The bunker is dead, long live the bunker: announcing my forthcoming guest-edited special issue of the Journal of War and Culture Studies

 

Fig 4 - Cambridge RWR

“I try to escape, but the bunker keeps pulling me back in.”

Luke Bennett, 2012, 2015, 2017, 2019…

 

Following in the footsteps of Paul Virilio’s (1994) investigations of the ruins of the Nazi Atlantic Wall fortifications, but by changing the focal point to the ruins of the Cold War, the bunker studies presented in my forthcoming bunker-themed guest-edited special issue of the Journal of War and Culture Studies broadly echo Virilio’s method: combining accounts of embodied exploration with attentive archival work, and their concern is to achieve both a phenomenological account of the nature of these now-abandoned places, and a taxonomic assessment of the trends that shape the original, present and future lives of life of these structures. Bradley L. Garrett and Ian Klinke and (2019) have recently laid down a challenge to the hegemony of Virilio’s methods and concerns in bunker studies. They point out that the dominant scholarly approach tends to depict the bunker as both a symbol of, and an artefact of the past – rather than of the present and future. They point out that the bunker (as an emplacement of military power) is still very much alive. They also persuasively argue that Virilio’s framing tends to figure bunkers as places of shelter (with its inhabitants as victims) rather than as places of relative safety from which perpetrators plan the extermination of whole cities.

Garrett’s and Klinke’s critique is well made, and points to new areas of scholarship which need to be explored within bunker studies. However, it is not the case that the Virilio-type approach is exhausted. There is still plenty of work still to be done to understand the end-of-life stage of bunkers and of the cultural effects of their affective and symbolic resonance in abandonment. Accordingly, this special issue’s five articles each seek to build upon the broadly Virilio-type studies presented in my 2017 edited collection In the ruins of the Cold War bunker: materiality, affect and meaning making. That collection presented a multidisciplinary investigation of contemporary bunker re-engagements from around the world by 13 contributors, touching in particular on artistic and heritage based-appropriations of these now-abandoned Cold War spaces. As befitting the Journal of War and Culture Studies’ concern with the points at which war and culture meet (and the forms of cultural production related to that intersection), the new articles assembled in the special issue develop an even wider and more provocative set of lenses with which to detect the multiple forms and intensities within which post-military forms of use and meaning making come to be projected onto the blank walls of bunker spaces (including – variously – appropriations by mould, sound, commercial storage, heritage and fine art). Through this they reveal the processes by which (and rate at which) originating war-related uses and meanings fade from these places, thereby enabling the bunker’s after-life.

How bunkers live-on

Over the last decade the after-life of bunkers has become a subject of study across a number of disciplines: from archaeology to real estate, from cultural geography to fine art (see, for example, the array of disciplines represented in Bennett 2017). Accordingly, the contributors to this special issue represent a broad spread of disciplinary perspectives, and survey a wide range of bunker interactions.

Matthew Flintham is an artist and an academic whose work focuses on representations of military landscapes. In his article ‘Vile Incubator: a pathology of the Cold War bunker’, he investigates the after-life of the Torås bunker complex in Norway, reflecting on both the embodied act of bunker exploration and the ongoing non-human cultural production that he finds in this supposedly dead, lifeless abandoned place.

Louise K. Wilson is also an artist and an academic, and her work has investigated iconic Cold War military sites like the former testing range at Orford ness in Suffolk, through site-based installations and audio art. In her contribution entitled ‘Sounds from the bunker: aural culture and the remainder of the Cold War’, Wilson considers the appropriation of Cold War bunkers’ distinctive acoustic atmospheres and of 1980s bunker-themed pop songs in contemporary music production.

In their collaborative article ‘“Mine are the dead spaces”: a discussion of bunker work’s atmospheres, limits and routines’, Becky Alexis-Martin, a cultural geographer whose work specialises in nuclear geographies, leads a discussion with artists Kathrine Sandys and Michael Mulvihill, using the surroundings of the Churchill War Rooms, a Second World War bunker deep beneath Whitehall in London, as a prompt for considering the valence of the bunker to artists and its other denizens. Sandys is an artist and academic who, like Wilson, has worked with the distinctive audio-visual properties of empty bunkers. Mulvihill is an artist who has recently completed a practice-based PhD based around a residency at RAF Fylingdales.

As an architect, Sean Kinnear’s article ‘Reopening the bunker: an architectural investigation of the post-war fate of four Scottish nuclear bunkers’, presents an assessment of the underappreciated architectural significance of Scottish Cold War bunkers, outlining their distinctive architectonic qualities and profiling in his four case study sites, four different approaches to preservation and after-use of these structures. Kinnear calls for greater heritage protection to accorded to these sites in Scotland.

In the special issue’s final article, ‘Profaning GAMA:  exploring the entanglement of demilitarisation, heritage and real estate in the ruins of Greenham Common’s cruise missile complex’, I consider with my former student Philip Kokoszka (who contributed fieldwork as part of his 2018 MSc dissertation) the strangely mundane, indeterminate fate of GAMA, the once-iconic cruise missile bunker complex built at RAF Greenham Common in the early 1980s. We do so from the perspective of real estate and land-use planning, and seek to show how an appreciation of the entanglement of a number of contemporary cultural drivers (demilitarisation, ruination, heritage preservation and re-utilisation) can help to account for the site’s unexpected ‘failure’ to become a formal monument to its Cold War past. In conclusion, reflecting upon this out-turn, we attempt to suggest – using the work of Giorgio Agamben on ‘profanation’ – that this failure of the site to achieve a singular new meaning may in itself be fitting.

How bunkers die

The autumn of 2019 saw much attention focused upon the iconography of the ‘Berlin Wall’, on the occasion of the 30th anniversary of its fall. Considerable efforts were expended to destroy the wall in the early 1990s – achieving its near-total erasure in a matter of months. This was a campaign of physical demilitarisation that assured the ending of German partition would be irreversible. In contrast my special issue considers the endurance of a more diffuse, harder to destroy, and less prominent set of Cold War material culture: the bunker. As with the Wall, these structures are iconic, mnemonic even. The articles contribute to the ongoing development of bunker studies by showing that these obstinate structures are not just materially durable (for they manage to retain some of their original war-related purpose embodied within their strange, brutal forms) but also fluid, in that they are caught up in an ongoing cultural production which over time enables a loosening of war-related meanings, a loosening that can bring both new utility, and also episodes of playful irony. This loosening contributes to the attrition of the bunker’s original form as both war-related materiel and as a potent symbol of war. Ultimately, this loosening is found to be the product of a quiet, long-term semantic decay, a subtle, slow-burn form of cultural demilitarisation which strikes quite a contrast to the speedy, systematic physical erasure of the Cold War’s more evident and destroyable military structures, like the Wall.

Note: the JWC special issue will be published in January 2020. The articles will appear online at the Journal’s website (https://www.tandfonline.com/toc/ywac20/current) in advance of formal publication, and three of those articles have been uploaded there so far.

 

References

Bennett, L. (ed.) 2017. In the ruins of the Cold War bunker: affect, materiality and meaning making. London: Rowman & Littlefield International.

Garrett, B.L and Klinke, I. 2019. ‘Opening the bunker: function, materiality, temporality’. Environment and Planning C: Politics and Space, 37(6): 1063-1081.

Virilio, P. 1994. Bunker Archeology, New York: Princeton Architectural Press (Translated by George Collins).

 

Image Credit:

Sean L. Kinnear (2018). Cambridge Regional War Room now incorporated into a residential estate development.

 

CFP – AAG 2020 – New Directions in Subterranean Geopolitics (abstract submission deadline: 18 October 2019)

Sadly I’m not able to go to this – but if interested abstracts are due by 18 October 2019.

Image result for government bunker

Call for Papers: American Association of Geographers Annual Meeting (AAG) 2020, April 6-10, Denver, CO, USA.

Session Title: New Directions in Subterranean Geopolitics

Session Organizers: Klaus Dodds (Royal Holloway University of London), Ian Klinke (University of Oxford) and Chih Yuan Woon (National University of Singapore)

Sponsored by the Political Geography Specialty Group

This proposed session will broach the interface between the subterranean and geopolitical. Subterranean geopolitics, as a starting proposition, is one that is attentive to the material and imaginative. It builds on an interdisciplinary body of work that have sought to re-evaluate the flatness of geopolitical and cartographic imaginaries. Within geography, scholars have insisted that geopolitics needs to account for and investigate the depth dimensions of human and more-than-human life. To put it another way, they are interested in how understandings of the politics of space morph and change when depths alongside surfaces are brought into conversation. This research inquiry has opened up opportunities for the interrogation of several pertinent questions: how can we grasp and understand such (sub-surface and ‘lesser known’) spaces? How are they rendered visible and sensible as opposed to being invisible and incomprehensible? How are they being subjected to various forms of control and exploitation? Are subterranean encounters also characterised by counter-movements and resistance politics?

This session welcomes both conceptual and empirical engagements with subterranean geopolitics. Presentations can draw on a number of thematic directions such as, but not limited to:

  • The constructions, representations and imaginations of subterranean geopolitics in official discourses and popular cultural mediums
  • The elemental qualities (e.g. air, rocks and water) that shape and impact upon the ‘playing out’ of subterranean geopolitics
  • The institutional, legal and political arrangements that govern subterranean geopolitics and the resultant resistances and challenges
  • Living and experiencing subterranean geopolitics and their affective/emotional dimensions
  • Methodologies to research and negotiate the complexities of subterranean geopolitics

Interested participants should submit an abstract of no more than 250 words to Klaus Dodds (k.dodds@rhul.ac.uk), Ian Klinke (ian.klinke@ouce.ox.ac.uk) and Chih Yuan Woon (geowcy@nus.edu.sg by 18 October 2019. The organizers will notify authors of acceptance in the session latest by 25 October 2019. Details about attending the conference are available from the AAG website: https://www2.aag.org/aagannualmeeting/

Picture credit:  Cheyenne Mountain Complex — Colorado Springs, Colorado from https://www.history.com/news/inside-the-governments-top-secret-doomsday-hideouts

 

 

 

 

 

On being bent back into shape every Autumn

Image result for worn stone steps

“Me, I’m just a lawnmower. You can tell me by the way that I walk”

Genesis (1973) I know what I like (In your wardrobe).

I’m shuffling around the house, trying to break in a new pair of shoes. At times I feel like giving up. My movement has been rendered so laboured by my new apparel. I try to keep on the level, because every attempt to use stairs triggers a pulse of intense sense-data rushing from my feet to my head. The act of ascending or descending has suddenly taken on a whole extra dimension of information. Without this self-inflicted ordeal I would be bounding around my familiar spaces without thought, but as I try to bend these shoes to my will they are forcing me to engage with my environment oh so much more deliberatively.

I take the shoes off. My feet visibly enter a state of calm repose. They stop their manic environmental signalling, but have evidently paid their price in the short war of my flesh on leather. My skin has yielded as much as the leather has in this battle of accommodation. It is broken and weeping.

The start of term brings new shoes and an awareness of the need to be presentable for the arrival of students. My body and mind must be bent back into shape. Summer has let the mind and body slouch. Sinews must stiffen. Confidence and authority must be personified. “Don’t smile until Christmas” someone once said.

The corridors and stairwells are starting to fill with bodies. There is always a week or so of spatial anarchy at the start of each academic year – it takes a while for the rules of flow to re-establish themselves (even with the “keep left” signage). Eventually everything will bed down. Everyone will assimilate to the staircase’s ways of doing. Transgressors will be tutted at, blocked by a properly aligned descending throng. It will soon become realised that there is nothing to be gained in trying to travel up (or down) the stairs against the flow.

And some of those moving bodies will belong to my final year students, freshly released from their placement years. I will be shocked (but somehow also not surprised) when I see them. They will be taller. About two inches. And this will be a product of two changes. First, some sharper, tighter clothes bought with their placement wages, but secondly (and I think more importantly) they will seem taller because their posture will have changed. They – literally – will be holding themselves differently. More confident in their abilities and the value of their knowledge and skills they hold themselves up straight. Their placement have changed them. They have allowed themselves to be bent into shape by the experiences that they have engaged in. Not all of that bending will have been painless, but it has produced palpable change.

Writing in 2011 Philip Hancock and André Spicer wrote of how neoliberalism’s colonisation of Higher Education could be detected in the very arrangement of University spaces, and that this rendered blatant the contemporary view that University campuses are simulacra of corporate campuses, and that therefore University spaces were environments intended to shape students into the dispositions of the “new model worker”. Whilst the affinity between the contemporary University space-aesthetic is blatantly Googlesque (all multi coloured soft furnishings, with an accent of multiple configurations of creativity and adaptabilty) their suggestion that places bending people into shape might be something new is where I probably diverge.

The design of a 1960s university campus embodied its own notions of ordering bodies, statuses and purposes. As did the precincts and cloisters of earlier iterations of the academy. Buildings playing a role in bending bodies into conformity in prisons, schools, convents and barracks is nothing new, as Thomas Markus (1993) has shown.

And, to suggest that students are formed by their material environment is to deny the mutual bending and rubbing entailed in any accommodation. Just as with my shoes, the influx of students affects the fabric, form and function of my university’s buildings, its corridors and staircases. In the short-term this rubbing is the disordering of use and flow. In the longer term it is the physical wearing down of the treads, causing feet to fall into patterns set by the actions of thousands of feet that have passed by before. On the stairs the bodies are shaped by the arrangement and culturation of these risers, and simultaneously the flow of bodies affects the stairs.

As Levi Bryant puts it – linking the environmental conditioning that (for Pierre Bourdieu) creates hexis (physical bodily dispositions within an environment), emergent identities and change within the environment itself:

“…people who live their lives at sea on barges and tugboats such as my grandfather. Their movement and manner of holding themselves is absolutely distinct. They walk a bit like a crab, their legs squarely apart, their shoulders slightly hunched, arms at the side. they have folded the movement of waves into their bodies, generating a form of walking and standing that allows them to traverse the surface of boats without falling over or stumbling. So inscribed is this movement of waves in their musculature that they are eventually unable to walk or hold themselves in any other way even on dry land. The sailor’s body literally becomes a wave made flesh.” (Bryant, 2014: 127)

As Bryant points out, this disposition is not a matter of signification. These adjustments have become embodied, and inseparable from a state of competent dwelling within a body, within a situation and within an identity. They may have stated out as consciously willed, as affected mannerisms, but they have become something much deeper. They are embedded as muscle memory within their human hosts, and in a parallel embedding, they have also imprinted themselves into the material conditions, and symbolic orderings, of the places that those bodies inhabit.

Were we to inspect them we would see the sailor’s comfortable craggy boots, soles worn away at odd angles testifying to the crab-man’s necessary gait and his adventures at sea.

 

References

Bryant, Levi, R. (2014) Onto-Cartography: An ontology of machines and media. Edinburgh University Press: Edinburgh.

Hancock, Philip & Spicer, André (2011) ‘Academic architecture and the constitution of the new model worker’, Culture and Organization, 17(2) 87-90.

Markus, Thomas A. (1993) Buildings and Power: Freedom and control in the origin of modern building types. Routledge: London.

Image Reference

https://www.reddit.com/r/mildlyinteresting/comments/26grnr/stone_steps_worn_down_from_foot_traffic

 

 

 

Gazing from ruined pavements: A postcard from Berlin

Potsdam

“Broken fragments of stone become evocative ruins when someone gazes upon them and imbues them with significance; otherwise they linger on as worthless rubble to be swept away or ignored.”

(Michael Meng (2011) Shattered Spaces: Encountering Jewish Ruins in Postwar Germany and Poland. London: Harvard University Press, p.10)

I’ve just finished reading Meng’s book. It examines the ways in which abandoned and ruined Jewish public places (principally synagogues and cemeteries) fared across various eras of neglect, erasure, re-purposing and (in some cases) rediscovery and restoration between 1945 and 2010, in Germany and Poland, under both communism and capitalism. Meng features the arresting image (above) of a crowd of passers-by photographed halted from their travels on the pavement and gazing at the ruins of Potsdam synagogue, in the daylight that followed Kristallnacht (the ‘night of broken glass’: 9-10 November 1938) and its orgy of coordinated ruin-making inflicted on Jewish buildings by the Nazis. Chillingly his sparse commentary draw us into the image, he suggests that we can’t discern from the image what the spectators were thinking, or even why they had stopped to look. This made me scour the picture – searching through the crowd, staring at the back of their heads – hoping to find a face that would meet my gaze and give me some clue. But the image – as Meng rightly notes – gives us no closure, and (as his book provides) requires a detailed meditation on context and an assaying of the ebbs and flows of two rival structures of feeling and acting: “redemptive antisemitism” and “redemptive cosmopolitanism” in each of Germany and Poland in the postwar years.

Meng’s analysis shows how, since the 1980s, Jewish ruins in Germany and Poland have become valorised – via the ascendancy of redemptive cosmopolitanism – in particular through their role in international commemoration and heritage pilgrimages. This seems self-evident, from our contemporary vantage point. But Meng’s book shows that there is nothing eternal or inevitable about this attachment of significance to these places, and his is a meticulous analysis of the unpredictable end-of-life-cycle of any ruin, and of the vital importance of understanding how the materialities (and costs) of dereliction intersect with the rise and fall (and dereliction) of the bodies of ideas that give meaning (and whether for good or ill) to any place. But Meng is also attentive to local contingencies for the sites that he chronicles, the story of each ruin cannot be contained within that building alone. The fate of a place may be collateral damage (or collateral salvation) related to some other local issue or project. To be effective then, the explanatory lens has to be able to move in (towards local prosaics) and out (to be able to situate the site’s fate as at least to some extent within wider sociopolitical trends).

Meng’s book was my holiday reading for a recent short family holiday sightseeing in Berlin. I’d been there once before, 10 years ago, and had done the whole ‘Berlin – city of traces’ thing then, absorbing myself with dark heritage guidebooks and trying to cram in as many glimpses of “the ghosts of Berlin” (Ladd 1997) as I could. This second time around I was happy to navigate the city via family consensus. I was politely but firmly told that this holiday wouldn’t be about ‘Dad’s dark ruins thing’.

The impression I came away with from this re-visit was that Berlin’s traces are neater and tidier now – presented as part of international heritage tourist circuits. The dark stuff is there, but it is increasingly ‘just’ part of those circuits. This impression may simply be a product of the different circumstances of my re-encounter with Berlin, and I’m not suggesting that Berlin in 2010 was somehow purer, more authentic or less touristic. Any experience of any place (and whether ruined, ‘dark’ or otherwise) is at least in part an outcome of what you go looking for. And I’m not going to be po-faced and suggest that somehow my exploring of Berlin in either 2010 or 2019 was itself anything other than a form of tourism. In short, each time I went to Berlin with certain expectations and each time found ways to ‘join the dots’ so as to meet those expectations.

There was one exception however to this ‘I went – I saw – I came home having seen what I expected’ intentionality. And it happened on the day where my teenage daughter had control of our itinerary. She decided that we would go to Berlin Zoo, and so we did.

Climbing out of the metro stations we were a little disorientated. We could see various signs to the zoo, but they seemed contradictory. We shuffled along in a direction that we thought might work, and soon came upon a bulky security barrier, painted in black and yellow, and with the (English) words “Truck Stop” repeated in very insistent, prominent letters. This street architecture seemed overly keen to announce itself and rather awkwardly positioned, laid down in an already cluttered street scene – pavements, market stalls, infrastructure. Then we saw some votive candles on the steps rising from this pavement and on closer inspection could see memorial photographs and a few flowers laid out besides them. Getting even closer (having weaved across the pavement’s heavy traffic of passers by to get nearer) we saw names engraved into the otherwise normal pavement steps. Collectively it started to dawn on us (but not in a tranquil, contemplative way – because our senses also had to remain focused on the perils of stopping within this pavement’s flow of incessant movement): this place was the scene of the 19 December 2016 Christmas Market terrorist attack, in which 12 of the pedestrians who had been using this pavement were murdered by being run down by a truck. Trying to take this in as the world incessantly and very mundanely carried on its flows around us felt unsettling. As I tried to process the newly-acquainted significance of this place fragments of the scene: the steps, the market stall to my left, the pavement beneath my feet, and the recently encountered Truck Stop barrier, all coalesced into a sense of place – that this otherwise unremarkable portion of pavement was a distinct location and that it was more important than any other stretch of the pavement further along this busy road. And yet, as I fought to stabilise this image  of a distinct, important place, it struggled to stay separated from the urban realm and flows of which it was part. Bodies buffeted me as I slowed to survey the scene, elements appeared at the periphery of any provisional framing of this scene – extending it further along the pavement and beyond the steps into the nearby church, the plaza beyond and the bulk of the market stalls. 

That this site was not separated from its surroundings felt strange (given the way that memorial sites usually are separated: e.g. presented as calm, contemplative oases in a nearby park). But it also gave it an unusual affective charge – this place and its unexpectedness had pricked me, and in circumstances where I had not been looking to be pricked. As we walked away I turned to look back at the ‘site’ (and to try and get a synoptic grasp of it). It was then that I noticed a very subtle form of memorialisation that had been installed to ‘frame’ this place. Running down the steps and across the heavily trafficked pavement was a narrow golden slither or rivulet. It was impossible to see the slither in its entirety because of the flow of passersby. It also proved impossible to photograph – for unlike a conventional sculpture it was but a flat mark across busy ground. It looked like a rivulet of golden blood and seemed in its context life affirming rather than mawkish.

Related image

Subsequently I’ve read that this memorial is actually meant to signify a crack – positioning this within the distinctly German post-war tradition of ‘mahnmal’ (warning monuments): for the crack here symbolises the attack (and thus the momentary breach in Berlin’s self-image of redemptive cosmopolitanism, and acting as a call for alertness and vigilance to guard against the risk of such cracks in the tolerant, democratic polity).

The creation of this artwork, by designers Merz Merz, actually involved first the chiselling out of a 17 metre long, narrow crack across the steps and pavement and then the elimination of that void with the golden infill. In that sense the re-joining of the pavement – via the elimination of the damage inflicted upon it – was intended as a redemptive gesture, a gesture augmented by involving the bereaved in the smelting of the gold.

But without knowing this process and backstory I reacted to this as a rivulet. Either way the enmeshment of this site and its subtle monument within the throng of daily life stopped me in my tracks. I had to stop, look from the pavement and make some sense of these broken-and-mended fragments of stone and what they could or should stand for.

 

Image credits: Postdam Synagogue, Potsdam Museum via http://www.grahamfoundation.org/grantees/3950-shattered-spaces-encountering-jewish-ruins-in-postwar-germany-and-poland ; Merz Merz (2017) Der Goldener Riss https://www.rbb24.de/politik/beitrag/2018/07/terror-breitscheidplatz-entschaedigung-antraege-gedaechtniskirche-berlin.html; Making Der Goldener Riss https://www.bento.de/today/berlin-so-sieht-das-mahnmal-fuer-die-terroropfer-vom-breitscheidplatz-aus-a-00000000-0003-0001-0000-000001951349

 

FOUR VIEWS OF SPATIAL CHANGE & STASIS: 4 fully-funded PhDs at SHU investigating: professional cultures of urban vacancy; arts led urban re-use; geographies of community self-help under austerity; Icelandic glacier fluctuations. Applications Deadline: 25 July 2019

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“The superfluous is useful. Its use is to put life on the stage.”

Gernot Böhme (2017) Critique of Aesthetic Capitalism. Berlin: Mimesis  International.

I’m very pleased to be able to announce a fully funded PhD opportunity to work with me and colleagues at SHU looking at professional cultures of urban vacancy. Full details are set out below, followed by information about three other fully-funded PhD opportunities to work on projects with other colleagues across SHU’s interdisciplinary Department of the Natural and Built Environment, which is home to SHU’s geography, planning, architecture and built environment academics. In particular, there’s some exciting cross-over potential between the PhD project that I’m leading within our Real Estate team and the one being led by my colleague Christina Cerulli and her Architecture team colleagues. All four of our PhD posts will feature part-time ‘Graduate Teaching Assistant’ input in Years 2 and 3, giving a great opportunity to feed ongoing research into teaching, and to get valuable experience and day-to-day contact with our academics and students.

Here’s the descriptor for the ‘professional cultures of urban vacancy’ PhD project that I’m leading:

Wastes or in-waiting?: understanding professional cultures of setting-aside
urban property

Within the broad interdisciplinary field of urban studies, and in associated policy areas, there has been much celebration in recent years of the rise of ‘meanwhile uses’ for urban sites (land and/or buildings) as they pass between phases of more conventional, established utilisation. However, despite this, vacant urban sites still exist and little research has been undertaken to understand how site owners and their property advisers perceive the passage of their sites between uses, and in particular why they might still prefer (or at least be comfortable with) a site remaining empty and unused for a period.
The proposed study seeks to address this research deficit by investigating sites that appear to have fallen into disuse, and to understand the stories (and local logics) behind this apparent fate. Through case study-based research using primarily qualitative, interpretative methods (interviews, participant observation, focus groups, archival review) the study will build a rich insight into the way in which professional cultures of setting aside urban land are rationalised and implemented at specific sites.
It is envisaged that there will be a comparative dimension (i.e. looking at case studies from more than one property type) – but within this there is scope for the researcher to focus on types of property that are of particular interest / relevance. For example, the supervisory team have research interest in the life cycles of former mental asylums, abandoned military bunkers and former industrial sites, and the rise and fall of particular types and configurations of office accommodation.
Whilst a background in real estate is not mandatory for this position, the successful  applicant will need to be genuinely interested in, and able to build effective research relationships with, site owners, property professionals and their networks, in addition to showing a commitment to interpretative research methodologies.
The project will be supervised by Dr Luke Bennett (Reader in Space, Place & Law), Dr Carolyn Gibbeson (Senior Lecturer, Real Estate) and Dr Barry Haynes (Principal Lecturer, Real Estate).
Potential applicants are encouraged to contact Dr Luke Bennett  l.e.bennett@shu.ac.uk for further information prior to applying.

And here’s Cristina’s PhD project’s descriptor:

Image result for east street arts leeds

Spatial infrastructures and distributed agencies: East Street Arts as urban
activator 

In light of UK cities being increasingly dominated by large commercial developers and private interests (Cahill, 2001), (Minton, 2009), what role might arts and cultural organisations take in actively transforming cities according to different values and modes of action? How might they organise and operate not only to open up possibilities for artists, but to be an agent to stimulate possibilities for collective learning, community action and radical cultural practice? (Petrescu and Trogal, 2018), (Bohm, James, and Petrescu, 2018), (Traders, 2018). What are the tactics, strategies and roles they need take on and develop and the fields in which they must operate? (Brave New Alps, 2013, 2017), (Spatial Agency, 2017), (Gullino, Cerulli, and Seetzen, 2018).
The Subject Group of Architecture at Sheffield Hallam University (SHU_Architecture) invites applications from architects, diverse spatial practitioners, urbanists and designers to a design-led PhD programme to investigate these concerns, in  collaboration, and through active engagement with East Street Arts in Leeds (ESA).
The project draws on the research and teaching of SHU_Architecture and the current activities of the nationally active arts organisation ESA, to provide a stimulating practice-based research environment in which to actively explore the potential for arts organisations to play innovative and alternative roles in processes of urban transformation.
East Street Arts have developed a unique, also ecological, mode of practice as a civic arts organisation, operating a national network of art spaces, studios, community arts facilities and other tactics (Uglow, 2017), (Gee, 2017), (Thomas, 2018). They act in a diverse and complex way, and do not only support artists and their communities, but enact a particular form of urban development and transformation, which is supported by a range of spatial and creative tactics.
The candidate would be based between SHU_Architecture and East St Arts, so as to be able to draw on archival materials and practices of the arts organisation, and through the design-led PhD to explore and add to this archive in productive and performative ways.
The project will be supervised by: Dr Cristina Cerulli, Dr Julia Udall and Dr Sam Vardy.
Potential applicants are encouraged to contact Dr Cristina Cerulli C.Cerulli@shu.ac.uk for further information prior to applying.

For official information about these PhDs and their terms and conditions please refer carefully to SHU official sources (and check there for any updates prior to applying). The official advert for our four funded PhDs is here: 

https://www.jobs.ac.uk/job/BTC027/phd-studentships-graduate-teaching-assistants-natural-and-built-environment

And here’s a copy of the ‘additional information’ document mentioned there – because its hard to find on the advert page (currently it only appears when you click “apply”):

Sheffield Hallam University

Natural and Built Environment Dept

PhD Studentship/Graduate Teaching Assistant bursaries

Faculty of Social Sciences and Humanities

Duration: 3.5 years

Bursary £15,009 per annum

Closing date for applications: 12 noon 25th July 2019

The Department of Natural and Built Environment at Sheffield Hallam University intends to appoint PhD studentships (Graduate Teaching Assistants) on a three and a half year fixed term studentship from October 2019.

The studentship is for a period of three and a half years, subject to satisfactory progress, and will include full UK/EU tuition fees and an annual stipend of £15,009.
Graduate Teaching Assistant bursary holders will be expected to contribute to the resourcing of the student experience, either through teaching or some other form of student support. This forms part of the terms and conditions of the bursary and there is no additional payment for it. Currently enrolled students are not eligible to apply.
Applicants should hold a 1st or 2.1 honours degree in a related discipline. A Masters degree in a relevant subject area would be an advantage.
We are particularly interested in supervising projects in the following areas, and preference will be given to applicants with an interest in developing research in one of the areas set out below.

1) Spatial infrastructures and distributed agencies: East Street Arts as urban
activator 

In light of UK cities being increasingly dominated by large commercial developers and private interests (Cahill, 2001), (Minton, 2009), what role might arts and cultural organisations take in actively transforming cities according to different values and modes of action? How might they organise and operate not only to open up possibilities for artists, but to be an agent to stimulate possibilities for collective learning, community action and radical cultural practice? (Petrescu and Trogal, 2018), (Bohm, James, and Petrescu, 2018), (Traders, 2018). What are the tactics, strategies and roles they need take on and develop and the fields in which they must operate? (Brave New Alps, 2013, 2017), (Spatial Agency, 2017), (Gullino, Cerulli, and Seetzen, 2018).
The Subject Group of Architecture at Sheffield Hallam University (SHU_Architecture) invites applications from architects, diverse spatial practitioners, urbanists and designers to a design-led PhD programme to investigate these concerns, in collaboration, and through active engagement with East Street Arts in Leeds (ESA).
The project draws on the research and teaching of SHU_Architecture and the current activities of the nationally active arts organisation ESA, to provide a stimulating practice-based research environment in which to actively explore the potential for arts organisations to play innovative and alternative roles in processes of urban transformation.
East Street Arts have developed a unique, also ecological, mode of practice as a civic arts organisation, operating a national network of art spaces, studios, community arts facilities and other tactics (Uglow, 2017), (Gee, 2017), (Thomas, 2018). They act in a diverse and complex way, and do not only support artists and their communities, but enact a particular form of urban development and transformation, which is supported by a range of spatial and creative tactics.
The candidate would be based between SHU_Architecture and East St Arts, so as to be able to draw on archival materials and practices of the arts organisation, and through the design-led PhD to explore and add to this archive in productive and performative ways.
The project will be supervised by: Dr Cristina Cerulli, Dr Julia Udall and Dr Sam Vardy.
Potential applicants are encouraged to contact Dr Cristina Cerulli C.Cerulli@shu.ac.uk for further information prior to applying.

2) Wastes or in-waiting?: understanding professional cultures of setting-aside
urban property

Within the broad interdisciplinary field of urban studies, and in associated policy areas, there has been much celebration in recent years of the rise of ‘meanwhile uses’ for urban sites (land and/or buildings) as they pass between phases of more conventional, established utilisation. However, despite this, vacant urban sites still exist and little research has been undertaken to understand how site owners and their property advisers perceive the passage of their sites between uses, and in particular why they might still prefer (or at least be comfortable with) a site remaining empty and unused for a period.
The proposed study seeks to address this research deficit by investigating sites that appear to have fallen into disuse, and to understand the stories (and local logics) behind this apparent fate. Through case study-based research using primarily qualitative, interpretative methods (interviews, participant observation, focus groups, archival review) the study will build a rich insight into the way in which professional cultures of setting aside urban land are rationalised and implemented at specific sites.
It is envisaged that there will be a comparative dimension (i.e. looking at case studies from more than one property type) – but within this there is scope for the researcher to focus on types of property that are of particular interest / relevance. For example, the supervisory team have research interest in the life cycles of former mental asylums, abandoned military bunkers and former industrial sites, and the rise and fall of particular types and configurations of office accommodation.
Whilst a background in real estate is not mandatory for this position, the successful applicant will need to be genuinely interested in, and able to build effective research  relationships with, site owners, property professionals and their networks, in addition to showing a commitment to interpretative research methodologies.
The project will be supervised by Dr Luke Bennett (Reader in Space, Place & Law), Dr Carolyn Gibbeson (Senior Lecturer, Real Estate) and Dr Barry Haynes (Principal Lecturer, Real Estate).
Potential applicants are encouraged to contact Dr Luke Bennett l.e.bennett@shu.ac.uk for further information prior to applying.

3) Holocene climate and environmental change in SE Iceland.

Iceland is located in a critically important region for the climate of the northern hemisphere. Its location means that Icelandic climate is strongly influenced by circulation in the North Atlantic Ocean, which is highly sensitive to change and has the potential to act as a trigger for abrupt climate change. Despite SE Iceland being the focus of a large amount of research into glacier fluctuations since the Little Ice Age (which ended around 1890), surprisingly little is known about the climate of SE Iceland prior to this time.
This project will use multiproxy analysis of lake cores and glacial geomorphology to produce new reconciled records of Icelandic climate stretching back beyond modern records, which will be used to refine our understanding of ocean circulation in the North Atlantic, and potential sensitivities to rapid change.
The successful candidate will use established techniques such as Chironomid-based transfer functions, tephrochronology and radiocarbon dating to produce climate records from a number of high altitude lake basins in SE Iceland. Alongside these climate records, glacial geomorphological research of some of the key outlet glaciers in SE Iceland will be undertaken, potentially including Cosmogenic Radionuclide dating of boulders, to understand the interactions between climate changes and glacier response. Together, these strands will produce robust new records of the climate of SE Iceland stretching back past the instrumental record.
The project will be supervised by Dr Naomi Holmes, Dr Rob Storrar and Dr Jon Bridge.
Potential applicants are encouraged to contact Dr Naomi Holmes (n.holmes@shu.ac.uk 0114 225 3516) or Dr Rob Storrar (r.storrar@shu.ac.uk 0114
225 2798) for further information prior to applying.

4) Exploring the Geographies of Community Self-help in Times of Crisis and
Austerity: some case study evidence from England.

At a time of economic crisis and austerity, with over 1.5 million people in the UK living in destitution (JRF, 2018), a deeper understanding as to how these precarious realities are shaping the informal geographies of community self-help (i.e. the extent, rationales, social embeddedness, and barriers to participation) is extremely timely and important.
Harnessing a mixed-methodological framework to explore a range of material and emotional coping strategies, the research will consider how these are: (i) being weakened or dismantled (ii) acting as forms of resistance and resilience; (iii) underpinning new transformative forms of identity and engagement with others. The findings will address academic and policy implications that emerge when envisaging and enacting forms of community self-help “as a strategy for survival and a model for society” (Burns, et. al 2004: 6).
The project will be supervised by Dr. Richard White (Reader in Human Geography), Dr. Rob Hunt (Senior Lecturer in Social Policy) and Rob Stevens (Senior Lecturer in Geography and Planning).
Potential applicants are encouraged to contact Richard White (0114 225 2899 / Richard.White@shu.ac.uk)

Applicants with interests in other areas should consult our web pages:
https://www.shu.ac.uk/about-us/academic-departments/natural-and-built-environment for details of staff research interests in Natural and Built Environment and should consult the named contact before making an application.
For general enquiries please email fdsresearch@shu.ac.uk
For general information about research degrees, visit the Research website
https://www.shu.ac.uk/research/degrees
International applicants
International applicants please be aware that the bursary will cover only the Home/EU fee. The shortfall between the Home and Overseas fee, currently around £8,000 per year, must be covered by the student for the 3.5 year duration of the studentship.
We also have a mandatory English language requirement of IELTs 7, or equivalent language qualification. This qualification should have been taken within the last two years, with a score of at least 7 in all test areas.
Applying for a Studentship
Please complete an application form, available here: https://www.shu.ac.uk/studyhere/options/graduate-school/how-to-apply
Guidance on completion of your research proposal: Please submit a 2-page draft research proposal around your chosen area of interest along with your application form.
In the subject field of your e-mail, please write ‘Studentship Application’ and e-mail your completed application form and research proposal to fdsresearch@shu.ac.uk
Closing date for applications: 12 noon 25th July 2019. Late applications will not be accepted.
Please note, at this stage you only need to include the names and contact details for referees and do not have to request references.
Interviews are likely to take place during the week commencing 12th August 2019.
Shortlisted applicants must be available to attend an interview in person; there will be no Skype interviews.

Image references: Fairfield Inn (me); East Street Arts, https://eaststreetarts.org.uk/fluxcapacitor/were-looking-for-artists-for-our-spaces/

SHU SPG 2019 conference – the comforts and discomforts of place, 10 July 2019

bench

“…what have you in these houses? And what is it you guard with fastened doors…have you only comfort, and the lust for comfort, that stealthy thing that enters the house a guest, and then becomes a host and then a master?”

Khalil Gibran (1923) On Houses.

This free day-long event hosted by Sheffield Hallam University’s Space & Place Group at Kelham Island Industrial Museum on 10 July 2019 (as part of the University of Sheffield’s From Brooklyn Works to Brooklynism programme) brings together academics from across SHU, and beyond, to explore different ways of researching spaces and places, specifically from the perspective of comfort and discomfort. This event is a culmination of a series of workshops held at SHU over recent months, with an evolving set of speakers and attendees. This final event picks up on the themes from those earlier sessions:

  • the awkward legacies of prior uses and configurations of spaces;
  • the instrumentalisation and commercialisation of iconic places;
  • different patterns of dwelling and experiencing private and public spaces; and
  • the commodification (as a measure of efficiency and or exchange value) of space.

Intentionally the assembled presentations are eclectic and juxtaposed in a way intended to draw out connections between themes and perspectives which may not at first glance have much apparent connection. Woven through all of the presentations is a concern to acknowledge that places are often simultaneously comfortable and uncomfortable. Sometimes this duality is productive, sometimes it is painful. In either case, often it is necessary. In the afternoon we will be exploring whether (and if so how) how particular atmospheres and experiences can be designed into spaces and the events that occur within them.

The programme (including each speakers’ abstract) is set out below.

[Please note that the event is free to attend but that places (subject to availability) must be booked via Eventbrite here. Lunch will not be provided at this event: instead delegates will be invited to dine locally at one of the many pubs, cafes and restaurants now available in the Kelham Island district.]

PROGRAMME

09.00-9.30        ARRIVALS & REFRESHMENTS

9.30-9.40           WELCOME & INTRODUCTION

Luke Bennett, Reader, Natural & Built Environment (SHU)

‘Exploring the comforts and discomforts of place and dwelling’

9.40-10.40        SESSION 1: [DIS]COMFORT IN PUBLIC SPACE

09.40-10.00         Amanda Crawley Jackson, Senior Lecturer in French and Francophone Studies &  Faculty Director of Impact and External Engagement (Arts & Humanities)  (University of Sheffield)

“Restoring discomfort: using large format photography to unsettle the comfortable ordinariness of Syria’s Execution Squares”

Hrair Sarkissian (b. 1973, Damascus) is an Armenian-Syrian artist working primarily in the medium of photography.  He is perhaps best known for his 2008 series, Execution Squares, in which he explores the sites of public hangings that traumatised his childhood. In this paper, I’ll consider Execution Squares in the context of my current work on post-traumatic landscapes, focusing on the ways in which these large format photographs of ostensibly ordinary public squares in Damascus, Aleppo and Latakia betray something of the violence that has taken place there. With reference to Georges Didi-Huberman’s work on visibility and visuality, I will make the case that images – and landscapes – such as these exhort us to see differently. Finally, I will argue that  Sarkissian’s work, as a complex meditation on time, plasticity and absence, affords a critical prism through which to interrogate the ways in which the past survives in the present. 

10.00-10.20         Elaine Speight, Research Fellow, ‘In Certain Places’ (UCLAN)

“Making a boob of it: Some thoughts about breastfeeding in public”

This short talk will discuss ideas of comfort and discomfort in relation to the maternal body, through a focus upon the politics and practicalities of breastfeeding in public. As evident from the recent social media furore surrounding Meghan Markle’s ‘baby bump habit’, the ways in which maternal bodies are presented and performed is an ongoing cultural concern. As ‘a leaking, secreting embodied Other’ (Longhurst 2001), the breastfeeding body is a specific source of anxiety, particularly when encountered within supposedly ordered public spaces. Drawing upon my recent experience of becoming a mother, I will examine some of the physical challenges of breastfeeding outside of the home, as well as the social unease it provokes. Touching on ideas of exhibitionism/discretion and the maternal/sexual, I will discuss how the act of breastfeeding disrupts and is disciplined by existing spatial norms, and raises the question ‘who has the right to be comfortable in public?’

10.20-10.40         Ian Whiteside, Senior Lecturer, Events Management (SHU)

“Creating visitor experience in the National Trust”

A visit, like an event, is time out of the everyday. Staff at National Trust properties welcome visitors, except at the Workhouse where they make them uncomfortable as part of the experience. Using the Workhouse at Southwell, Nottinghamshire and Belton House, Lincolnshire as case studies this paper looks at visitor experience in terms of making visitors comfortable or setting an atmosphere of unease. The Workhouse at Southwell is owned and managed by the National Trust and is the most complete workhouse building still existing in Britain. Belton House is the quintessential English Country house and one of the National Trust’s most popular properties. Through a series of conversations, with volunteers and staff, issues including the visitor experience and reasons to visit and return (or not) are discussed and then analysed with reference to the work of Lovell (2018), Boje (2001) and Dorst (1989). This paper, based on empirical data, will look at issues of welcoming visitors, or not.

10.40-10.45      COMFORT BREAK

10.45-11.45      SESSION 2: WARM & WELL?

10.45-11.05         Aimee Ambrose, Reader, Centre for Regional Economic & Social Research (SHU) & Graeme Sherriff, Research Fellow, School of Health & Society (University of Salford)

“Comfort and discomfort in ‘low-energy’ homes in the increasingly inhospitable climate of South Australia”

The energy performance of the housing sector is an important contemporary challenge in the context of environmental constraints such as climate change and social issues such as fuel poverty and social inclusion. This is not a purely technical issue: how occupants live in and negotiate comfort impacts upon to what extent energy efficiency goals can be achieved and this has implications for their quality of life. This paper draws on interviews with residents of the Lochiel Park Green Village in South Australia who have moved into purpose built low energy homes. Using an oral history approach to situate experiences of energy within individual housing histories in order to better understand the evolving relationship between the occupant and the building. Within the context of debates around adaptive comfort practices, this innovative methods reveals that, despite the expectations of some residents, moving to a ‘low-energy’ home has reduced rather than eliminated their active involvement in maintaining a thermally comfortable environment.

11.05-11.25         Michael Roskams, Workplace & Wellbeing Analyst, Technical facilities Management (Mitie plc)

“Can smart sensors support employees’ physical and psychological comfort in the workplace environment?”

Environmental discomfort is rife in the modern workplace environment and can lead to ill health and unproductive work. In this presentation, I will discuss my PhD research, which explores the relationship between environmental comfort, wellbeing, and productivity. The presentation will focus on the partnership with facilities management Mitie, who are pioneering the use of wireless environmental sensors to monitor key parameters of the physical environment in real time. I will discuss the strengths and the limitations of this technology-led approach, and will also discuss the importance of recognising psychological comfort as well as physical comfort.

11.25-11.45         Becky Shaw, Reader, Fine Art (SHU) and Frances Williams, PhD student (MMU)

“Class, Cool and Care: The Maggie’s centre and the discomfort of criticising the ‘Well-being’ aesthetic”

The Maggie’s Centre, Manchester, is seen as an exemplary model for the value of arts in healthcare- cool architect designed, displaying art from The Whitworth Collection, using Orla Keilly towels and hand-made raku mugs, with a stylish wild allotment-style garden and a non-clinical patient engagement format. As part of a nascent research group (Critical Arts for Health) six artists and academics visited Maggie’s and spent time thinking about the particular expression of well-being at work. During our visit we questioned: why the ingredients of the ‘well-being’ aesthetic are so often predictable and how, together, they perform a familiar construct of good taste; the extent to which this spatial and material language delivers care, comfort and is inclusive; and the extent to which the aesthetic language is designed to appeal to patients or to function rhetorically for private sponsors- or if both, how does this intertwine? At the same time our position as critics was deeply uncomfortable, partly because to criticise Maggie’s feels sacrilegious as it is so established as the pinnacle of good cancer care, but also because it caused us to reflect on the distance and privilege of a critical position. This brought to life the complexity of trying to think critically about the often warm and cosy terrain of arts in health.

11.45-12.00      REFRESHMENTS

12.00-1.00        SESSION 3: ARE WE SITTING COMFORTABLY?

12.00-12.20         Esther Johnson, Professor, Film & Media Arts (SHU)

“Alone Together, the Social Life of Benches”

Esther will introduce and screen her film Alone Together, the Social Life of Benches. Through the experiential capacity of film via a series of oral testimonies and carefully composed portraits, the work explores how individuals and groups spend time in two distinctive London public spaces. Revolving around the micro-space of the humble bench, the film incorporates contributions from a diverse range of visitors. These testimonies highlight themes such as the psychological feeling of being in a space, the rhythm and flow of visitors to a place, and the importance of design for everyday street furniture. The film acts like a stranger who joins you on a bench to ‘watch the world go by’, and to break the ice by starting a conversation with their fellow bench user. Made whilst Esther was co-investigator on an AHRC Connected Communities innovation project, The Un-Sociable Bench, and other urban micro-territories of encounter and intimidation.

 http://blanchepictures.com/alone-together

 12.20-12.40         James Corazzo, Principal Lecturer, Graphic Design (SHU)

“Sofa Pedagogy”

This talk will explore the comforts and discomforts of the educational design studio through a study of the squashy object par excellence – a sofa. To anybody familiar with studio environments (professional or educational), a sofa is an unremarkable presence. Indeed, contemporary HE learning spaces are now replete with hub/break-out/informal spaces, often signalled by the judicious use of colour and soft furnishings and evangelised for their apparent capacity to enable collaboration, innovation and flexibility. Eschewing such causal and monochromatic accounts of learning spaces, I will argue the sofa, in this particular studio setting, is a surprisingly mutable object affording a variety of encounters and paradoxical models of occupation: hard/soft, formal/informal, intimate/indifferent, teaching/not teaching. Through talk and draw interviews with tutors and observation, I will show the sofa in this studio is not just a comfortable place to sit, but itself a significant pedagogic actor.

12.40-1.00           Phil Crowther, Reader – Events Management (SHU)

“The comforts and discomforts of business executives sleeping with the homeless on a city’s streets for a night”

The intentionality of charity events (from the charities perspective) is – it can be proposed – to design meaningful experiences to either provoke (or consolidate) behaviour change in participants; often related to donations or advocacy.  Facilitating such experiences that participants perceive as meaningful and thus generate emotional connection underlying behaviour change is – from an experience design perspective – challenging.  We live in an age of ‘attention scarcity’ (and experience overkill) and therefore to achieve such an outcome, an appreciation of the persona of attendee, linked to empathy mapping, is pivotal.  In this presentation I will juxtapose the archetypal charity experience, with all of its comforts, with the discomforts of a charity sleep out event in Sheffield.   A fascinating lens through which to unpick the purposeful design of discomforting experiences.

1.00-1.10              Luke Bennett & Phil Crowther

Wrap-up for the morning, tasking for the lunchtime exploration of Kelham Island’s experiencescapes and an outline for the afternoon’s session

1.15-2.30           LUNCH

NB: no lunch will be provided. Delegates will be invited to eat at one of the local pubs, cafes, restaurants and to take the opportunity there to analyse how the experience offered there is staged and its atmosphere of comfort/discomfort engineered.

2.30-3.30           SESSION 4: ANALYSING THE COMFORTS AND DISCOMFORTS OF LUNCH

A facilitated discussion of delegates’ lunchtime explorations of local experiencescapes. This will showcase the variety of disciplinary perspectives upon – and varied methodologies for – ‘reading’ places and their atmospheres.

3.30-3.50           REFRESHMENTS

3.50-4.50           SESSION 5: SHU ‘EXPERIENCESCAPES CLUSTER’ INAUGRAL MEETING

The ‘Experiencescape research cluster’ has very recently been formed and in its very early stages of capitalising upon the wideranging engagements of SHU academics across psychology, sociology, hospitality, tourism, events, marketing, architecture, design, media and communications, lawyers and real estate in the study, design and critiquing of ‘experiencescaping’. The overarching interest of the cluster is the purposeful facilitation of physical and virtual spaces in order to stimulate a positive mental response from their consumer; underpinning desired actions or behaviours in the short term, and longer-term patronage and advocacy. Experience design is prevalent, and a topic ripe for examination, and the cluster seeks to deepen collaborative links both within the university, but also with industry partners engaged in the production of experiencescapes; retail, visitor attractions, stadia, city / town centres, events, and more. This discussion will – developing the themes of today’s earlier sessions – present some early ideas about the cluster and most importantly seek colleagues views on how the cluster can prosper.

(NB: all delegates are welcome to participate in this, and whether SHU staff or otherwise).

 4.50-5.00           CLOSING REMARKSLuke Bennett & Phil Crowther

 

 

Image Source: Still from Esther Johnson’s 2015 film, Alone Together, the Social Life of Benches

Comfortable // Uncomfortable Places: details of the SHU Space & Place Group’s theme and programme of events for 2019

anja-uhren_what-is-home (4MB)

“The villa thus combined in a single unit of material production the general traits of Roman society (an order grounded in juridical principles), refined, albeit not very creative – aesthetic taste, and a search for the comforts of life.”

Henri Lefebvre (1991) The Production of Space, p. 252.

All cultures have their cults. A quick Amazon search for recently published books on “home” finds a plethora of user guides to life improvement through home rearrangement: Shearer & Teplin’s The Home Edit: Conquering the Clutter with Style, Walton’s This is Home: The Art of Simple Living, Rapinchuk’s Clean Mama’s Guide to a Healthy Home: The Simple, Room-by-Room Plan for a Natural Home and Blomquist’s Home is Where the Heart Is: How to Create a Home You Love, to mention but four works published over the last year. The message is clear: greater contentment, greater achievement and self-actualisation are there for the grasping through an explicit design and practice of dwelling. We may sneer at the programmatic optimism of such guides, but to at least some degree we all do it – we take active steps to dwell comfortably – we all arrange the place we live and work in, in order to (hopefully) achieve desirable effects and to eliminate, or hold at bay those things that might otherwise leave us feeling disorientated, and alienated from our surroundings. Matters of comfort and discomfort have profound effects upon our built and natural environments, upon our society and our economy (the UK ‘home improvement’ market is said to be worth £12 billion p.a.).

With these thoughts in mind, the SHU Space & Place Group’s programme of events this year will be enquiring into the comforts and discomforts of place.

The SHU SPG group promotes dialogue and collaboration across the full range of disciplines interested in matters of space and place, both within Sheffield Hallam University, and beyond. We have been active since 2012, each year running informal events which playfully explore relevant themes. Previous years have seen us focus on ‘the politics of space’, ‘infrastructure’, ‘soundscapes’, ‘seaside towns’ and ‘spaces of learning and doing’.

The SHU Space & Place Group will be running three events this semester, as warm ups for our Annual Away-Day in early July.

Details of our events are given below. Each event is free-standing (and free to attend) but each will explore an aspect of the year’s theme, through different angles and formats. The first two events are intentionally small, in order to maximise participant engagement, the third is a little larger and the fourth (our Annual Away Day) will feature a mix of sessions which – based on previous years – will attract around 60 delegates.

Booking for Events 1 and 2 is via email to me (l.e.bennett@shu.ac.uk) due to the need to keep an eye on participant numbers. An Eventbrite booking sites will be set up for Events 3 and 4 in due course. The links will be added here when available, as will further details of the Annual Away Day programme as it evolves over the course of the three warm-up events.

EVENT 1: a discussion workshop on “The afteruses of ‘Uncomfortable Heritage’ places”12-1.30pm on Friday 8 March (City Campus, Norfolk 503) [please note change of time]

This discussion will focus upon Pendlebury et al’s recent paper on the reuse of ‘uncomfortable’ heritage places (Pendlebury, Wang & Law (2018) ‘Re-using ‘uncomfortable heritage’: the case of the 1933 building, Shanghai’, International Journal of Heritage Studies, 24(3) 211-229). The discussion will be led by Carolyn Gibbeson, Luke Bennett and Simon Kincaid (all of SHU, Natural & Built Environment) who will each briefly explaining how their own research work touches on aspects of managing (or erasing) ‘difficult’, ‘dark’ or ‘uncomfortable’ buildings and places. This will then lead into a wider, open group discussion of Pendlebury et al’s paper in relation to themes such as:

i) Is re-use imperative for Uncomfortable Heritage? Can/should it be left to die? Is an imperative to utility maximisation and/or profitable reuse wrong?

ii) Is there a gap between studies of conservation (and its materialities) and heritage (and its focus on meaning making)? How better could this gap be closed?

iii) Do we see the ‘buildings of control and reform’ category as helpful in explaining why certain types of building are particularly hard to re-purpose?

iv) Isn’t academic writing about the (former) lives of buildings as much an example of narrative engineering and a selective memorialisation and forgetting as that of the redeveloper/marketer?

v) How helpful do we find Luna’s (2013) classification of reuse types as autonomous, symbiotic or parasitic?

vi) Is heritage preserved and/or revealed in the materiality, architectonic and experiential qualities of being within a re-purposed building? How important are those qualities and the atmosphere that they create, and is it always benign / something that adds value, authenticity etc?

Delegates will need to have read Pendlebury et al’s paper before the event and to have registered for the event (by emailing l.e.bennett@shu.ac.uk).

EVENT 2: a discussion workshop on “Getting comfortable with Lefebvre’s spatial triad”2-4pm on Wednesday 10 April (City Campus, Harmer 2401)

This workshop will be led by Yvonne Rinkart (SHU, Natural & Built Environment), and it will offer up an opportunity to explore Henri Lefebvre’s notoriously Delphic but ubiquitous ‘spatial triad’, The session will be based around a close reading of extracts from Henri Lefebvre’s The Production of Space (pages 33 and 38 to 43 of Donald Nicholson-Smith’s translation published by Blackwell in 1991) combined with an opportunity to ‘learn by doing’ by interrogating ‘concepts in space’ within the setting of the City Centre campus’ atrium. This active investigation of theory and research practice is in keeping with the SHU SPG’s interdisciplinary assay of the Southbourne Building in 2013. Big times lie ahead for the atrium space (it is soon to be closed for a 16 month refit). This makes it a great venue to think about the past, present and future weave of designed intentions, everyday uses and rhythms to be found in this busy University space.

Delegates will need to have the Lefebvre’s extracts before the event and to have registered for the event (by emailing l.e.bennett@shu.ac.uk). Delegates will also find it helpful to have considered the aspirations of the SHU Estates Masterplan for the refit [here] alongside the following critical article on the link between University design, comfort and productivity: Hancock & Spicer (2011) ‘Academic Architecture and the Constitution of the New Model Worker’, Culture and Organization, 17 (2) 91-106.

EVENT 3: a seminar on “Feeling comfortably at home: Four investigations”, 2-4pm on Wednesday 15 May 2019 (Collegiate campus, HC 0.16)

This event, which will be led by Jenni Brooks (SHU, Sociology), will draw together a cross section of researchers and creators who have as their core concern the design, use and enjoyment of comfortable dwelling, both in domestic and other settings. Giving 15 minute presentations, each speaker will range across questions such as: Where is home? What does it mean to dwell comfortably? How can different groups’ (and individuals’) needs for comfortable dwelling spaces differ? To what extent can design that pursues homeliness be divisive or discriminatory? Speakers will include:

  • Jenni Brooks presenting on how people with dementia articulate their sense of home and community in their blogging activities;
  • Jonathan Took (SHU, Natural & Built Environment) on the inclusive design of school environments to better address the needs of autistic learners:
  • Joanne Lee (SHU, Institute of Arts) on the strange correspondence of the Danish hygge home-aesthetic and UK notions of cleanliness and anti-immigration sentiment; and
  • Anja Uhren (freelance illustrator, anjauhren.com) talking about the inspiration for, and her execution of, her graphic works Home: Forgotten Places Remembered and What Is Home?.

There will then be an open discussion of ‘comfort’ across all sense of ‘dwelling’. All welcome. Further details on venue and how to book will be provided nearer the time.

EVENT 4: the SHU Space & Place Annual Awayday 2019 “Comfortable and Uncomfortable Places”: 9am-5pm Wednesday, 10th July 2019 (Sheffield, venue tbc)

The Awayday will pull together (and/or extend) strands emerging from Events 1 to 3 within its more expansive and playful format. Therefore the content for this event is likely to emerge over the months ahead, and we’re happy to receive any expressions of interest from colleagues (within or beyond SHU) who would like to do something to contribute to exploring the comfort // discomfort of place at our event in July. We already have a keynote presentation by Amanda Crawley Jackson (French Studies, University of Sheffield) who will speak on discomfort from the perspective of plasticity, post-traumatic landscapes & difficult urban memory, drawing upon Lefebvre and Georges Didi-Huberman to do so.  If you would like to offer any suggested contribution please email any ideas to me, at: l.e.bennett@shu.ac.uk.

Booking and venue details will be confirmed by an announcement here in due course.

Image credit: Page from Anja Uhren’s What is Home?: (https://anjauhren.myportfolio.com/what-is-home-) – reproduced with permission.

 

[NB: This page will be updated from time to time: last revised on 25 March 2019 to add venue for Event 3 and change date of Event 4]