We annotated these plans of Portland Works during a previous group meeting to familiarise ourselves with the individual rooms and what processes occurred in these spaces.
Although these may be a little difficult to read from one angle, they have certainly been very helpful during our group meetings in allowing us to understand the spaces we are focusing on and the uses of energy around the site.
Our initial model, placed in the frame of the existing window we were testing in the volunteer room that we had surveyed at Portland Works.
To give a better idea of how and where it would be applied, we produced the following plans and drawings:
We would be fitting the temporary secondary glazing to the smaller of the two windows, but it could be altered for application to the window on the wall connected to the door frame.
These drawings looked at how we would create the glazing. Initially we would have used the steel strips, but, after our discovery in the previous post, we then decided to source other material for this part of the system.
Making continued in the George Porter workshop at the university. We are interested in where our materials have been sourced and how they have been transported around Sheffield for the making process. We have therefore started to map the process as a way of illustrating our making journey.
We had hoped to use the steel we had found outside Andy’s forge as part of the secondary glazing, unfortunately we have encountered a few problems doing this. The steel is very heavy and very strong, and ended up blunting both the drill bit and the punch, it was time for another idea. We had already sourced the larger MDF strips for the frame from Portland Works, but other materials would need to be purchased in order to complete the frame. It was unfortunate we could not rely solely on using materials from site, however, we were happy with the amount we had been able to re-use from Portland Works.
Meanwhile, others in the group were continuing work on various tasks including the making of the see-saw sawdust squisher (a technical term), the ideas for the artists ‘pod’ spaces, and looking further into the relationship Portland Works has with energy.
Leslie feels she has a strong connection to Portland Works and makes sure to demonstrate this through her art. She uses various media to convey her feelings and ambitions for the site. It was fascinating to see the thought processes in her work and relate them to our own work. Leslie makes paper briquettes and bowls which are comprised of memoirs, notes, letters, and other miscellaneous personal items that she holds dear. She explains she wasn’t ready to throw away these things, and wanted to preserve them somehow. Her idea is to one day burn the paper briquettes as fuel within Portland Works, this relates to our own idea of burning sawdust briquettes as fuel.
Leslie also uses vegetation from around Portland Works to produce pressed floral artworks. She likes to preserve pieces of nature within her art, and again link it to her relationship with the building.
This rusted piece was produced using the remnants of a rusty piece of machinery at Portland Works. Leslie appreciates the layers that pressing rusted metal against paper produces, and views the art as being symbolic of the history of Portland Works.