentially besides stimulating the growth of various other industries and the development of the city.

Steel industries pub industries

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stee d for e s u s a WWI. hant w e Elep during the h t ie n Lizz ortatio transp

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1950

*Some of the highlighted places are based on assumptions

David Hey, â&#x20AC;&#x2DC;The South Yorkshire Steel Industry and the Industrial Revolutionâ&#x20AC;&#x2122;, Northern History, 42.1 (2005), 91-96, <https://doi-org.sheffield.idm.oclc. org/10.1179/174587005X38435> (p.91)

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TRANSPORTATION

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ue to the flourished industries, Wicker was connected by 4 railway stations.

Wicker Station was Sheffield’s oldest railway station opened at 1838 which ceased to be used as a passenger station on 1870. It operated as a goods station until 1965. Bridgehouse Station was Sheffield’s second railway station which was also a terminal of Machester-Sheffield line, which consequently closed to passenger traffic.

Besides, Victoria Railway Station was built as part of the extension to the ManchesterSheffield line.

As early as 1350, the Wicker Lane has been a significant crossroad to the city centre, whereas Wicker’s Arch was a profound gateway to all the old steelworks.8 It was a place teeming with activities where people have arrived and left for different reasons.

Bridgehouses Goods Station

Wicker Station

Victoria Station

Park Station

4

Evacuee mothers and children during WWII arrive at Victoria Station Bridgehouses Goods Station

The first electric train at Victoria station on September 14, 1954.

8

Sheffield City Council, Wicker Riverside Action Plan 2007-2017, p.8 <https://www.sheffield.gov.uk/home/planning-development/master-action-plans/wicker-riversideaction-plan> [accessed 12 October 2019]

13

IMMIGRATION

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eing a major steel industry city until 1980s, Sheffield had attracted mass migrations due to labour shortage. Besides, ‘fabulous wages’ as published in a newspaper article during the 1950s had become one of the reasons to draw immigrants.9 The immigrants were mostly from Africa, the Caribbean which includes Jamaica, China, India, Pakistan, Bangladesh, Ireland etc.

9

Sheffield Archives and Local Studies, Changes in British Society 1955 – 1975: Immigration, p.3 <https://www.sheffield.gov.uk › libraries-andarchives › education_resources> [accessed 8 Jan 2020]

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MEMORIES OF THE IMMIGRANTS

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mmigrations had rendered Sheffield to be a multicultural place. There was social integration as well as social segregation.

Newspaper of the 1950s had revealed some of the integrations in Sheffield. There were locals who were trying to live with immigrants. There was also friendship among co-workers of different races.

“Growing up together – nine-year-old Yvonne Browne from Jamaica, who lives in Scott Road, enjoys her lessons at Firs Hill County Junior School. (The Sheffield Star, 1958).”10

Bricklayers

Steelworkers

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Hospital Porters

rowing social unease as a consequence of many who feared about immigrations were commonly reported on newspapers from Sheffield in 1950s.

Most of them had generally encountered racism and culture shock. Discrimination with signs stating “No coloureds’ and “no blacks’ had caused them difficulties in finding accommodation and jobs.11 As a consequence, many of them have to take up jobs that the local Britons were not interested in, such as bricklayers, hospital porters, nurses and steelworkers. 12

10 11 12

Ibid. p.13 Ibid. p.18 The Newsroom, ‘'They would kick me all over the street' - Windrush generation's early struggles in Sheffield’, The Star, 2017 <https://www.thestar.co.uk/news/they-would-kick-me-all-over-streetwindrush-generations-early-struggles-sheffield-441937> [accessed 14 Jan 2020] 13 Ibid.

Although their contribution to Sheffield, including Wicker may not be commemorated, their involvement was ‘etched into the fabric of the city’ when they helped to build and develop the place.13

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MEMORIES OF THE PEOPLE & THE PLACE

â&#x20AC;&#x153;T

hriving castle market, cinema, numerous pubs and clubs, alongside with tram that went straight from city centre to Wicker had brought liveliness and excitement in the placeâ&#x20AC;?,14 reminisced Clive, who moved from Jamaica to Sheffield when he was seven.

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Interview with Clive George Morris, conducted by Studio Collaborative Production on 21 Nov 2019.

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1

MEMORIES OF THE PEOPLE & THE PLACE 1

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Wicker’s Tilt circa 1758

4 Smithfield Market

3 Wicker Lane circa 1900

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Lady’s Bridge

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Castle Hill Market

Wicker Cinema circa 1920

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Slaughterhouse of Market

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Refurbished Cinema circa 1962

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CULTURE

Afro-Caribbean Carnival 1993

Afro-Caribbean Carnival 1993

Rag Week- Marathon Race

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Rag Week- Boat Race 1969

Twikker Magazine 1991

Rag Week Parade 1960

Rag Week- Pyjama Jump 80s /90s

Wicker was a vibrant place celebrated with various events including Afro-Caribbean carnival which features vmulti-cultural heritage in the area. Besides, Sheffield Rag initiated by medical students to raise funds had organised events such as Boat Race, Parade, Marathon, Pyjamas Jump in Sheffield which usually involve Wicker.

END OF THE STEEL INDUSTRY

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uring 1980, Conservative government under Margaret Thatcher decided to reduce losses of British Steel due to overcapacity in the industry and deepening recession which had consequently resulted in the first strike by steelworkers and plant closures.15 Wicker which prospered due to the steel industry had also been severely affected.

Most of the industries, particularly the pub and hotel industries went dead along with the steel industries.

15 Jason Deans, â&#x20AC;&#x2DC;Steel in the UK: A Timeline of Declineâ&#x20AC;&#x2122;, The Guardian, 2016 < https://www.theguardian.com/business/2016/mar/30/steel-in-the-uk-a-timeline-of-decline>

[accessed 10 Jan 2020]

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2008-2018

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THE FORGOTTEN LAND

In 2008, Inner Relief Road which was meant to reduce the traffic through Wicker in order to restore its significant gateway to the city centre for particularly the pedestrian and public had, however, formed a great obstacle to the connection and expansion of city centre to riverside area. The closure of Castle Market had further dropped the number of people crossing the Wicker lane. Many buildings had slowly become decay and derelict while Wicker eventually became a forgotten land despite its rich history.

Inner Relief Road

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MEDIA PORTRAYAL & PEOPLEâ&#x20AC;&#x2122;S PERCEPTION Wicker had often been perceived as dangerous as what was portrayed in the media although the statistics had shown that crimes in Wicker were comparably lesser than its adjacent site

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BUSINESS RELATED TO MULTICULTURAL COMMUNITIES Some of the commercial lots along the Wicker lane was occupied by business, particularly restaurants that offer multicultural cuisines. This marked the presence of previous migrants during the steel industry period.

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IMPORTANCE OF SADACCA

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ADACCA was originally founded in 19551956 by several Caribbean people who were dedicated to increase their standard of living.16 It had helped to consolidate the social collective memories among the African and Caribbean people in Sheffield besides celebrating their cultural heritage. Moreover, SADACCA’s director had expressed his hopes to reach to a wider community. 17

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1,2.- Black History Month: advocated racial equality and promoted social integration among the communities 18 3,4,5. Sheffield Parent Carer: improved wellbeing of the communities with special needs.

6. Day Care Centre: provide healthcare to Afro-Caribbean people who no longer able to manage themselves independently 7, SADACAA’s Basil Griffith LibrarySheffield’s only library dedicated to black history and culture.19 8. Boxing club and facilities in SADACCA

Its presence was as if, the repository remains of the recollections that portrayed part and parcel of Wicker’s identity.

16 Sadacca, ‘About Us’, Sadacca, 2018 <https://www.sadacca.co.uk/about-us/> [accessed 18 January 2020] 17 Interview with Rob Cotterell, president of Sadacca, conducted by Sadacca’s Friends Live Project from University of Sheffield on 1 Oct 2019.

18 Pride in Sheffield, ‘Black History Month’, Pride in Sheffield, 2018 <https://prideinsheffield.net/event/black-history-month> [accessed 18 Jan 2020] 19 Robert Cumber, ‘Sheffield library dedicated to black literature ‘will help tell untold stories’’, The Star, 2019 < https://www.thestar.co.uk/news/sheffield-library-dedicated-

black-literature-will-help-tell-untold-stories-126819> [accessed 18 Jan 2020]

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2019-2035

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LARGER CONTEXT

RIBA ANNOUNCED CLIMATE EMERGENCY

In June 2019, RIBA announced to join climate and ecological emergencvy. While in the same week, the UK government aimed to bring greenhouse gases to net-zero by 2050 via implementing new law. RIBA had afterwards published RIBA 2030 Climate challenge, which set a series of targets to assist architects to achieve net-zero by 2030.

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GALLERY OF LOST PLACES & THE UNIVERSITY OF CLIMATE EMERGENCY Having realised the devastating environmental degradation that resulted in lost places in the world, a client had approached the Studio Collaborative Production to design a university in Wicker which would operate as a highly sustainable smart city that addressed climate emergency.

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CIRCULAR CITY STUDIO STRATEGY

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ur studio aimed to restructure Wicker into a circular smart city which targeted at reducing the consumption of materials, power and water through cooperation between different parties and institutions in the cities. In addition, Google believed that digital technology had been the most substantial asset that allows a city to be regenerative and restorative, especially when the global scale data were able to be extracted, refined, and analysed to use information in creating a highly sustainable and circular city. 20

Ashima Sukhdev, Julia V. Kate Brandy, Robin Yeoman, Cities in The Circular Economy: The Role of Digital Technology (Ellen MacArthur Foundation, 2017), pp.

1-4 <https://www.ellenmacarthurfoundation.org/news/new-exploration-into-cities-and-the-circular-economy-with-google-launched-at-verge-2017> [accessed 19 Jan 2020]

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THE UNIVERSITY OF CLIMATE EMERGENCY It was our studio aim to design The University of Climate Emergency as an ‘urban anchor institution’, as termed

by Intrepid Knowledge, which indicated a university that was integrated as part of the city rather than merely positioned in the city. 21

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t was intended to respond to the ecological crisis by educating communities and future generation besides raising awareness of environmental challenges. This was also stated to be part of the role of a university, which designated to be an active role in reacting to the present and future challenges while delivering sustainable and positive impact to the communities and the area where it operated. 22 The following was the projects of our studio of which all the programmes and operation were interconnected to one another in order to accomplish a circular city.

Besides, all of them offered different educational facilities which helped to achieve the client’s aim.

HS2 Line reconnects Wicker to a wider regions

Tram is brought back to reconnect Wicker to city centre.

21

Prue Chiles, Olivia Bina and Sabina Ciobata, The Future Space and Place of knowledge, 10th Intrepid Report, Cost Action TD1408, (Univer(c)ity, 2019) p.6 <http://www. intrepidcost.eu/intrepid-reports-and-policy-briefs/> [accessed 19 Jan 2020] 22 Ibid. p.4

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MODEL OF CIVIC UNIVERSITY Wicker would be revitalised into a future university by adopting the â&#x20AC;&#x2DC;The Civic University Modelâ&#x20AC;&#x2122; that suggested strong connections between the institution and the outside world globally and locally while engaging with the civic section. 23

academia teaching

blurred boundary

research

society

engagement

Enhancement

community-led participation

Socioeconomic impact

volunteering and internship

global issues

socio-economic impact

widening intake to mature students & worker- Learners

more applied coursework

recognition of challenges to wider world

outreach activities

student recruitment and experience

23

Prue Chiles, Olivia Bina and Sabina Ciobata, The Future Space and Place of knowledge, [Accessed 19 Jan 2020]

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THE CONCEPT OF SMART CITIES + RELATIONSHIP OF TECHNOLOGY & EDUCATION

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he increasingly pervasive internet had stitched together devices into a complex nervous system which essentially became the substantial core that forms smart cities. It had become the new hybrid dimension between the physical space and virtual data which linked institutions, companies, consumers, communities etc. to each other that enable a place to function as a circular and smart city. Additionally, this â&#x20AC;&#x2DC;inescapable leap into the digital world beyond place into infinite spaceâ&#x20AC;&#x2122; had irrevocably affected education since streams of knowledge and information could increase without boundaries. 24

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Prue Chiles, Olivia Bina and Sabina Ciobata, The Future Space and Place of knowledge [accessed 19 Jan 2020] 25 Ibid. p.6

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19- 20TH CENTURY

2019-2035 2008-2018

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CONTEXT

W

ickerâ&#x20AC;&#x2122;s identity in the past was predominantly shaped by steel industries. It had influenced the spatial and social collective memory of the place. When the industries ceased at the end of 20th century, what remained afterwards was only carcasses of buildings which were either completely abandoned, or no longer served the similar functions. At one end, the town was quiet with some negative impressions while on the other end, cultural communitiesâ&#x20AC;&#x2122; events continue to be celebrated in SADACCA. The decaying architectural remnants, few traces of euphoric culture, together with multi-cultural communities were as if, stuck in time and continue to haunt this forgotten melancholy land that had stopped developing.

2035FUTURE

Moving forward to 2035, Studio Collaborative Production has transformed Wicker into a civic university campus designed on the basis of smart cities. Despite developing for the better of the communities, Wicker has turned into a place like any other smart cities where information technology is integrated into architecture and infrastructure, of which neither the physical structures or social infrastructure uniquely represent the place.

To investigate to the thesis question on how to recreate the identity of a place, the aim of the project is thus a focus on past, present and future to: 1. Question the function of space in maintaining the social relationships and the roles of architecture as a setting for collective memories and identity.

2. Evoke sthe former identity of Wicker as a steel industrial city and its present role as a civic university with multi-racial communities.

3. Adopt nostalgia to consolidate social connections 4. Raise awareness on climate emergency 5.Create spaces for communities to interact and imagine an alternative future.

CLIMATE EMERGENCY

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RESEARCH QUESTION

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rchitecture, attesting to the tastes and attitudes of generations, to public events and private tragedies, to new and old facts, is a fixed stage for human events.’ 26 Architecture is also urban artefacts, which could be defined as palimpsest that records numerous traces of the past and give form to the soul and character of the city, which is further enriched by both social and spatial collective memory. For instances, the previous chapters have revealed how Wicker’s role and identity have changed over the time.

However, the advancement in technology and the rise of capitalism induce urbanisation and globalisation which transformed places into cities with lost identity. It is argued that ‘the erosion of spatiality’ has been intensified by what MarcAuge addresses “non-place”, of which places such as airports, retail stores, etc. are identical which are absent of the identity of the place in which they are located. 27 The emergence of internet and tele-communications have further questioned the role of spaces.

My thesis question is therefore, how do we preserve the identity of a place when transformation is unavoidable?

26

Aldo Rossi and Peter Eisenman, The Architecture of the City, trans. by Ghirardo, D., Ockman, J (New York: The MIT Press, 1982), p.22.

27 Mark Fisher, ‘What Is Hauntology?’, Film Quarterly, 66.1(2012), 16-24. <doi:10.1525/fq.2012.66.1.16> (p.4)

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omination of cyber-world made up of internet and mobile telecommunication has collapsed both space and time besides profoundly transformed our texture of everyday lives.28 For example, events which are distant could be available immediately. It is said that we have been haunted by effective virtualities under the ontology of hauntology.

Hauntology is a term first coined by Derrida in his Specters of Marx, which in summary expressed that ‘everything that exists is possible only on the basis of a whole series of absence’.29 It is the agency of the virtual, such as increasingly pervasive internet, which performs without physically existing. It affects the social collective memory of which the people of a place should share. It also diminishes the importance of spatial collective memory in portraying the identity of a place, for spaces are disappearing and architecture would be rendered redundant. ‘The disappearance of space goes alongside the disappearance of time: there are non-times as well as non-places.’ 30

28 Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures.

(Ropley: John Hunt Publishing, 2014), p. 17 29 Ibid. p. 23 30 Mark Fisher, ‘What Is Hauntology?’, p.4 31 Carlo Ratti and Matthew Claudel, The City of Tomorrow: Sensors, Networks, Hackers, and the Future of Urban Life. (New Haven: Yale University Press, 2015), p. 44

NON-PLACES

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DESIGN APPROACH

Escherâ&#x20AC;&#x2122;s relativity which originally depicts a world ungoverned by gravity have inspired me that different dimension of time could currently co-exist in the present with the aid of the technology. The past, present and future are able to superimpose on each other to achieve aim of the project.

Hence, my design approach is to explore the interaction between technology and architecture, to create an interplay between a virtual world and the tangible remains in order to pursue the thesis inquiries.

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2035

PROJECT BRIEF

MEMORY ARCHIVE + RESEARCH CENTER 41

SITE SELECTION

It was featured in Sheffield University’s 1991 RAG magazine.

STORIES OF THE WICKER’S ARCH Wicker’s Arch and its adjacent site is selected as the site for this project since it has been an important gateway from the past up to the present. Additionally, being at the key arrival point of our civic university, it is crucial for the arch to portray Wicker’s identity. Thus, evocative and engaging technology would be employed to create a meaningful dialogue between Wicker’s past and present through technology and architecture. Also, its existence for almost 2 centuries become an ideal spot to capture and exhibit poetic stories of the people and the place. The fact that it was a Grade II building signifies its potential to continue playing this vital role in the future.

It witnessed WWII and was hit by a bomb that went through the structure.

Its repair is still visible underneath the arch.

The viaduct, along with Wicker’s Arch was originally built as an extension of Manchester-Sheffield line with connects to Victoria Railway Station.

Important gateway since the 19th century up to the present.

WICKER’S ARCH

ity ld C ffie She

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It was Sheffield’s main artery into and out of the city besides being part of the Steel Route.

Cen t

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Wicker’s arch has been the key landmark of how people recognise the place.

SITE SELECTION STUDIO COLLECTIVE STRATEGYINFRASTRUCTURE

Civic Learning Making Distribution Well-being Wetlands

Having positioned at the intersection between The Making Route and The Distribution Route, the site is ideal for this project as it is meant to celebrate Wickerâ&#x20AC;&#x2122;s historical image besides connecting the communities through education.

The Civic Route addresses the pace of movement on the A61 and aims to celebrate the surrounding civic infrastructure.

The Learning Route aims to integrate a number of green spaces that connect through to Victoria Quays.

The Making Route aims to bring vibrancy back to the Wicker by celebrating the industrial period which is part of the areas heritage.

The Distribution route re-connects the Wicker to surrounding communities and educational institutions. This promotes the distribution of new interventions and education from the Wicker across the city.

The Well-being Route aims to improve connections between the public and biodiversity along the riverâ&#x20AC;&#x2122;s edge. It also aims to offer the public opportunities to participate in sports and recreational activates.

The Wetlands aim to reduce the chance of flooding whilst providing a new soft edge to the Wicker along the A61.

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MEMORY ARCHIVE + RESEARCH CENTER APPROACHING THE SITE The photos capture the accessibility of different mode of transportation approaching the site.

The blue grids indicate the range and field fundamental to consider while doing the design for this project.

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The Viaduct A61 In

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Grade II Listed

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VICTORIA RAILWAY STATION

INITIAL SPATIAL PROGRAMMES & SIZES

offices cafeteria & restaurant social spaces

digital intervention

digital intervention

social spaces

teaching lab Research Lab

library

access to the building

BUBBLE DIAGRAM

The educational spaces are counted based on the capacity of 200 students

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CONNECTIONS AMONG THE PROGRAMMES, COMMUNITY & OTHER ORGANISATION

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o portray the identity of Wicker, the programme is centred around collection and utilisation of memories and data.

As a civic university, the boundary between engagement and research are blurred, of which this is regarded as the embedded qualities that all civic institutions should adopt by working collaboratively with other universities and colleges besides fully take part in the area in which it forms part. 32 This will allow researchers to collaborate with non-academic communities to address particular needs besides finding solutions to resolve global and regional challenges. 33

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John Goddard and others, â&#x20AC;&#x2DC;Introduction: Why the civic university?â&#x20AC;&#x2122;, in The Civic University (Cheltenham, UK: Edward Elgar Publishing, 2016), pp.3-15, (pp.5-7).

Elgaronline.

33 Ibid. p.7

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HOLOGRAPHIC MEMORIES CHAMBER/ ANTICIPATION FOR FUTURE It is fascinating that the concept of memory in the 21st century is usually associated with data such as our posts, comments, computer capacity, etc. 34 Both digital and physical spaces have therefore become crucial where data could be harvested and share to inspire and encourage people to imagine and discuss about alternative ways of being.

34 Yonca

Thus, ‘memory’ in this project has a double definition, the cognitive and neurological ones associated with emotions, and the digital data connected with machines.

Keremoglu, ‘A data universe made of memories, AI and architecture. Interview with Refik Anadol’, Digicult

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HOLOGRAPHIC MEMORIES CHAMBER/ ANTICIPATION FOR FUTURE ‘As spectators, we travel through the city observing its architecture and constructed spaces. […] Our memory of the city is especially scenic and theatrical: we travel back in time through images that recall bits and pieces of an earlier city, we project these earlier representations forward into recomposed and unified stagings. ’35 This drawing depicts a cyberworld, a theatre of different dimensions orchestrated by sceneries of the past and imagination for the future, constructed using collective memories and ideas shared by the communities. It is a juxtaposition between the virtual and the physical architecture. It is meant to portray the former identity of Wicker while giving a sense of what Wicker is today.

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M. Christine Boyer, The City of Collective Memory: In Historical Imagery and Architectural Entertainments (United States,The MIT Press, 1994) p.32

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VIRTUAL CONSTRUCTION OF IMAGINATIONS & MEMORIES

DIGITAL MEMORY ARCHIVE

DATA HARVESTING & DATA SHARING

TECHNOLOGY RESEARCH LAB 54

TECHNOLOGY RESEARCH LAB + MEMORY ARCHIVE

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auntology has haunted the world globally which eventually lead us to the inability to imagine a bright, evocative and alternative future, which is uncontrolled by the culture spread by capitalism. When Fisher critique Inception for being commercialized and repetitive of the future imagined by earlier generation, he expressed his sadness that ‘you yearn for foreign places, but everyone you go looks like local colour for the film set of a commercial; you want to be lost in Escheresque mazes, but you end up in an interminable car chase.’ 36

Nonetheless, this is an information revolution where the community is no longer a mere cog in an immense machine but rather an important ‘part of the mind’ which are allowed to shape the future. 37

36 37

As part of the civic university and the crucial gateway that marks the impression of Wicker, it is important to have technology research lab and memory archive where it invites people to contribute their memories, dream and ideas on creating an alternative future away from hauntology posed by mediatechnologies.

Mark Fisher, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. p. 17 Anthony M. Townsend, Smart Cities: Big Data, Civic Hackers, and The Quest for A New Utopia, (London: W.W. Norton & Company, 2019), p. xiii

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CLIMATE CRISIS

TRASHTRACK

PROJECTION OF ENVIRONMENTAL DETERIORATION IN WICKER

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THE CHAMBER OF CLIMATE EMERGENCY Socially-engaged design is able to be employed as a media to raise awareness and promotes critique and reflections besides speculating about the possible futures, which consequently stimulate change. 38

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aving entered around the idea of past, present and future, the project aims to evoke nostalgia for a lost future and recall the places disappeared in the world due to climate change. Besides, the project will also speculate the possible catastrophic future if climate emergency is not being taken seriously. These will be projected through digital dimensions that will be integrated as part of the architectural experience of the space. Also, this will portray the present identity of Wicker as The University of Climate emergency that is calling for actions against environmental issues.

TrashTrack by MIT SENSEable City Lab TrashTrack project did by MIT SENSEable City Lab focused on how pervasive technologies could be used to expose waste management to promote behavioural change.39 This was done by attaching tiny devices onto wastes which allowed the people to monitor where the waste went in real-time visualisation.

By referencing this, the project aims to employ similar methods, which will not only help to raise awareness but also enable a more sustainable waste management system in the city via analysing and sharing the data collected.

38

Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming. p.33 39 Senseable City Lab,’ Introduction: Why do we know so much about the supply chain and so little about the ‘removal chain’?’, Trashtrack <http://senseable.mit.edu/trashtrack/index.php?id=1> [accessed 25 Jan 2020]

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SOCIAL SPACE/ ARRIVAL AT WICKER ‘Architecture has always been about the interface between us and the environment’, which has nonetheless transformed due to the advancing technology.40 In fact, we have been living in the symbiosis between the virtual and the physical spaces. As spaces are contracting in this digital age, it is important for this project which is located at the arrival point of Wicker, to have an engaging environment in both tangible and intangible form which will capture people’s attention and attract their interest to interact socially and architecturally.

Thus, the social space has become a living laboratory or a ‘petri dish’, that perpetually transformed to be exciting and engaging to unlock people’s imagination. It becomes a profound place which would promote discussion and debate about desirable and alternative futures.

Besides, it has been argued that spaces are simply not enough to be used for experiment and entertainment, it should also constitute the qualities of social usefulness which would critique on how technologies have become a profound aspect of our lives.41

Framing the view via physical architecture elements to allow a glimpse towards the present Wicker and its character Anticipation of future Refer to page 50-55 Architecture that offers flexible spaces or acts as an urban room for social interactuion

Spaces for discussion

This space consists of spaces that allow anticipation of future, holographic memories chamber and chamber of climate emergency as depicted in the previous pages.

40

Architizer, ‘Designing Resilience: The Intersection of Digital Technology and Physical Space’, Architizer, <https://architizer.com/blog/inspiration/stories/carlo-ratti-physical-space-and-technology/> [accessed 15 Jan 2020] 41Anthony Dunne and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming. pp.33-34

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Technology research lab Refer to page 54-55

Holographic memories chamber refer to page 50-53 Chamber of Climate Emergency Refer to page 56-57

Anticipation for future refer to page

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Studio Collective Strategy on space planning

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PRECEDENT STUDIES

1- Virtual hotel (virtual architecture) 2- Virtual museum (virtual Architecture) 3- Carlo Ratti's The Cloud (data sharing and new form of architecture) 4- Carlo Ratti's Digital Water Pavilion (interactive and senseable architecture) 5- Studio RAAAF and Artist Barbara's experimental work landscape (interactive physical environment) 6- David Chipperfield's Neues Museum (juxtaposition of old and new architectural elements)

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BIBLIOGRAPHY Architizer, ‘Designing Resilience: The Intersection of Digital Technology and Physical Space’, Architizer, <https://architizer.com/ blog/inspiration/stories/carlo-ratti-physical-space-and-technology/> [accessed 15 Jan 2020] Ardakani, Maryam Keramati and Seyyed Saeed Ahmadi Oloonabadi ,‘Collective memory as an efficient agent in sustainable urban conservation’, Procedia Engineering, 21 (2011), 985-988 <https://doi.org/10.1016/j.proeng.2011.11.2103> Bottomley, Eric, ‘The Wicker Arch, Sheffield’, Flickr, <https://www.flickr.com/photos/128783627@N03/32591323320> [10 Jan 2020] Boyer, M, Christine., The City of Collective Memory: In Historical Imagery and Architectural Entertainments (United States,The MIT Press, 1994) Chiles, Prue, Olivia Bina and Sabina Ciobata, The Future Space and Place of knowledge, 10th Intrepid Report, Cost Action TD1408, (Univer(c)ity, 2019) p.6 <http://www.intrepidcost.eu/intrepid-reports-and-policy-briefs/> [accessed 19 Jan 2020] David Hey, ‘The South Yorkshire Steel Industry and the Industrial Revolution’, Northern History, 42.1 (2005), 91-96, <https:// doi-org.sheffield.idm.oclc.org/10.1179/174587005X38435> Deans, Jason, ‘Steel in the UK: A Timeline of Decline’, The Guardian< https://www.theguardian.com/business/2016/mar/30/ steel-in-the-uk-a-timeline-of-decline> [accessed 10 Jan 2020] Dunne, Anthony and Fiona Raby, Speculative Everything: Design, Fiction, and Social Dreaming (Cambridge: MIT Press, 2013) Fisher, Mark, Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. (Ropley: John Hunt Publishing, 2014) Fisher, Mark, ‘What Is Hauntology?’, Film Quarterly, 66.1(2012), 16-24. <doi:10.1525/fq.2012.66.1.16> Goddard, John and others, ‘Introduction: Why the civic university?’, in The Civic University (Cheltenham, UK: Edward Elgar Publishing, 2016), pp.3-15, (pp.5-7). Elgaronline.

Gordon, Avery F. and Janice Radway, 2008, Ghostly Matters: Haunting and the Sociological Imagination (Minneapolis: University of Minnesota Press, 2008) Interview with Clive George Morris, conducted by Studio Collaborative Production on 21 Nov 2019.

Interview with Rob Cotterell, president of Sadacca, conducted by Sadacca’s Friends Live Project from University of Sheffield on 1 Oct 2019.

Keremoglu, Yonca, ‘A data universe made of memories, AI and architecture. Interview with Refik Anadol’, Digicult <http:// digicult.it/articles/a-data-universe-made-of-memories-ai-and-architecture-interview-with-refik-anadol/> [accessed 14 Jan 2020] Pallasmaa, Juhani, The Eyes of the Skin: Architecture and the Senses (Somerset: John Wiley & Sons, In-corporated, 2012) Pride in Sheffield, ‘Black History Month’, Pride in Sheffield, <https://prideinsheffield.net/event/black-history-month> [accessed 18 Jan 2020] Ratti, Carlo and Matthew Claudel, The City of Tomorrow: Sensors, Networks, Hackers, and the Future of Urban Life. (New Haven: Yale University Press, 2015) Robert Cumber, ‘Sheffield library dedicated to black literature ‘will help tell untold stories’’, The Star < https://www.thestar. co.uk/news/sheffield-library-dedicated-black-literature-will-help-tell-untold-stories-126819> [accessed 18 Jan 2020] Rossi, Aldo and Peter Eisenman, The Architecture of the City, trans. by Ghirardo, D., Ockman, J (New York: The MIT Press, 1982)

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BIBLIOGRAPHY Sadacca, ‘About Us’, Sadacca<https://www.sadacca.co.uk/about-us/> [accessed 18 January 2020] Sadacca’s Friends, ‘Celebrating the Past, A Live Project for SADACCA’, (unpublished resource<university of Sheffield, 2019) Senseable City Lab,’ Introduction: Why do we know so much about the supply chain and so little about the ‘removal chain’?’, Trashtrack <http://senseable.mit.edu/trashtrack/index.php?id=1> [accessed 25 Jan 2020] Sheffield City Council, Wicker Riverside Action Plan 2007-2017, p.8 <https://www.sheffield.gov.uk/home/planning-development/ master-action-plans/wicker-riverside-action-plan> [accessed 12 October 2019] Sheffield Archives and Local Studies, Changes in British Society 1955 – 1975: Immigration, p.3 <https://www.sheffield.gov.uk › libraries-and-archives › education_resources> [accessed 8 Jan 2020] Sukhdev, Ashima, Julia V. Kate Brandy, Robin Yeoman, Cities in The Circular Economy: The Role of Digital Technology (Ellen MacArthur Foundation, 2017), pp. 1-4 <https://www.ellenmacarthurfoundation.org/news/new-exploration-into-cities-andthe-circular-economy-with-google-launched-at-verge-2017> [accessed 19 Jan 2020] The Newsroom, ‘'They would kick me all over the street' - Windrush generation's early struggles in Sheffield’, The Star, 2017 <https://www.thestar.co.uk/news/they-would-kick-me-all-over-street-windrush-generations-early-strugglessheffield-441937> [accessed 14 Jan 2020] Townsend, M, Anthony, Smart Cities: Big Data, Civic Hackers, and The Quest for A New Utopia, (London: W.W. Norton & Company, 2019)

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ILLUSTRATIONS AND IMAGES All illustrations and images by author or collaborative productive studio unless otherwise stated below.

Pg. 7: Author’s own illustration. Data from: M. C. Escher, Relativity, <http://magazine.art21.org/2010/08/03/the-paradoxical-art-of-inception/relativity-escher/> Refik Anadol, Melting Memories, interview-with-refik-anadol/>

<http://digicult.it/articles/a-data-universe-made-of-memories-ai-and-architecture-

Total Recall, <https://www.imdb.com/title/tt1386703/> Refik Anadol, Infinity Room, <http://digicult.it/articles/a-data-universe-made-of-memories-ai-and-architecture-interviewwith-refik-anadol/> Journey to Wicker 2019, author’s own video.

Journey to Wicker 1960, <https://www.youtube.com/watch?v=gdqXdkvPAGc&t=185s> Pg 8, 9: Source: <https://digimap.edina.ac.uk/roam/map/os> Pg. 12: Author’s own illustration. Data sourced from: Map of 1900 and 1950, <https://digimap.edina.ac.uk/roam/map/historic> Lizzle the elephant, <https://www.forces-war-records.co.uk/blog/2013/11/13/an-elephant-pulling-a-cart-and-ploughingfields-in-blighty-i-dont-believe-you> Lizzle with camels, <https://www.thestar.co.uk/news/how-sheffield-circus-elephant-was-drafted-help-during-ww1-329333> Pg 13: Author’s own illustration. Data sourced from: Wicker’s old tram, <https://www.sheffieldhistory.co.uk/forums/topic/239-the-wicker/page/2/> Above the Wicker’s Arch, page/136/?type=forums_topic_post>

<

https://www.sheffieldhistory.co.uk/forums/profile/1-sheffield-history/content/

1851- Victoria Station, <https://www.sheffieldhistory.co.uk/forums/topic/16452-sheffield-victoria-train-station/> Horse drawn tram, <https://www.picturesheffield.com/frontend.php?keywords=Ref_No_ increment;EQUALS;s16298&pos=2&action=zoom&id=19027> Evacuee mothers and children during WWII arrive at Victoria Station, <https://www.picturesheffield.com/frontend. php?keywords=Ref_No_increment;EQUALS;s02044&pos=2&action=zoom> The first electric train at Victoria Station on September 14, 1954, <https://www.yorkshirepost.co.uk/heritage/nostalgia-ontuesday-action-stations-1-9300095> Bridgehouses Goods Station, <https://www.yorkshirepost.co.uk/heritage/nostalgia-on-tuesday-action-stations-1-9300095> Pg 14, 15: Author’s own illustration. Data from: < https://www.sheffield.gov.uk › libraries-and-archives › education_resources> Pg 16: map sourced from: <https://digimap.edina.ac.uk/roam/map/historic> Pg 17: Smithfield Market, <https://www.sheffieldhistory.co.uk/forums/topic/17109-ladys-bridge-and-the-buildings-there/> Wicker’s Tilt circa 1758, <https://www.sheffieldhistory.co.uk/forums/topic/17109-ladys-bridge-and-the-buildings-there/> Lady’s Bridge, <https://www.sheffieldhistory.co.uk/forums/topic/239-the-wicker/>

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ILLUSTRATIONS AND IMAGES Wicker Lane Circa 1900, < https://www.sheffieldhistory.co.uk/forums/topic/239-the-wicker/> Wicker Cinema circa 1920, < https://www.thestar.co.uk/news/opinion/your-view-hilarious-scenario-cinema-wicker-39219> Castle Hill Market, <http://friendsofsheffieldcastle.org.uk/castle-market-in-1937/castle_hill_1937/> Slaughterhouse of Market, <https://www.picturesheffield.com/frontend.php?keywords=Ref_No_ increment;EQUALS;s01757&pos=7&action=zoom&id=5547> Refurbished cinema circa 1962, < https://www.sheffieldhistory.co.uk/forums/topic/208-studio-567-cinema-sheffield/page/4/> Pg 18: Afro-Caribbean Carnival 1993, < https://www.thestar.co.uk/retro/looking-back-sheffields-afro-caribbeancarnival-1993-489005> Rag Week- Boat Race 1969, < https://www.sheffieldhistory.co.uk/forums/topic/233-sheffield-rag-week/> Twikker Magazine 1991, < https://disraeli-demon.blogspot.com/2006/11/blast-from-past-twikker.html?m=0> Afro-Caribbean Carnival 1993, < https://www.thestar.co.uk/retro/looking-back-sheffields-afro-caribbeancarnival-1993-489005> Rag Week Parade 1960, < https://www.sheffieldhistory.co.uk/forums/topic/233-sheffield-rag-week/> Rag Week, Marathon Race, < https://www.picturesheffield.com/frontend.php?keywords=Ref_No_ increment;EQUALS;s28661&pos=2&action=zoom> Rag week, Pyjama Jump 80s/90s, < https://www.facebook.com/sheffieldalumni/photos/a.209068130675/1015611296141567 6/?type=3&theater> pg 24: Author’s own illustration, data sourced from: Interior of Martin Good to Go, <https://trysheffield.wordpress.com/2013/02/22/175/> pg 25: Author’s own illustration. data sourced from: 1- Black History Month, https://archive.burngreavemessenger.org.uk/archives/2013/december-2013-issue-109/black-historymonth/black-history-month.html 2-Black history month, https://www.thestar.co.uk/news/celebrations-sheffieldsa-windrusha-generation-240968 3,4,5- Sheffield Parent Carer: < https://sheffieldparentcarerforum.org.uk/about/photos/sadacca/> 6-Day Care Centre, https://www.sheffieldmentalhealth.org.uk/support/sadacca-day-care-centre/ 7- SADACAA’s Basil Griffith Library, https://www.thestar.co.uk/news/sheffield-library-dedicated-black-literature-will-help-telluntold-stories-126819 8- Boxing facilities- Sadacca’s Friends, ‘Celebrating the Past, A Live Project for SADACCA’, (unpublished resource<university of Sheffield, 2019) SADACCA’s group photo, <https://www.sadacca.co.uk/> Pg 28: Author’s own illustration. Data sourced from: Protest, collage, <https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/architects-and-theglobal-climate-strike> Protest, collage, <https://www.architectsjournal.co.uk/news/riba-declares-climate-emergency/10043388.article> Rainforest fire, collage, <https://edition.cnn.com/2019/12/30/world/amazon-deforestation-decade-soccer-fields-trnd/index. html> Architects’ Journal, <https://www.architectsjournal.co.uk/news/riba-declares-climate-emergency/10043388.article>

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ILLUSTRATIONS AND IMAGES

Pg 29: Author’s own illustration. Data sourced from: Wicker’s flood, <https://www.nature.com/news/flooding-is-the-united-kingdom-s-biggest-climate-threat-1.9906> Australia Tahtra Beach in smoke and ash, <https://www.boredpanda.com/australia-bushfires-before-after-photos/?utm_ source=google&utm_medium=organic&utm_campaign=organic> Australia Mago Wildfire Park, < https://www.boredpanda.com/australia-bushfires-before-after-photos/?utm_ source=google&utm_medium=organic&utm_campaign=organic> Amazon Rainforest fire, <https://towardsdatascience.com/an-analysis-of-amazonian-forest-fires-8facca63ba69> Amazon Rainforest before fire, <https://www.popularmechanics.com/science/environment/a28910396/amazon-rainforestimportance/> Pg 40: M. C. Escher, Relativity, <http://magazine.art21.org/2010/08/03/the-paradoxical-art-of-inception/relativity-escher/> Pg 41: Author’s own illustration. Data sourced from: Twikker magazine, < https://disraeli-demon.blogspot.com/2006/11/blast-from-past-twikker.html?m=0> WWII, <https://www.sheffieldhistory.co.uk/forums/topic/17113-the-bomb-that-hit-the-wicker-arches/> Wicker’s illustration, <https://www.ebay.co.uk/itm/George-Cunningham-Bank-Holiday-Wicker-Arches-SheffieldPrint-/232270744948> Page 57 TrashTrack by MIT SENSEable City Lab, < https://urbannext.net/trash-track/>

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