In his article, "Park Hill: Urban Optimism Then and Now," Edwin Heathcote, architecture and design critic of The Financial Times of London, considers the adaptive reuse of one of the U.K.'s most massive and ambitious modernist public developments. Conceived to ameliorate the living conditions of residents of the working-class community of Park Hill, in the center of the faltering steel town of Sheffield, the development replaced an old community of brick row houses with high-rise residential buildings, starting in the early 1960s.
The narrow, snaking structures were only one apartment deep, providing bright, airy interiors with spectacular views of the surrounding countryside. Initially, the apartments were seen as highly desirable and the project was widely praised by architects and planners. However, "within a decade of Park Hill’s completion in the 1970s," writes Heathcote, "rain had stained its concrete, graffiti had appeared in its increasingly dark recesses and the development had become known primarily as a place for dumping problem families." But instead of demolishing it, as many other cities have done with their failed housing projects, the city of Sheffield sold the complex for one British pound to an innovative developer, Urban Splash, known for industrial loft conversions in England's economically battered industrial cities.
In conjunction with two architecture firms, Hawkins\Brown and Studio Egret West, Urban Splash has transformed the drab, decaying buildings into bright, colorful, welcoming homes. The apartments, in their original duplex configurations, are a mix of subsidized and market rate, with the idea that an economically diverse community has more potential for vibrancy and success than a segregated one. To demonstrate the apartments' potential, Urban Splash commissioned the decoration of a number of model units. While the changes, including the colorful aluminum panels on the facade and larger windows, have ruffled the feathers of some purists, others see the new Park Hill as a model for saving large modernist projects that have fallen on hard times.
The narrow, snaking structures were only one apartment deep, providing bright, airy interiors with spectacular views of the surrounding countryside. Initially, the apartments were seen as highly desirable and the project was widely praised by architects and planners. However, "within a decade of Park Hill’s completion in the 1970s," writes Heathcote, "rain had stained its concrete, graffiti had appeared in its increasingly dark recesses and the development had become known primarily as a place for dumping problem families." But instead of demolishing it, as many other cities have done with their failed housing projects, the city of Sheffield sold the complex for one British pound to an innovative developer, Urban Splash, known for industrial loft conversions in England's economically battered industrial cities.
In conjunction with two architecture firms, Hawkins\Brown and Studio Egret West, Urban Splash has transformed the drab, decaying buildings into bright, colorful, welcoming homes. The apartments, in their original duplex configurations, are a mix of subsidized and market rate, with the idea that an economically diverse community has more potential for vibrancy and success than a segregated one. To demonstrate the apartments' potential, Urban Splash commissioned the decoration of a number of model units. While the changes, including the colorful aluminum panels on the facade and larger windows, have ruffled the feathers of some purists, others see the new Park Hill as a model for saving large modernist projects that have fallen on hard times.
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| The new Park Hill, after renovation. Photo by Daniel Hopkinson |
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| Park Hill comprises several buildings connected by elevated walkways. Photo by Keith Collie. |
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| The corner staircases connect the buildings to intra- and inter-building walkways and to the ground. Photo by Daniel Hopkinson. |
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The concrete buildings were enlivened by the addition of colorful panels and the fenestration was increases. Photo by Daniel Hopkinson. |
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The duplex apartments have balconies and expansive views of the countryside. Photo by Daniel Hopkinson. |
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| The contrast of the old and new Sheffield. Photo by Daniel Hopkinson. |
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| Photo by Daniel Hopkinson. |
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| The neon sign "I LOVE YOU WILL U MARRY ME" was installed on the bridge between two blocks of Park Hill in June 2011 to mark the development's 50th anniversaryll. Graffiti, spelling out I LOVE YOU WILL U MARRY ME on this same bridge had become an iconic image of Park Hill over the years and its heritage and romance is celebrated with this permanent neon light display. Photo by Peter Bennett. |
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Photo by Peter Bennett. |
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| Above and following two photos: This model interior with the theme "Midcentury Modern First Love" was designed by Studio Egret West. Photo by Peter Bennett. |
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| Photo by Peter Bennett. |
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| Photo by Peter Bennett. |
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| Above and below: Interiors by the interior design firm No Chintz to illustrate how an apartment could be occupied by mature downsizers. Photo by Peter Bennett. |
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| Photo by Peter Bennett. |
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| The second-yearr students of Sheffield Hallam University designed this model apartment. Photo by Peter Bennett. |
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| Above and following two photos: Interiors by Hawkins\Brown with the theme "Second Life." Photo by Peter Bennett. |
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| The red dining chairs are by Emeco, the Blow sofa by Malafor, "Make Your Own Damn Art" painting by Bob and Roberta Smith. Photo by Peter Bennett. |
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| The bedding is by Sally Spencer Davies of Maid in Barnet. Photo by Peter Bennett. |
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