Sunday 9th November 2025
Blog Page 9

On Gravel and Quads: Woolf’s Oxbridge in ‘A Room of One’s Own’

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Virginia Woolf’s extended essay A Room of One’s Own is probably the most important 20th century piece of writing concerning women’s place in literature and education. It illustrates the power of the patriarchy in schooling through a simple, but very familiar, allegory of grass and gravel. 

It was thus that I found myself walking with extreme rapidity across a grass plot. Instantly a man’s figure rose to intercept me…His face expressed horror and indignation. Instinct rather than reason came to my help, he was a Beadle; I was a woman. This was the turf; there was the path. Only the Fellows and Scholars are allowed here; the gravel is the place for me.

In Woolf’s imaginary ‘Oxbridge’ (a fictionalised version of Oxford and Cambridge representing all their men’s colleges), turf is not reserved for men explicitly but for Fellows and Scholars, who nonetheless must be male according to the rules of admission. The Beadle is so confident that Woolf is not a Fellow or a Scholar precisely because she appears as a woman. 

‘Turf’, then, represents the status quo, the system of men’s colleges that ensure women are relegated to the gravel. In maintaining the status quo and removing any woman from Oxbridge’s turf, women’s education must necessarily be secondary, for “turf is better walking than gravel”, and without the anchoring of turf and the patriarchal power systems it reinforces, one is removed “from any contact with facts”. Gravel, in Oxbridge, is the preserve of those not worthy of grass, which includes commoners, scouts, and, of course, women. 

A Room of One’s Own was originally a series of lectures delivered at Girton and Newnham Colleges in Cambridge, and Woolf continues through her fictional Oxbridge to these women’s colleges. Here, “not a penny could be spared for ‘amenities’; for partridges and wine, beadles and turf, books and cigars, libraries and leisure”. Unlike at the men’s colleges, where turf is an ‘amenity’ available only to the upper classes, at Girton and Newnham College, and Somerville College, and Lady Margaret Hall – all amalgamated into Woolf’s fictional college ‘Fernham’ – there is ‘grass’ instead. Here, “somebody was in a hammock”; the grasses of the garden are “wild” and “unkempt”. The women’s colleges of Oxford and Cambridge reclaimed the turf for themselves by making it not just available for everyone, but by treating it as ‘grass’: wild, natural and unkempt, rather than repressive turf.. 

This is a tradition that, even today, is maintained in the former women’s colleges of Oxford and Cambridge. The pristine turf of Christ Church and King’s College cannot be walked on even by the scholars and fellows any more; they are instead to be admired from a distance, with the modern equivalent of Woolf’s Oxbridge beadles, the college porter, ready to steer all trespassers back on to the gravel. At Somerville, Lady Margaret Hall, and other similarly relaxed colleges known for being more progressive than their central compatriots , grass is to be walked on and laid upon. 

This reclamation is a hundred years in the making and resists “300 years in succession” of tradition. There seems no greater, seemingly innocuous, reminder of the strides women’s education has taken in the ninety-seven years since Woolf wrote A Room of One’s Own than the ability of students at some colleges to have sunny picnics on the quad, where once gravel would have been their lot.

Dear Reader,

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It has been so long since last I felt 

your fingertips tracing my pages,

cascading shivers across my spine. 

I have missed your smile,

and the way your laugh 

reaches your eyes;

I would do anything 

to kiss your happiness.

Stay awhile, please,

let me calm your racing mind, think 

of me as the moon, pulling 

your cool waves of calamity 

into tides. 

I will listen, and wrap up

your worries like gifts 

and cradle them close until 

they dissolve at sunrise.

Pause for a moment dear reader, 

Stop and stay please, 

Do not glance to the other pages, allow me 

to savour the memory of your face, tuck it away 

for a rainy day, and breathe a sigh 

of incandescent happiness. 

I guess this is goodbye dear reader,

come back to me someday

when you’re pink with pleasure,

or grey and blue, 

and I’ll always be there for you.

Perhaps it was coincidence not fate

that brought us together this way,

but I hope you treasure these moments,

mull them over in your mind 

and think of me sometime,

It’d be a shame 

If this was our last goodbye,

Cillian Murphy does it again

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Since his generation-defining performance in Oppenheimer (2023) two years ago, Cillian Murphy has shown little interest in playing it safe. Having collaborated already on the understated, unflinchingly raw historical drama Small Things Like These (2024), he has joined forces once more with Belgian director Tim Mielants. The duo first met filming the third season of Peaky Blinders, beginning what has quickly blossomed into a rich and dynamic creative partnership.

With Steve, Murphy has once again proved himself a force to be reckoned with. Playing the headmaster of a residential home for troubled boys in conflict with the law, he brings star-power to a film which otherwise might have felt flat. His performance is subtle and multi-layered, alternating between quiet moments of anguish and outbreaks of frustration. The deep emotional pain which underpins Steve’s drive to help others is palpable throughout, as he tackles the numerous daily challenges he encounters in his job, in particular his attempts to help the brilliant but troubled Shy (Jay Lycurgo).

In adapting his book Shy for the screen, Max Porter has made the unusual decision to change the perspective of the drama from Shy to Steve. In doing so, he has created a film which, rather than undermining the achievements of the book, arguably strengthens them by examining how it might feel to be on the other side of things. Steve thus approaches the staff of the residential home with a much greater level of detail, turning them into more relatable figures. We are introduced, for instance, to Steve’s struggles with the injuries he sustained in a car crash, his guilt at the effects of the crash, and his resulting struggles with substances and alcohol, all of which are interwoven into his daily sense of mission.

Steve is also, of course, a topical and timely examination of how society treats those who differ from the norm. It is forthright in the way it advocates for the possibility of a solution for troubled boys which focuses on rehabilitation rather than punishment, but it is also realistic in acknowledging the limits of such proposals. As Steve puts it, “I mean it’s chaotic, right, but we think it’s working, and if you lock these kids up and throw away the key…we feel we’re doing something as an alternative.”

As with his previous film Small Things Like These, Mielants has chosen a theme which speaks to the needs of the marginalised. Exemplified by the behaviour of the news crew who come to film at the school, many in society view the kind of troublemakers Steve cares for with a mixture of horrified fascination, righteous indignation, and apathy. The deep dedication and love Steve and his team show towards the boys is moreover contrasted with the unthinking indifference of higher-ups when they decide to close the home half-way through term-time.

Mielants declines to give his audience easy answers to difficult questions. The positives of the boys’ personalities are highlighted, but their behaviour at times is difficult to make excuses for. At the same time, Porter’s screenplay emphasises, with for instance the character of Shy, the deep trauma underlying many of the boys’ antisocial actions. It seeks to make the audience care about them on a personal level, so that they become more than just statistics, but at the same time avoids dealing with moral absolutes. The benefits of such a Finnish-style system of rehabilitation are highlighted, but so too are some of the issues with it.

The audience thus walks away from the film without a complete sense of closure. It is designed to raise questions and provoke discussion, rather than to put forward a manifesto for change. Steve seeks to highlight the remarkable work done by those working in the field, and the ways that that work might sometimes not receive the credit it deserves, while also emphasising that no one should be seen as beyond hope of rehabilitation. At the same time, however, it does not shy away from questioning its own assumptions, and is stronger because of it, proving that a nuanced look at such issues is the most effective way to tackle them.

Overall, Steve is another huge achievement for Murphy, his production company Big Things Films, and his new partnership with Mielants. While he is supported by a top-tier cast who waste no time in demonstrating their talent, especially an exceptional Lycurgo, the film ultimately belongs to Murphy. His dedication to smaller, independent productions, and his frequent remarks about the value of acting as an art form, make clear the way in which he wants to contribute to cinema. Given the success of Small Things Like These and Steve, that contribution has never seemed more valuable.

What will the Schwarzman Centre mean for music at Oxford?

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The new Schwarzman Centre for the Humanities, located in Oxford’s Radcliffe Observatory Quarter, opened on 30th September. 

Alongside teaching provisions, such as seminar rooms and the new Bodleian Humanities Library, the centre has various state-of-the-art performance and rehearsal spaces: a concert hall, a lecture hall which doubles as a drama theatre, a black box experimental performance space, a music studio, a recital hall and dance studio, and practice rooms that are available to be booked by music students. The performance spaces will be accessible for Oxford University Music Society (OUMS) ensembles and Oxford University Drama Society (OUDS) groups through a centralised booking system, which currently states that bookings are only available from January 2026. Additionally, the centre will be the new home of the Bate Collection of Musical Instruments and Archives. The faculty’s heirloom gamelan has already been moved into the recital hall. 

These spaces open up a huge range of exciting possibilities for performances by both students and professionals. Placing the humanities together in one building creates new pathways for collaboration between disciplines. The architects have paid detailed attention to the acoustic capabilities of the building: the concert hall was designed by Arup Acoustics to be completely soundproof, and the hall is connected to the black box theatre so that sound can be fed in, allowing for interdisciplinary performance. 

The Oxford Cultural Programme will be putting on a range of events, such as concerts, spoken word, dance, theatre, and art installations. Some of these will be in collaboration with the ten new Cultural Fellows that the centre has appointed. Concerts to look out for include the BBC Singers with composer Eric Whitacre, a concert with the London Gay Big Band, a performance by composer Anna Clyne, a music and spoken word performance with Kim Stanley Robinson and Brian Eno, and one by the Aurora Orchestra, known for playing complex classical repertoire from memory. The Sohmen Concert Hall isn’t quite big enough for a modern full-scale symphony orchestra, so the Aurora won’t be able to play its famous rendition of Stravinsky’s Rite of Spring, but will instead be treating audiences to a memorised performance of Mozart’s Symphony No. 41, ‘Jupiter’, and later of Bach’s Magnificat, amongst other works. 

There will also be collaborations between student ensembles and professional musicians, such as Oxford Sings: Carmina Burana (with Conductor Benjamin Nichols, Oxford Bach Choir, and Merton College Choir), as well as Splendour and Majesty (with the University’s Schola Cantorum and His Majesty’s Sagbutts and Cornetts). It is promising that the Oxford Cultural Programme is enthusiastic about giving students a chance to perform with visiting musicians, and to participate in masterclasses and workshops. 

The centre will open fully for teaching on 13th October, the start of Michaelmas term. Unfortunately for students like me who are entering their final year at Oxford, the Cultural Programme and access to the new performance spaces will only begin in April 2026, and the music studios are expected to open in week 4 of this term. 

The reception area outside the Sohmen Concert Hall features a bar downstairs and a cloakroom upstairs
Image Credit: Grace Greaves for Cherwell

Nonetheless, it’s clear that the Schwarzman and the Oxford Cultural Programme are looking to situate Oxford as a cultural centre on a global scale. With its bar, cloakroom, and modern architecture, the basement housing the concert hall and other performance spaces are reminiscent of London venues like the Southbank Centre and the Barbican. The upcoming events by the Oxford Cultural Programme further emphasise the centre’s desire to be at the cutting edge of new developments in the fields of the arts, humanities and performing arts. 

This is exciting for students who will have chances to witness and get involved with an expanding professional musical landscape. It’s also essential that the Schwarzman Centre continues to provide spaces for the rich student music scene that already exists at Oxford.  As long as the centre adheres to its stated aims – providing for current students and setting graduates up to “thrive in often complicated and rapidly transforming workplaces” – it should be an important new resource for student musicians in Oxford. 

Oxford alumnus Richard Robson awarded Nobel Prize in Chemistry

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Brasenose College alumnus Richard Robson has been awarded the 2025 Nobel Prize in Chemistry for his research into the development of metal-organic frameworks (MOFs). Robson, now a professor at the University of Melbourne, was recognised by the Royal Swedish Academy of Sciences alongside Professor Susumu Kitagawa from Kyoto University and Professor Omar M. Yaghi from the University of California, Berkeley.

MOFs, a novel type of molecular architecture, combine metal ions and organic molecules to form crystalline frameworks with large cavities, allowing other molecules to move in and out freely. Since their discovery, MOFs have been used to extract water from desert air and to trap and store carbon dioxide, among other applications. 

Speaking to Cherwell, Robson described the award as “a great honour and pleasure”. Robson, who matriculated in 1955 to study Chemistry at Brasenose and later earned his DPhil from Oxford in 1962, first began exploring what would become MOFs in 1974. While building atomic models for his students in Melbourne, Robson realised that the models’ connection points determined the resulting molecular structure, leading him to wonder whether molecules could be designed to assemble into pre-determined shapes.

Continuing his interest, Robson combined copper and a four-armed organic molecule to create a crystalline framework with large cavities in 1989 – the first of what would later be coined by Yaghi as an MOF. In a paper published in the Journal of the American Chemical Society later that year, Robson outlined the novel architecture and its potential applications.

Within a year, Robson had proven his own ideas: he demonstrated that MOFs could allow for the exchange of ions, laying the conceptual foundation that future researchers – particularly Kitagawa and Yaghi – would build upon.

Professor Stephen Faulkner, Head of Oxford University’s Department of Chemistry, told Cherwell: “I am delighted to see the work of an Oxford Chemistry alumnus recognised with the Nobel Prize. This award serves as an inspiring reminder of the extraordinary impact our students and researchers can go on to make in the world.”

A spokesperson for Brasenose College told Cherwell: “We are immensely proud to congratulate our alumnus on being awarded the Nobel Prize in Chemistry. It is a joy to see one of our own excel in a field to which they have devoted so much of their life. Professor Robson’s work represents an incredibly impactful contribution to advancing humanity’s understanding of the chemical world, and Brasenose is delighted to see it receive global recognition.” 

With this honour, Robson joins 57 other Nobel Laureates who studied or taught at Oxford, including two from Brasenose.

Counterprotesters turn out for ‘women’s rights’ event

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A demonstration organised by the campaign group Let Women Speak (LWS) took place today at Bonn Square. Around 100 counterprotestors also assembled, including members from the Oxford Green Party, Stand Up to Racism, and Oxford for Trans Rights (O4TR).

Although largely peaceful, two arrests were made under suspicion of a Section 5 Public Order offence – which concerns the use of threatening, abusive, or disorderly words or behavior, or the display of threatening or abusive writing. One of these individuals was later de-arrested.

Chief Inspector Jade Hewitt said: “I am pleased to say that the protests were peaceful and we worked with the organisers and partners to allow lawful protest to take place.”

Thames Valley Police enacted a Section 34 dispersal notice in Oxford’s city centre following the protest. Chief Inspector Hewitt said that “the purpose of this is in order to reduce the possibility of public harassment, alarm or distress and to prevent the risk of crime and disorder in the area”. She added that “we do not take these decisions lightly, but believe that in enacting this notice, it will help to reassure the local community that we do not tolerate antisocial behaviour.”

During the event and the counterprotest, police officers separated the groups on either side of Queen Street, with some disruption to traffic. Members of the Oxfordshire Patriots, a local right-wing activist group, were also seen in the area.

Willow Lock for Cherwell
Willow Lock for Cherwell

The original event was advertised by LWS as a “free speech event” and was anticipated to feature speeches critical of transgender rights. The event attracted a crowd of around 40 supporters who were holding Union Jack flags and banners which read “human female”.

Counterprotestors handed out flyers to members of the public, chanting “we don’t want your culture war”. Speakers from LWS responded, saying “no woman has a penis, no man has a vagina”. As well as transgender rights, the groups also clashed on issues including national borders and fascism.

The counterprotest was partly organised by O4TR. In an Instagram post ahead of the protest, O4TR called for its members to “rally in number to show that we will not tolerate transphobes and racists on our streets”.

Speaking after the event, an O4TR spokesperson told Cherwell: “counter-protests such as today’s are vitally important – not only on defending trans rights, but in fostering unity and hope at a time when right-wing politicians seek to turn us against one another on the basis of our origin.”

Councillor Max Morris, Green Party member of Oxford City Council, attended the counterprotest, telling Cherwell: “I was at today’s counter-protest to resist the far right and Posie Parker’s hateful rhetoric, both in a personal capacity as a non-binary person and as a local councillor.

“Oxford City Green Party councillors, candidates, and supporters have been showing up routinely to stand in solidarity with our diverse communities. At the last council meeting, we successfully called on Oxford City Council to stand with minority groups in our city and oppose the division stoked by the far right.”

LWS is an international movement founded by Kellie-Jay Keen, an anti-transgender activist also known as Posie Parker. Parker describes herself as women’s sex-based rights activist. The organisation seeks to defend “the rights of women” which it defines as “adult human females”.

Willow Lock for Cherwell

Ahead of the demonstration, a spokesperson from LWS told Cherwell: “We’re coming to Oxford at the request of local women, who also assist with organising the event. Our events are free speech and open mic, this means any woman can come and speak.”

The spokesperson added that LWS “gives voice to mothers, midwives, survivors, students, teachers, and countless others who know firsthand the importance of clarity in language, law, and single-sex protections”.

A plant and poster sale was also taking place at Bonn Square during the protest, with large crowds making their way through the Queen Street and Bonn Square area, including students in sub fusc who had recently matriculated.

Live reporting by Willow Lock, Conor Walsh, and Arina Makarina.

Somerville holds ground-breaking ceremony for new Ratan Tata Building

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Somerville College has held a ground-breaking ceremony for the Ratan Tata Building, a new 700m² academic hub in the Radcliffe Observatory Quarter. The building will house the Oxford India Centre for Sustainable Development, as well as spaces for teaching and learning. 

Planning consent for the building was granted last month, with construction planned to commence from April next year. The project will take around 18 months, with completion planned to coincide with the 2027/28 academic year. The building will occupy the last plot for development in the Observatory Quarter, which is also home to the new Schwarzman Centre for the Humanities.

The ceremony was attended by Vice-Chancellor Irene Tracey, High Commissioner of India Vikram Doraiswami, and Natarajan Chandrasekaran, Chairman of the Tata Group, whose recent donation to Somerville was the largest in the College’s history. 

Chandrasekaran was awarded a Foundation Fellowship – Somerville’s highest honour for philanthropy – in recognition of the Tata Group’s support for the project.

Catherine Royle, Principal of Somerville College, commented : “Somerville has always gone its own way and blazed new trails. That’s why Somerville is proud to be playing a key role in Oxford University’s growing relationship with India.” 

Royle also described the building as bringing together “everything that is unique about our College”, adding: “it’s creative and it’s ambitious, but it’s also an example of living our principles of partnership and sustainability.”

The building is named after Ratan Tata, the late philanthropist and former Chairman of the Tata Group, making it the first building within the University to be named in honour of an Indian. 

Chandrasekaran said: “Mr Ratan Tata believed absolutely in the power of education to create a brighter future. In creating a permanent home for the Oxford India Centre for Sustainable Development at Somerville College, we see Mr Tata’s vision taking shape in a place he admired, in a form that will create a lasting bond of scholarship and hope between the University of Oxford and India.” 

Designed by Morris+Company, the Ratan Tata building will feature six tutor rooms, two research rooms, multiple seminar spaces, and a “chai ideas” room, described as a flexible shared space. The design incorporates Passivhaus principles, including a low-carbon timber structure and air-source heat pumps. A key feature is the Oculus, a large circular opening above the main entrance which will bring natural light into the building, while also glowing outward at night.

A spokesperson for Somerville told Cherwell that the College had “hosted a week-long internal consultation for students, fellows and staff” about the building, which included “360 feedback” that would be “fed into future planning discussions”. 

The spokesperson added: “Students are also kept informed about ongoing developments to the building through the attendance of JCR and MCR representatives at both Finance Committee and Governing Body.”

Barcelona-Upon-Cherwell: Tapas at Arbequina

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Nestled under the antiquated sign of a Victorian chemist in Cowley, a short trek for city-centre dwellers, Arbequina is almost certainly one of the best places to eat in Oxford. Bookings are much sought after – they’re only open for three days a week – but your time and effort is well rewarded.

The Arbequina olive tree is native to Cataluña, but the culinary influence extends well beyond the region. The North African twist of molasses and pomegranate that accompanies the more conventionally European grilled aubergine and whipped feta ensures that no depth of flavour is left neglected – smoky, creamy, tart, and sweet like an exemplar dish from Salt Acid Fat Heat.

Some fine dining fanatics insist that no ingredient should be reused on the same menu, but why do that when pomegranate is so delicious? The roast cauliflower that sits on a purée of the same vegetable, topped with hazelnuts and pomegranate seeds follows the same formula as the aubergine just as successfully.

If you’re getting tired of vegetables, the crispy chickpea salad offers a beautiful alternative to the soft plant flesh you’ve been tucking into so far. Dressed simply with yoghurt and chilli butter that coats each individual pulse, it’s the perfect foil to the richer dishes that otherwise dominate the meal (and tapas in general).

Evidently, the menu is fantastic for vegetarians, but carnivores and pescatarians are also well catered for. The rhyming Sobrasada tostada is delicately spiced with the traditional, expected players and offset just as softly by a drizzle of honey and a dash of thyme.

It would be a crime to leave without having sampled their desserts – though the savoury options are the stars of the show. The Instagram-viral Burnt Basque cheesecake may sound enticing, but I would steer you towards the Santiago tart or the honey and lavender Panna Cotta with mangos and tortas de aceite.

The drinks menu is somehow just as well-rounded as the food one, and under-appreciated on their social media. Sporadic posts and stories come along, but there should really be essays on the basil gimlet and the autumn mezcalita. The alcohol-free options are just as tempting – the pick of the bunch would have to be the grapefruit and rosemary spritz.

It’s certainly on the pricey side, but perfect for a special occasion. With a new location opening in the Covered Market, I would get booking for the next time the parents come to visit.

What we ate:

Aubergine & whipped feta (£9.50), Roast cauliflower (£12.50), Crispy chickpea salad (£10), Sobrasada tostada (£8.50), Honey & lavender panna cotta (£8).

Investigation reveals serious asbestos management issues in the University

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An investigation by Confront Power has revealed that Oxford University was recently in serious breach of asbestos management regulation. 

An audit conducted in 2019 revealed that information in the asbestos register was not consistent or up-to-date, with auditors PwC highlighting a critical risk that the University was non-compliant with UK legislation. A second audit in 2020 also revealed that the University had only surveyed 97 out of 160 of the highest-risk buildings, with only 23 of 72 asbestos management plans completed by their June 2020 due date.

Following Confront Power’s report, the University has emphasised that the procedures currently in place “pose no risk to the health of our students, staff, or visitors”.

A University spokesperson told Cherwell: “Like institutions across the UK higher education sector, the University has a diverse, complex estate, and we face legacy issues around asbestos-containing materials in some of our buildings.” They added that the University “proactively” engages in the risk management of asbestos in University buildings.

Confront Power is a not-for-profit organisation which specialises in investigative journalism.

The audits, obtained by Confront, were initially withheld by the University until the Information Commissioner’s Office (ICO) issued an order to release the documents. Oxford responded to the ICO claiming that disclosure of parts of the information in the audits could lead to panic among people inhabiting the buildings.

Confront Power reported in June 2025 that Oxford had paid out £850,000 in compensation for three claims regarding asbestos exposure internally. The University has 4,609 asbestos-containing materials across its buildings, including 24 buildings which are classified as “high-risk”.

An Oxford University and College Union (UCU) committee member said: “Oxford UCU is extremely concerned that information about the location and management of asbestos in University buildings – including the University’s own assessment that it is in breach of the Control of Asbestos Regulations – has been withheld from staff working in affected buildings.”

Asbestos was banned in the UK in 1999, and the government introduced the Control of Asbestos Regulations in 2004. ‘Asbestos’ refers to a group of naturally occurring heat and water resistant fibrous minerals that were used widely in construction in the past. Exposure to asbestos can lead to cancer or asbestosis through inhalation.     

Long-awaited St Anne’s accommodation reopens with some delays

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Students have been delayed from moving into newly renovated accommodation in St Anne’s College. After a two year renovation project, 82 bedrooms across eight Victorian houses on Bevington Road were meant to come into use, however residents in one of the houses have been placed in temporary accommodation due to an issue identified in a final inspection. 

A spokesperson for the College informed Cherwell in September that the houses would be completed by the beginning of the academic year, however completion of 8 Bevington Road has been postponed for several weeks. Two additional houses, 9 and 10 Bevington Road, are on track to be completed at the end of Michaelmas term but will be used as conference stock for the rest of the academic year.

One of the students impacted by the delay explained that those who balloted for the rooms “were aware there was a tight deadline” and “that the completion of the work would be close to the start of term”. They added that the process was executed “without fuss” and that they are grateful “to move into brand new properties within the College campus”.

Other students living near Bevington Road complained about the “loud building work outside [their window]”, and an intermittent loud whirring noise which was reported throughout the night.

A spokesperson for St Anne’s told Cherwell: “Contractors have been working on the Bevington Road houses for two years, and unfortunately it is not possible to renovate 10 Victorian houses and transform these into sustainable accommodation fit for future generations of students without there being a degree of noise.”

The renovated accommodation was designed to bring the building into the 21st century, whilst maintaining its Victorian heritage. St Anne’s Domestic Bursar, John Banbrook, told Cherwell that the removal of gas boilers will “contribute to the college’s sustainability goals and will ensure the Bevington Road houses are eco-friendly and fit for the future”. He added that “maintaining the character of many Victorian features” was carefully considered.

Prior to the renovation, access to the buildings was through “ad hoc infill structures…in a poor state of repair”, whilst the landscaping did “not contribute positively to the appearance” of the local area. The original buildings’ rooms were also described as “outdated” and the heating system was “inefficient”, with kitchen and bathroom provisions “below par”.

The St Anne’s spokesperson added: “The renovation of our Bevington Road houses was a matter of necessity, not choice, as the houses were in urgent need of renovation to make them fit for future generations of students. A key factor in our regeneration was to increase our existing housing stock, increasing the number of rooms available for students and providing accessible rooms where needed.|

The final cost of the project was £14.8 million, with funding provided through a combination of donations and the College’s own funds. The College told Cherwell that the rooms would cost students the same rate as the other rooms in College, which is currently £1,974.90 per term for an ensuite room.

In November 2022, Cherwell reported that the Bevington Road renovation would create a room shortage. This resulted in St Anne’s requiring more students to live in accommodation in Summertown, 25 minutes away from College, and many others to arrange their own accommodation.

At the time, one St Anne’s student expressed their frustration to Cherwell, saying: “Many people applied [to St Anne’s] as one of their big selling points was three years of onsite accommodation.” Since then it has become policy for the majority of second years to arrange their own accommodation, often privately renting. Students privately renting have had to arrange second year housing and find a group to live with as early as Michaelmas term in first year, and have reported issues with high rent and bills, mould, and damp in rented properties.

In reply to concerns about the costs of private rent, Mr Banbrook said that the College “provides grant funding for those that need financial support as well as advice on renting in the local community”.

The College spokesperson added: “Unfortunately there was no way to achieve this [the renovations] without taking these rooms out of circulation while the work was being done. College has provided extensive support to assist students with finding other accommodation, including housing students in off-site St Anne’s buildings like Robert Saunders House, usually graduate accommodation, and providing financial aid.”