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houseextensionarchitect · 1 year ago

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Jazzing Up Your Pad: Meet the House Extension Maestro in London! 🏡✨

So, you're feeling a bit like your home needs a spruce-up – more space, more pizzazz, you know? Enter the superhero of home transformations: the House Extension Architect! 🦸‍♂️💫

What's the Buzz About House Extension Architects? 🤔🏠

These space wizards take your ho-hum house into a living dream. Imagine having more room for your stuff (and sanity) and a dash of style that makes your neighbours say, "Whoa, fancy!"

Let's Break It Down - What Do They Do? 🛠️📐

Chit-Chat Time: First, you sit down for a cosy chat with your architect buddy. You spill the beans on what you want, and they nod like your house's BFF.

Sketchy Business: Then, the magic happens on paper. They sketch and plan, ensuring your new space is a dream you never want to wake up from.

Permission Palooza: They're the kings and queens of dealing with the serious stuff – like getting permission from the bigwigs to jazz up your place.

Buildy-Build Time: Once the green light flashes, it's time to get those hammers swinging. Your architect oversees the show, ensuring it's a blockbuster, not a flop.

Why Should You Care? 🤷‍♀️💰

You-Nique Style: Forget cookie-cutter homes! These architects make your place as unique as your fingerprint – but with more glamour.

Ka-Ching!: Ding ding! A snazzy extension makes your pad Insta-worthy and adds serious cash value. Cha-ching!

Less Stress, More Success: Pulling your hair out over rules and regulations is unnecessary. Your architect knows the ropes, so you can chill and watch the magic unfold.

What's the London Scoop? 🎡🇬🇧

Posh Places: Fear not if you're in a fancy-pants conservation area! These architects are like Sherlock Holmes, solving the case of blending in stylishly.

Urban Adventures: London's got a lot going on, right? These architects know how to spice up your space without ruffling the feathers of your city-dwelling neighbours.

The Grand Finale: Your Dreamy Digs! 🌈🏰

Picture it – your house, the belle of the ball. With more space and style, it will have everyone asking, "Who's the genius behind this masterpiece?"

In a nutshell, house extension architects turn your "meh" into "yeah!" So, if your home needs a glow-up, call in the pros. Your dream digs await! 🌟🏡✨

#House Extension Maestro in London #bathroom #bedroom #decor #furniture #gardening #home & lifestyle #home decor #interior design #interiors #kitchen

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european-dance-college · 5 months ago

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Dance Studios in London: Where Passion and Technique Meet

Meet Our Instructors: Passion and Expertise

At the European Dance College, the heart of our exceptional dance education lies in our team of talented and experienced instructors. Each instructor brings a unique blend of professional background, passion for dance, and dedication to teaching, creating an inspiring and enriching learning environment for our students. Let’s introduce you to some of the remarkable instructors who make the Dance Studios London a premier destination for dance education.

Jane Thompson: Ballet Maestro

Professional Background

Jane Thompson is a renowned ballet instructor with over 20 years of experience in the world of classical dance. A graduate of the Royal Ballet School, Jane has performed with prestigious companies such as the Royal Ballet and the English National Ballet. Her extensive performance career has seen her grace stages around the globe, from the Royal Opera House in London to the Bolshoi Theatre in Moscow.

Teaching Philosophy

Jane’s teaching philosophy is rooted in discipline, precision, and artistry. She believes in building a strong technical foundation while nurturing each student’s unique artistic expression. Jane is known for her meticulous attention to detail and her ability to inspire students to push beyond their limits.

Classes

Beginner Ballet: Focuses on basic techniques, positions, and developing strength.

Intermediate Ballet: Introduces more complex movements and combinations.

Advanced Ballet: Challenges students with intricate choreography and advanced techniques.

Mark Edwards: Contemporary Visionary

Professional Background

Mark Edwards is a leading contemporary dance instructor with a dynamic career that spans performance, choreography, and teaching. He trained at the Martha Graham School in New York and has performed with notable contemporary dance companies such as Alvin Ailey American Dance Theater and Rambert Dance Company. Mark’s choreography has been featured in international dance festivals and contemporary dance productions worldwide.

Teaching Philosophy

Mark’s approach to teaching contemporary dance emphasizes creativity, emotional expression, and technical versatility. He encourages students to explore their personal movement styles and to use dance as a medium for storytelling. Mark’s classes are known for their innovative choreography and expressive freedom.

Classes

Beginner Contemporary: Introduces fundamental techniques and creative movement.

Intermediate Contemporary: Focuses on complex choreography and partnering work.

Advanced Contemporary: Challenges students with innovative and expressive routines.

Lisa Kim: Jazz and Musical Theatre Specialist

Professional Background

Lisa Kim is a dynamic jazz and musical theatre dance instructor with a vibrant career in stage performance and choreography. She holds a degree in Dance from Juilliard School and has performed in numerous Broadway productions, including “Chicago,” “The Lion King,” and “Wicked.” Lisa’s choreography credits include several high-profile musicals and dance productions.

Teaching Philosophy

Lisa’s teaching philosophy centers around energy, style, and performance quality. She believes in creating a fun and supportive environment where students can develop their skills and confidence. Lisa’s classes are energetic and engaging, with a focus on rhythm, coordination, and stage presence.

Classes

Beginner Jazz: Covers basic jazz techniques and simple combinations.

Intermediate Jazz: Introduces more advanced movements and styles.

Advanced Jazz: Focuses on intricate choreography and performance techniques.

James Brown: Hip-Hop Innovator

Professional Background

James Brown is a celebrated hip-hop instructor with a rich background in street dance and urban choreography. He trained under some of the pioneers of hip-hop dance and has performed with top hip-hop crews such as the Jabbawockeez and Kinjaz. James has also choreographed for popular music videos, commercials, and live performances.

Teaching Philosophy

James’s teaching philosophy is all about authenticity, creativity, and self-expression. He encourages students to embrace the culture of hip-hop and to develop their unique style. James’s classes are high-energy and focus on rhythm, musicality, and freestyle techniques.

Classes

Beginner Hip-Hop: Focuses on basic moves, grooves, and simple routines.

Intermediate Hip-Hop: Introduces more complex choreography and freestyle elements.

Advanced Hip-Hop: Challenges students with advanced tricks and performance projects.

Emily Davis: Tap Dance Virtuoso

Professional Background

Emily Davis is a distinguished tap dance instructor with a celebrated career in performance and choreography. She trained at the American Tap Dance Foundation and has performed in numerous tap dance productions and festivals. Emily has also choreographed for stage shows, television, and film.

Teaching Philosophy

Emily’s teaching philosophy emphasizes rhythm, precision, and musicality. She believes in creating a fun and engaging environment where students can develop their tap skills and express themselves through rhythm. Emily’s classes are known for their technical rigor and creative flair.

Classes

Beginner Tap: Introduces basic tap steps and rhythms.

Intermediate Tap: Focuses on more complex steps and combinations.

Advanced Tap: Challenges students with fast-paced routines and advanced techniques.

Conclusion: Join Our Passionate Dance Community

The instructors at the European Dance College are more than just teachers; they are mentors, artists, and passionate advocates of dance. Their diverse professional backgrounds and dedicated teaching philosophies create a rich and inspiring environment for students. Whether you are interested in ballet, contemporary, jazz, hip-hop, or tap, our instructors are here to guide you on your dance journey. Join the Dance Studios London today and experience the passion, expertise, and community that define our exceptional dance education.

#PrivateDanceTutors #DanceInstructorsLondon #LondonDanceLessons

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greenpapayaartprojects · 4 years ago

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Imagining Something Different

An excerpt from “The Ugly Truth: What do our cities really need?” by Rafael Schacter at Green Papaya Extension, 05 January 2016.

“Street art – as well as its artistic forebear graffiti – are often thought of as radical, rebellious aesthetic practices. Both the artists and their works are portrayed as the very definition of “edgy”; dangerous and dissident, but also creative and avant-garde. Yet within the last five years or so, street art has been commandeered by the corporate interests of the “creative city”. Do our cities need revitalisation through gentrification or reinvigoration through communication? Do we need a single comfortable community or diverse, contradictory publics? Drawing from a decade of research into graffiti and street art, anthropologist and curator Rafael Schacter stakes a claim for the ugly yet important, the disagreeable but necessary.”

Rafael is a British Academy Postdoctoral Fellow 2014-2017, honorary research fellow at the Department of Anthropology at University College, London. His first book The World Atlas of Street Art and Graffiti, won the 2014 Los Angeles Book Festival in the Photography/Art Category. His second book, Ornament and Order, a monograph based on his PhD research, was published in September 2014. As Creative Director of arts production company Approved by Pablo, he is curating and producing a two-year series of events at Somerset House, London. He has worked on numerous other exhibitions, including co-curating the iconic “Street Art” show at the Tate Modern in 2008.

*****

Norberto Roldan: Let’s hear out two more questions before you reply and consolidate your reactions and comments as your closing statement before we go back to the bar. We have Adrian and Alice for the last two questions.

Adrian Alfonso: I have a question. I think there's some confusion as to what's being talked about here, so maybe you could clarify the difference between street art with permission and street art without permission.

Alice Sarmiento: Mine is pretty simple. You mentioned visibility earlier and one of the things that I thought about that was that, in order for art to have any kind of political potential, it does have a specific kind of visibility. And that's where I guess the conventions about graffiti come in, especially in the case of your paper, because you have an idiom of dissent being used essentially for dispossession.

So in the case of street art, there is, in a way, something futile about discussing the politics of it, because each one has its own specific kind of politics. In that sense, I guess it would be more productive to talk about the usefulness of art because you did mention usefulness earlier — we talked about artists working in bakeries and social practice and relational aesthetics where it's more or less the same thing. So rather than go anecdotal, could we at least go into the usefulness of the practice in the context of the Philippines?

Rafael Schacter: Those four words are gonna stop me in the context of the Philippines but I'll try. So I probably should have started with a kind of footnote like what graffiti and street art are to make things clearer, but better late than never. So thank you. It's obviously really complex. But I've got kind of two basic understandings of what they are, and which will always be critiqued. But nevertheless, I can give it a go.

There's a lot of broad descriptions of it but one could argue that graffiti is generally letter based and street art is often image based. That's one kind of broad distinction. And you could argue that graffiti in general kind of works against architecture. Graffiti would traditionally go over borders — if you have a window and a corner, graffiti will go over that window in the corner, that's going against the architecture. Wherein street art will generally work with it. It’ll generally try to improve it or change and try, like to try and detourne it in a way which kind of emphasizes it. You could argue that graffiti is generally illegal. And street art is often more enabled. But for me, graffiti is not about illegality, it's about lack of permission, Iike street art for me, is as well. So that's why street art with permission with me is potentially no longer street art.

But I think the terms are really confused. And there are as many graffitis as there are graffiti artists and as many street arts as there are street artists. For me, what's more interesting is looking at is agonistic versus consensual — acts which are working against compared to acts which are working for. A lot of street art, inverted commas, although traditionally seemed to work consensually to work with, actually works agonistically. Whereas a lot of like graffiti, which is supposed to always be against, actually always isn't. So I think the terms are very diffuse, and complex and change the whole time.

Whereas “independent public art” is a good kind of catch all term, to describe practices, which happen in the public sphere, which are independent. The independence for me is really something which is so key, even if it is the ethic of independence, which is gained through like 5, 10, or 15 years of practice, which is what a lot of these artists have. By working without permission, it changes the way you look, and you see your environment because there is a need to produce.

I think that's what many graffiti and street artists have imparted to me is that it's a need. It's not something you do because you can — it's a need to do. And exactly as you were saying before about an environment being dehumanizing, I think that need to become part of one's environment is key within everyone. And the correlation of the increase of independent public art, graffiti and street art, with the increasing privatization of our cities, I don't think is an accident. I think this leads to usefulness. I think both those questions are kind of similar.

I think graffiti, by its nature, shows that something else is happening. It shows an outside exists in the center. In that way, it has amazing importance in showing an outside. The politics where I'm from is centered — everything has gone to the center. There is consensus politics and it is all that matters. The problem with center consensus is that it creates radicality because people feel that their needs are not being met.

One of the great things about graffiti in its essence is its consonant showing of something else. Also, its ugliness is amazingly beautiful, because its ugliness is about efficacy. A tag, which might look really ugly to someone, is about speed and being able to do something to mark and delineate a complex surface within one beautiful form. So I think that in itself is aesthetically beautiful.

In terms of visibility and having political potentiality, one of the most politically subversive and fantastic works and artists of the moment are these guys from Stockholm, and Copenhagen, Adams and E.B.Itso who are producing work, which is totally invisible. They're producing graffiti, producing spaces, which is never seen. They produce narratives, like secrets, which then people tell, and to me that is amazingly powerful. It's about imagination.

So for me the usefulness of street art, graffiti is about imagination — imagining something different to what exists; whether that's by something you can see, or you don't see. It's also about revealing what is underneath the surface not by being surface. Graffiti and street art lie on the surface. It's literally superficial. But to me, its site specificity is about showing what hides behind it. It's about showing the regulations and the norms, which are so ingrained within our cities, that we don't see them. And I think that's one of the beautiful things about street art and graffiti is revealing the things which are so obvious that we can't see.

*****

Images courtesy of Neo Maestro and Green Papaya Archives: 1. The talk at Green Papaya Extension in medias res. Nice Buenaventura, Alfred Marasigan, Paulo Alcazaren, Alden Santiago, Cheese Cori Co, Brisa Amir. 2. On the opposite side of the room. Neo Maestro, Marika Constantino, Issay Rodriguez, Renan Laru-an, Jose Gabriel. 3. The usual hangout after talks. Alice Sarmiento, Merv Espina, Erick Calilan, Raf Schacter, Joee Mejias, Tengal Drilon, Veronica Lazo, Cian Dayrit. 4. Green Papaya Extension’s garage scene.

If you can: https://greenpapaya.art/donation

#tbt #papayapost

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architectnews · 4 years ago

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This week, the EU made plans for a new Bauhaus after coronavirus

This week on Dezeen, the European Union unveiled plans to fund a Bauhaus-style design school as part of a €750 billion coronavirus recovery scheme.

European Commission president Ursula von der Leyen outlined the plans as part of her State of the Union address.

"We will set up a new European Bauhaus," said Von der Leyen. "A co-creation space where architects, artists, students, engineers, designers work together."

RCA students question "absurdity" of traditional supply chains in (Un)finished showcase

Coronavirus was the subject of creative debate at this year's London Design Festival (LDF), which drew to a close this week.

Graduates from the Royal College of Art embraced the disruption to supply chains as a result of the pandemic and explored how designers can work with local materials and communities in London in their (Un)finished exhibition, which took place during the event.

Designers and brands explore ways to "change things up" at low-key London Design Festival

Designers and brands exhibiting during LDF took stock of how the constraints of the pandemic had encouraged them to try new things.

"As designers, we work well with boundaries and restrictions: they enhance your work rather than limit it," said designer Lee Broom, who presented his new Maestro Chair with a cinematic small film.

Mikiya Kobayashi designs electric ILY-Ai scooter made from wood

In this week's transport news, Airbus revealed three concepts for zero-emission passenger planes. The ZEROe planes could use hydrogen-powered electricity to help reduce the environmental damage caused by the aviation industry.

Japanese designer Mikiya Kobayashi also designed an electric scooter made from wood in a bid to make the mode of transport seem "warmer" than usual.

VenhoevenCS and Ateliers 2/3/4/ reveal timber aquatic centre for Paris 2024 Olympics

Wood is also the material of choice for the upcoming aquatics centre for the Paris 2024 Olympic Games.

Dutch studio VenhoevenCS and French practice Ateliers 2/3/4/ are building the timber swimming pool complex, which will be the only permanent venue erected as part of the sporting event.

Architect John Wardle renovates his own house in Australia

Readers went wild on Dezeen this week for John Wardle's renovation of his own house in Melbourne, a house renovation with a blue spiral slide in Toronto, and an extension with a music-themed metal facade is Aspen.

This week on Dezeen is our regular roundup of the week's top news stories. Subscribe to our newsletters to be sure you don't miss anything.

The post This week, the EU made plans for a new Bauhaus after coronavirus appeared first on Dezeen.

#Architecture – Dezeen

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hub-pub-bub · 6 years ago

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Works by Woolf, Dumas, Kipling

As you may know, what’s described as hundreds of thousands of copyrighted works were released into the public domain today (January 1) in the United States. They include not only books but also Cecil B. DeMille’s film The 10 Commandments, Noël Coward’s musical London Calling! and one of the greatest revenge songs ever written, “Who’s Sorry Now?” the music for which is by Ted Snyder with lyrics by Bert Kalmar and Harry Ruby.

Such a formidable entry into the public domain hasn’t happened in the States in more than 20 years.

And the reason for that exposes one of the more interesting elements of copyright law: while today we tend to worry about instances in which copyright protection is being weakened—as is the case in Canada where the Copyright Modernization Act has severely damaged copyright revenue collection for publishers and authors in the educational domain—there are actually cases in which overly zealous copyright protection is a problem, as well.

In the book industry and here at Publishing Perspectives, you often encounter concerns about “the erosion of copyright” as a grave and growing danger in the digital era. And so it is.

But you’ll find the phrase “erosion of the public domain” most pertinent to today’s news. And that’s because of a 1998 law called the Copyright Term Extension Act, or the Sony Bono Act—named for the entertainer-turned-congressman who died in a skiing accident nine months prior to the act’s passage.

As the staff of the Duke University Center for the Study of the Public Domain writes in an article called “The Incredible Shrinking Public Domain” there have been several steps in copyright legislation in the United States, resulting in the situation today.

We’re bulleting out the center’s text for you here for clarity and to make the progression of changes clearer:

1790: “When Congress passed the first copyright law in 1790, the copyright term lasted for 14 years, with the option to renew for another 14 years if the copyright holder was still living.

Until 1978: “Before 1978, the copyright term was still 28 years from the date of publication, renewable once for another 28 years—but 85 percent of copyrights were not renewed and went immediately into the public domain.

1978: “Under the 1976 Copyright Act—which went into effect in 1978—the term became 50 years from the date of the author’s death (with no need to renew to have the full term).

1998: “And in 1998, the copyright term was increased to 70 years after the death of the author, and to 95 years after publication for corporate “works-for-hire”, locking up an entire generation of works for an additional 20 years. With these and interim extensions, the copyright term has been extended 11 times in the past 50 years.”

And because that 1998 extension was retroactively applied to works that were then about to go into the public domain, there are works being released today that go all the way back to 1923: they were originally to have entered the public domain two decades ago.

‘The Mickey Mouse Act’

The Duke center researchers report that an astonishing 98 percent of copyrighted material now may be “orphaned”—a term that means no rights holders can be found or identified for these works. Studies, the center reports, indicate that only 2 percent of works now between 55 and 75 years old still have commercial value. So no one is benefitting from their protected status, “while the entire public,” writes the center’s staff, “loses the ability to adapt, transform, preserve, digitize, republish, and otherwise make new and valuable uses of these forgotten works.”

Glenn Fleishman wrote the Bono Act at The Atlantic in April, in a reflection of how the late Rep. Bono–who represented California’s 44th district—is understood to have been driven primarily by Hollywood’s interest in longer protections.

This is how the Sonny Bono Act got another, less felicitous nickname for itself: The Mickey Mouse Act.

“The Sonny Bono Act,” Fleishman writes, “was widely seen as a way to keep Disney’s Steamboat Willie from slipping into the public domain, which would allow that first appearance of Mickey Mouse in 1928 from being freely copied and distributed. By tweaking the law, Mickey got another 20-year reprieve. When that expires [in 2024], Steamboat Willie can be given away, sold, remixed, turned pornographic, or anything else.”

And in an insightful opinion piece, The New York Times’ editorial board on February 21, 1998, wrote:

“What vexes any discussion of copyright is the idea of benefit. It is easy to see what the Disney Corporation will lose when Mickey Mouse goes out of copyright, as he will within a few years. It is harder to specify what the public will lose if Mickey Mouse does not go out of copyright.

“The tendency, when thinking about copyright, is to vest the notion of creativity in the owners of copyright. But artists, including those who work for places like Disney, always emerge from the undifferentiated public, and the works in the public domain, which means nearly every work of any kind produced before the early 1920’s, are an essential part of every artist’s sustenance, of every person’s sustenance. So far, Congress has heard no representatives of the public domain. It has apparently forgotten that its own members are meant to be those representatives.”

As for books, in particular, the Duke center’s Balfour Smith’s research has produced a helpful list, according to which some of the works today being released into the public domain include:

Jacob’s Room, Virginia Woolf

Maestro-Don Geusaldo, Giovanni Verga, translated by DH Lawrence

Ivanhoe, Walter Scott, illustrations by Frank E. Schoonover

Heidi, Johanna Spyri, illustrations by Gustaf Tanggren

The Prospects of Industrial Civilization, Bertrand Russell

Bel Ami, Guy de Maupassant

If Men Played Cards as Women Do, George S. Kaufman

The Three Musketeers, Alexandre Dumas

The Prophet, Kahlil Gibran

Dead Souls, Nikolay Gogol

Land and Sea Tales for Boys and Girls, Rudyard Kipling

Where Are We Going?, David Lloyd George

Harmonium, Wallace Stevens

The Murder of Roger Ackroyd and The Murder on the Links, Agatha Christie

St. Joan, George Bernard Shaw

Towards a New Architecture, Le Corbusier (Charles-Édouard Jeanneret)

Whose Body?, Dorothy L. Sayers

‘The Second Part of the Copyright Bargain’

In arguing its case, the Duke center’s messaging takes care to counter any suggestion that its policies are in some way anti-copyright.

Public domain is “the second part of the copyright bargain; the limited period of exclusive rights ends and the work enters the realm of free culture.”Duke University Center for the Study of the Public Domain

“Does all this mean that copyright is a bad system?” we read in the center’s material. “Of course not. Copyright gives creators—authors, musicians, filmmakers, photographers—exclusive rights over their works for a limited time. This encourages creators to create and publishers to distribute—that’s a very good thing.

“But when the copyright ends, the work enters the public domain—to join the plays of Shakespeare, the music of Mozart, the books of Dickens—the material of our collective culture. That’s a good thing too. It’s the second part of the copyright bargain; the limited period of exclusive rights ends and the work enters the realm of free culture.

“Prices fall, new editions come out, songs can be sung, symphonies performed, movies displayed. Even better, people can legally build on what came before.”

And in honor of this important “Public Domain Day” in the States, we leave you with four verses that are among the best-loved poetry of the American canon.

Robert Frost’s 1922 “Stopping by Woods on a Snowy Evening” was published in 1923, renewed by Frost in 1951, and then copyrighted in 1969 by Henry Holt and Company as part of The Poetry of Robert Frost, edited by Edward Connery Lathem.

Before today, this poem technically couldn’t be fully quoted in a formal publication without permission of the publisher. Now, it can.

Stopping by Woods on a Snowy Evening By Robert Frost

Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow.

My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year.

He gives his harness bells a shake To ask if there is some mistake. The only other sound’s the sweep Of easy wind and downy flake. The woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

#public domain #copyright #publishing #books

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lybrate00-blog · 6 years ago

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Plastic/Cosmetic Surgery

Plastic medical procedure is a careful strong point including the remaking, propagation, or change of the human body. It can be apportioned into two classes. The first is reconstructive medical procedure which joins craniofacial medical procedure, hand medical procedure, microsurgery, and the treatment of devours. The other is remedial or polished medical procedure.

Restorative medical procedure

Restorative medical procedure is an optional or elective medical procedure that is performed on standard parts of the body with the primary inspiration driving upgrading a man's appearance and in addition removing signs of developing. In 2014, around 16 million remedial frameworks were performed in the United States alone. The amount of restorative procedures performed in the United States has moderately duplicated since the start of the century. 92% of remedial procedures were performed on women in 2014, up from 88% of each 2001.Nearly 12 million restorative strategies were performed in 2007, with the five most normal medical procedures being chest extension, liposuction, chest reducing, eyelid medical procedure and abdominoplasty. The American Society for Esthetic Plastic Surgery looks experiences for 34 particular restorative systems. Nineteen of the strategy are careful, for instance, rhinoplasty or facelift. The nonsurgical techniques fuse Botox and laser hair removal.

While reconstructive medical procedure intends to replicate a bit of the body or improve its working, helpful medical procedure goes for upgrading its essence. Both of these methodology are used all through the world.

Also Find More Cosmetic/Plastic Surgeons in Delhi:

Cosmetic/Plastic Surgeons in Delhi.

Book Doctor's Appointment, Consult Online, View Doctor Fees, User Reviews, Address and Phone Numbers of Cosmetic/Plastic Surgeons in New Delhi, Delhi | Lybrate

Historical underpinnings

In the articulation "plastic medical procedure," the descriptor plastic deduces etching or possibly reshaping, which is gotten from the Greek, plastikē (tekhnē), "the specialty of showing" of flexible substance.

This essentialness in English is seen as in front of timetable as 1598.

The careful significance of "plastic" first appeared in 1839, going before the front line "building material delivered utilizing oil" feeling of plastic (founded by Leo Baekeland in 1909) by 70 years.

Plates vi and vii of the Edwin Smith Papyrus at the Rare Book Room, New York Academy of Medicine.Treatments for the plastic repair of a diminished nose are first indicated up the Edwin Smith Papyrus, an elucidation of an Ancient Egyptian therapeutic substance, a standout amongst the most prepared known careful treatises, dated to the Old Kingdom from 3000 to 2500 BC. Reconstructive medical procedure methodologies were being finished in India by 800 BC. Sushruta was a specialist who made basic responsibilities to the field of plastic and cascade medical procedure in 6th century BC. The therapeutic works of both Sushruta and Charak, at first in Sanskrit, were changed over into the Arabic vernacular in the midst of the Abbasid Caliphate in 750 AD. The Arabic elucidations progressed into Europe by methods for go-betweens. In Italy, the Branca gathering of Sicily and Gaspare Tagliacozzi (Bologna) got settled with the frameworks of Sushruta. Statue of Sushrut, the Father of Plastic Surgery, at Haridwar English specialists went to India to see rhinoplasties being performed by Indian techniques.

Authentic foundation

In the articulation "plastic medical procedure," the graphic word plastic construes etching and moreover reshaping, which is gotten from the Greek, "the specialty of illustrating" of flexible substance. This significance in English is seen as appropriate on time as 1598. The careful significance of "plastic" first appeared in 1839, going before the front line "building material created utilizing oil" feeling of plastic (generated by Leo Baekeland in 1909) by 70 years.

Headway of present day frameworks

Walter Yeo, a sailor hurt at the Battle of Jutland, is acknowledged to have become plastic medical procedure in 1917. The photograph shows him beforehand (left) and after (right) getting an overlap medical procedure performed by Gillies

The dad of present day plastic medical procedure is overall considered to have been Sir Harold Gillies. A New Zealand otolaryngologist working in London, he made countless frameworks of present day facial medical procedure in tending to officers encountering misshaping facial injuries in the midst of the First World War.

In the midst of World War I he filled in as a restorative minder with the Royal Army Medical Corps. In the wake of working with the renowned French oral and maxillofacial authority Hippolyte Morestin on skin go along with, he impacted the furnished power's focal expert, Arbuthnot-Lane, to develop facial harm ward at the Cambridge Military Hospital, Aldershot, later climbed to another specialist's office for facial repairs at Sidcup in 1917. There Gillies and his accomplices made various methodology of plastic medical procedure; more than 11,000 exercises were performed on more than 5,000 men (generally officers with facial injuries, generally from release wounds). After the war, Gillies developed a private practice with Rainsford Mowlem, including various well known patients, and took off extensively to propel his moved techniques around the globe.

In 1930, Gillies' cousin, Archibald McIndoe, joined the preparation and wound up concentrated on plastic medical procedure. Right when World War II broke out, plastic medical procedure course of action was, all things considered, segregated between the assorted organizations of the military, and Gillies and his gathering were part up. Gillies himself was sent to Rooksdown House close Basingstoke, which transformed into the principal outfitted power plastic medical procedure unit; Tommy Kilner (who had worked with Gillies in the midst of the First World War, and who presently has a careful instrument named after him, the kilner cheek retractor), went to Queen Mary's Hospital, Roehampton, and Mowlem to St Albans. McIndoe, master to the RAF, moved to the starting late remade Queen Victoria Hospital in East Grinstead, Sussex, and built up a Center for Plastic and Jaw Surgery. There, he treated significant devour, and certified facial twisting, for instance, loss of eyelids, ordinary of those caused to aircrew by expending fuel.

McIndoe is habitually seen for not simply developing new strategies for treating genuinely devoured faces and hands yet also to perceive the noteworthiness of the rebuilding of the misfortunes and particularly of social reintegration afresh into standard life. He disposed of the "recuperating clothes" and let the patients use their organization formal attire. With the help of two partners, Neville and Elaine Blond, he furthermore influenced nearby individuals to encourage the patients and welcome them to their homes. McIndoe kept suggesting them as "his young fellows" and the staff called him "The Boss" or "The Maestro."

His other crucial work included change of the walking stalk skin join, and the disclosure that immersion in saline propelled patching and upgrading survival rates for losses with expansive duplicates — this was a blessed exposure drawn from impression of differential recovering rates in pilots who had dropped shorewards and in the sea. His radical, exploratory prescriptions incited the course of action of the Guinea Pig Club at Queen Victoria Hospital, Sussex. Among the better known people from his "club" were Richard Hillary, Bill Foxley and Jimmy Edwards.

Sub-strong points

Plastic medical procedure is a far reaching field, and may be subdivided further. In the United States, plastic masters are board ensured by American Board of Plastic Surgery. Subdisciplines of plastic medical procedure may include:

Smart medical procedure

Smart medical procedure is a principal part of plastic medical procedure and joins facial and body elegant medical procedure. Plastic masters use remedial careful guidelines in all reconstructive careful frameworks and moreover separated errands to improve outward presentation.

Expend medical procedure

Expend medical procedure generally occurs in two phases. Exceptional devour medical procedure is the treatment immediately after an expend. Reconstructive expend medical procedure occurs after the devour wounds have recovered.

Craniofacial medical procedure

Craniofacial medical procedure is disengaged into pediatric and grown-up craniofacial medical procedure. Pediatric craniofacial medical procedure generally turns around the treatment of natural abnormalities of the craniofacial skeleton and fragile tissues, for instance, inborn crevice and feeling of taste, craniosynostosis, and pediatric splits. Grown-up craniofacial medical procedure can foresee the most part with breaks and discretionary medical procedures, (for instance, orbital changing) close by orthognathic medical procedure. Craniofacial medical procedure is a basic bit of all plastic medical procedure planning programs, also getting ready and subspecialisation is procured by methods for a craniofacial organization. Craniofacial medical procedure is similarly practiced by Maxillo-Facial pros.

Hand medical procedure

Hand medical procedure is stressed over exceptional injuries and unlimited diseases of the hand and wrist, change of inborn distortions of the farthest focuses, and periphery nerve issues, (for instance, brachial plexus wounds or carpal section issue). Hand medical procedure is a fundamental bit of getting ready in plastic medical procedure, and also microsurgery, which is imperative to replant a remove uttermost point. The hand medical procedure field is in like manner bored by orthopedic pros and general authorities. Scar tissue improvement after medical procedure can be precarious on the delicate hand, causing loss of ability and digit work if adequately outrageous. There have been occurrences of medical procedure to women's hands in order to cure clear imperfections to influence the perfect wedding to band photo.

Microsurgery

Microsurgery is generally stressed over the redoing of missing tissues by trading a touch of tissue to the diversion site and reconnecting veins. Surely understood subspecialty areas are chest revamping, head and neck amusement, hand medical procedure/replantation, and brachial plexus medical procedure.

Pediatric plastic medical procedure

Adolescents frequently stand up to restorative issues through and through unique in relation to the experiences of an adult industrious. Various birth defects or clutters appear from an idealistic outlook treated in pre-adulthood, and pediatric plastic masters invest noteworthy energy in treating these conditions in youths. Conditions typically treated by pediatric plastic pros fuse craniofacial abnormalities, Syndactyly (webbing of the fingers and toes), Polydactyly (wealth fingers and toes amid labor), intrinsic crevice and feeling of taste, and natural hand mutilations.

Frameworks and methodologies In plastic medical procedure, the trading of skin tissue (skin joining) is a to a great degree essential philosophy.

Skin associations can be gotten from the recipient or supporters:

Autografts are taken from the recipient. In the occasion that absent or lacking of basic tissue, choices can be refined sheets of epithelial cells in vitro or fabricated blends, for instance, integra, which includes silicone and bovine like tendon collagen with glycosaminoglycans.

Allografts are taken from a provider of comparative creature writes.

Xenografts are taken from a supplier of an other creature classifications.

By and large, incredible results would be ordinary from plastic medical procedure that highlight mindful orchestrating of section focuses so they fall inside the line of customary skin overlays or lines, legitimate choice of wound conclusion, usage of best open suture materials, and early departure of revealed sutures with the objective that the damage is held closed by secured sutures.

#Cosmetic surgeons in delhi #plastic surgeons in delhi

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juliandmouton30 · 7 years ago

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Transparent buildings are safer says Renzo Piano

In this video interview, architect Renzo Piano discusses designing his glass skyscraper for The New York Times in the wake of the 9/11 terrorist attacks.

Piano began work on the project just three days after the city's Twin Towers were destroyed in 2001, and said everyone was unsurprisingly fearful of building another high-rise that could become a target.

"It was September 14, when we met with he client 2001, so it was in New York, in a city that was a disaster," the Italian architect said. "A city with a sense of fear. Everybody started to say: stop making tall buildings... Make bunkers, make a fortress."

But he ignored the mood and instead chose a height of 320 metres, including a mast, for the Midtown Manhattan skyscraper.

He wrapped the base in glass to allow views out from the interior and in from the street – a feature he believes makes the building much safer.

"We decided to go ahead, and we did it," he continued. "We are The New York Times, we need to do that gesture to show that transparency of the ground floor was more safe than protection. When you see through, that means it's more safe. You can see what happens so, opacity is unsafe, not transparency."

Renzo Piano began designing the The New York Times building shortly after 9/11, and completed the project in 2007

Piano also used glass for the upper levels, but shaded the facades with a ceramic sunscreen in a first for a high-rise in the US. Towards the top, the spacing between the ceramic rods increases, so the building appears to dissolve into the sky.

The New York Times Building completed in 2007 and is home to The New York Times Company, which publishes The New York Times and International New York Times newspapers.

The skyscraper is now the sixth tallest in the city, tied with Jean Nouvel's 53W53 – nicknamed the MoMA tower and still under construction – and the iconic Chrysler Building.

The clip comes from a longer video interview conducted by architect Luis Fernández-Galiano at Piano's house and studio in Punta Nave, Genoa, as part of Spanish cultural institution Arquia Foundation's Maestros series.

Aiming to document the life and work of several "outstanding masters of architecture", each episode comprises six parts to offer a chronological overview of the subject's life. The first covers childhood, while the other five sections explore themes in work, spotlighting three key projects in each.

The interview with Piano was conducted as part of the Maestros series of documentaries

Transparency was chosen as a focus in Piano's interview. His firm Renzo Piano Building Workshop is known for using copious amounts of glass in buildings like The Shard in London and recently completed law courts in Paris. The studio's other projects in New York include the Whitney Museum in the Meatpacking District, facilities for Columbia University in Harlem, and a residential building underway in Soho.

Maestros is being produced by White Horse and managed by design agency Folch. The Renzo Piano documentary will be the first in the series, and premieres in Madrid next year.

The full-length film also covers the influence of his builder father and how he never intended on becoming an architect, as well as his extension to Louis Kahn's Kimbell Art Museum.

Photography is by Leo García Méndez.

Interview: Renzo Piano on The Shard

The post Transparent buildings are safer says Renzo Piano appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/12/19/renzo-piano-interview-maestros-documentary-new-york-times-building-transparency-movie/

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jeremystrele · 7 years ago

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Fender Katsalidis · ‘Working Architecture’

Studio Visit

by Elle Murrell

Nonda Katsalidis and Karl Fender of Fender Katsalidis Architects. Photo – Amelia Stanwix for The Design Files.

Creating landmark buildings across Melbourne, Australia and Asia since the 1990s, Fender Katsalidis Architects have just released their first book, ‘Working Architecture‘. Photo – Amelia Stanwix for The Design Files.

Details of FK’s office in Melbourne’s Southbank, including a collection of re-iteration models of Merdeka PNB 118, their project Kuala Lumpur. Photo – Amelia Stanwix for The Design Files.

The cover of ‘Working Architecture’ alongside the opening spread of the 31st (and final) project showcased in the tome. This render shows the firm’s 100-storey Australia 108 building peeping out atop the clouds. When the Southbank skyscraper is completed in 2020, it will become the tallest building to roof in the Southern Hemisphere. Photo – Amelia Stanwix for The Design Files.

An incredible model of 318-metre Australia 108 building, which also provides a 2/3 visual example of the firm’s focus on: a pedestrian-engaging base, a functional view-optimising core, and a skyline-defining top of a building. Photo – Amelia Stanwix for The Design Files.

A look inside ‘Working Architecture’, where the pull quote reads ‘Nonda Katsalidis, an Australian of Greek extraction and Karl Fender, an Australian of Dutch extraction’. The bottom spread showcases Little Hero. Built in Melbourne in 2010, it was a prototypical demonstration of Unitised Building (a prefabricated construction system developed by Nonda Katsalidis). Photo – Amelia Stanwix for The Design Files.

Karl Fender and Nonda Katsalidis. Photo – Amelia Stanwix for The Design Files.

Karl looking over plans and sketches. Photo – Amelia Stanwix for The Design Files.

Nonda flicks through his firm’s chronicle. Photo – Amelia Stanwix for The Design Files.

The duo reflect on a spread showcasing HM@S in Port Melbourne. Completed in 2001, this project saw the redeveopment of the decomissioned HM@S Lonsdale naval training base into 240 residences. Photo – Amelia Stanwix for The Design Files.

Flipping through ‘Working Architecture’ feels like taking an exclusive helicopter tour of Melbourne… BUT with the invaluable add-on of insightful commentary from two masterminds who have contributed so significantly to the city.

You’ll of course spot the crowning Eureka Tower gilding pages, as well as Republic Tower, Richmond Silos (The Malthouse), HM@S, Ian Potter Museum of Art, Melbourne Terrace, Little Hero, 505 St Kilda Road, and so many other unforgettable landmarks (without yet diverting to projects that are interstate or abroad – next trips: MOMA and Moonah Links, please).

Celebrating 25 years in the business, Melbourne-based architecture practice Fender Katsalidis has unveiled a chronicle of its history, spotlighting 31 of the most emblematic projects from its repertoire.

Published by Uro Publications, this incredible hard cover book takes an in-depth look at the practice’s diverse portfolio, from cultural hubs, to commercial buildings, private housing, and apartment projects. It features rich written contributions from the likes of Leon van Schaik AO, Graeme Gunn AM, and Australian Institute of Architects Gold Medalist Peter Wilson, plus enough plans, elevations and sketches to intoxicate any architecture enthusiast.

One section likely to leave all amazed, if a little disoriented, is the closing chapter, which introduces the forthcoming Australia 108 skyscraper. Pictured in a render peeping out above the clouds, it is to become the Southern Hemisphere’s tallest building when completed in 2020.

We were elated to steal a few minutes from Nonda Katsalidis and Karl Fender for this recent conversation. The maestros took time to reflect on their practice’s legacy, their new book, and where things are heading next.

When did you both first realise that you wanted to become architects?

Karl Fender: I first knew I would be an architect when at age 16, I accompanied my parents to the home of their architect friend Hank Romyn. Situated as I recall within beautiful gardens in the Dandenongs, the cathedral-esque volumes of the house, and the touch and feel of his studio captivated my imagination.

Nonda Katsalidis: I always wanted to build. Being an architect was an extension of that.

When you look back, what stands out as the most formative experiences that have lead to your current points in your careers?

KF: I was incredibly fortunate to be given the opportunity of working as an assistant to Robin Boyd in the office of Romberg and Boyd in East Melbourne. Being mentored by Robin Boyd in my first architectural job was a privilege which in my opinion provided me with the highest quality enjoyable learning curve.

In later years, my travel years, working abroad in London, Rome, Hong Kong, Paris, Bangkok and Boston certainly gave me a strong international view of our profession and a pathway to enquiry.

NK: I worked as a carpenter and builder for a few years after university. That, and my first building that had a lift in it, lead to all the big things.

What are you both focusing on at the firm today, and how has this evolved over a quarter-of-a-century in practice?

NK: The focus is trying to find the projects that really matter, and the clients with their hearts in the right place. Nothing much has changed, except it’s getting harder.

KF: My focus within our current practice is threefold. I like to focus my attention to our clients, our best possible design outcomes for them, and the fostering of a team-based studio based on enquiry, mentoring and mutual respect.

Is there any pattern to the way you typically generate the ideas for your designs?

KF: Our designs are absolutely based on the pragmatic opportunities initially hidden within the client’s brief, the site and its potentials within the local context. We generate our first ideas as a collaboration within the studio and then develop these in collaboration with the client and the larger project team. A design idea will enhance and improve with process if it is true and strong at inception.

NK: I look for clues in the context and associations that come to mind. My processes are very intuitive.

What do you both see as your signature materials and why you are so fond of these?

KF: We have often incorporated and expressed robust, durable materials such as off-form, lightweight and precast concrete, linished stainless steel, hardy timbers and perforated metal sheets. Although industrial in nature, they weather elegantly requiring low maintenance, and if used with sculptural artistry, transcend their more commonly attributed basic uses.

NK: I like to leave materials as they are whenever I can. Finishes create a filter between the object and the observer which dilutes the experience of the building.

Why did you decide to release ‘Working Architecture’?

NK: It was time for a summary. It was time to stand back and look at what has been done.

KF: Working Architecture was our way of recognising and celebrating the many architects, consultants and clients who have contributed so significantly to the journey of our practice. It was intended to launch the book in 2005, after a decade of practice, but it took an extra 12 years because our priority was always working architecture to our fullest commitment.

The book explores 31 key projects from your wide portfolio. How did you GO ABOUT making this selection?

KF: The work included in the book represents a varied selection of small, tall, spread-out and old projects. There are many equally important (to us) projects which could and probably should have been included… We need to start on our next book!

NK: Hopefully they are the buildings that have been most successfully executed.

Karl once said: ‘Good architects will go beyond the fashion parade and start thinking about the urban design issues, the community issues and bring to their project a beautiful building that satisfies the lust of the local developer, but also is very responsible in the way it sits within the fabric that it’s located in’. What do you see as some of the urban design and community issues facing Melbourne today?

NK: It’s paramount to maintain the sense of ‘city building’ that Melbourne was based on from the beginning. We lose that commitment to community-focused urbanism at our peril.

KF: Every architectural commission has its own unique set of obligations, responsibilities and opportunities. I think it’s incumbent on the architectural team to properly and thoroughly understand those requisites to then be able to deliver the maximum result for all who will encounter the built result. Melbourne is fortunate to have such a high-calibre architectural community.

What’s it like to be revered as one of Australia’s most prolific and influential architectural practices?

NK: It’s very flattering, but it’s not very big in our consciousness. We love to design and build. That’s what we get on with.

KF: The practice of Fender Katsalidis is fortunate and proud to have been able to contribute in some small way to the life and vibrancy of built Melbourne.

What’s next for Fender Katsalidis Architects?

NK: The next generation of talent that has been nurtured within the practice is coming of age.

KF: We have laid the foundations that will ensure that the practice continues to be a major contributor to the built environment throughout Australia, and internationally. We are looking forward to seeing the practice reap the benefits of its expanded ownership and nationalised structure.

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londontheatre · 7 years ago

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Joining Diana Vickers, Debra Stephenson and Ian Reddington in the 2017 tour are Michael Howe, Michelle Long, Kate Hardisty, Cassiopeia Berkeley-Agyepong, Lewis Kidd, Liam Vincent-Kilbride, Jon Bonner, Rachel McAllister, Ellie-Jane Goddard, Gary Mitchinson and Jess Barker.

The full cast is announced for heart-warming new musical Son of a Preacher Man. Joining Diana Vickers, Debra Stephenson and Ian Reddington in the 2017 tour are Michael Howe, Michelle Long, Kate Hardisty, Cassiopeia Berkeley-Agyepong, Lewis Kidd, Liam Vincent-Kilbride, Jon Bonner, Rachel McAllister, Ellie-Jane Goddard, Gary Mitchinson and Jess Barker.

Featuring the soulful music of Dusty Springfield, with a book by Warner Brown and directed and choreographed by Craig Revel Horwood, Son of a Preacher Man embarks on a national tour starting at Bromley’s Churchill Theatre from Monday 4 September 2017.

Three broken hearts, one Soho hang-out, and the only man who could ever help them… Welcome to the Preacher Man, the swinging 1960s Soho joint where the kids danced the night away to the latest crazes and dared to dream of love, while the legendary owner, the Preacher Man himself, dispensed advice to cure the loneliest of hearts.

Only, that was a long time ago and all that remains are the memories, the stories and the myths. Until now, that is, when three random strangers, generations apart but all in need of help with their hopeless love lives, are inexplicably drawn to the site of the original venue. The Preacher Man is long gone, but his son, with help from the wonderful Cappuccino Sisters, might just find it in himself to channel the spirit of the Preacher Man and once more give these three lovesick strangers the look of love.

Featuring the greatest hits of Dusty Springfield, including “The Look Of Love”, “I Only Want To Be With You”, “Spooky” and of course, the classic “Son Of A Preacher Man”, this sparklingly funny and sweetly touching new musical by internationally renowned writer Warner Brown will have you laughing, crying and singing your heart out to some of the greatest songs ever written.

Diana Vickers first came to public attention as a semi-finalist on the X Factor and has made her professional acting debut in the title role of The Rise and Fall of Little Voice in 2009 (West End, Vaudeville Theatre). Since then her theatre credits have included The Duck House (West End, Vaudeville Theatre), Hatched ‘n’ Dispatched (Park Theatre), The Rocky Horror Show (UK Tour). Her film and television credits include The Perfect Wave, Awaiting, To Dream, Give Out Girls and Top Coppers.

Debra Stephenson is known for her long running roles in Coronation Street and Bad Girls, whilst her entertainment credits include The Friday Night Project, 8 Out Of 10 Cats, Strictly Come Dancing Christmas Special, Comic Relief Does Fame Academy and Let’s Dance For Sports Relief. As a comedic impressionist she is best known as star of BBC One’s The Impressions Show, with her other credits including BBC Radio 4’s Dead Ringers as well ITV’s Newzoids.

Ian Reddington is best known for playing Tricky Dicky in EastEnders and Vernon in Coronation Street, with other roles in popular TV programmes including the Outlander series, Dr Who, Shameless, Benidorm, Inspector Morse, Robin Hood, Outlander, The Queen’s Nose and The Dumping Ground. On stage, Ian has worked with the Royal Shakespeare Company and has toured the UK with Bouncers, Dead Funny and Oh What a Lovely War. His film credits include cult film Highlander.

Warner Brown works internationally and is well known for his work in musical theatre and straight plays, encompassing both traditional and avant-garde forms. He wrote ‘the most popular family show of all time’, the arena production Walking With Dinosaurs, creating an entirely new genre of theatrical presentation and winning many international awards. Currently playing in venues from Madison Square Garden to the Mercedes Benz Arena in Shanghai, an episode of CSI: Las Vegas has been based upon the show and it has even been parodied on The Simpsons.

Warner is currently working on multiple developing projects, including the Broadway musicals The Gold Room and The Thomas Crown Affair, both with composer Michael Feinstein; the opera Empty Spaces, with composer Joshua Schmidt, for Florentine Opera in the USA; the musical A Little Danger, with composer Michael Reed, for the St Petersburg Theatre in Russia; and the screenplay for the movie A Minute To Midnight for Bill Kenwright Films. He is part of the consortium, including choreographer Arlene Phillips and musical director Mike Dixon, for the new internet based project Reality.

Writing credits include Half A Sixpence (UK Tour), The Biograph Girl (Phoenix Theatre), Cinderella (London Palladium), The Black and White Ball, which opened in London and for which The Cole Porter Trusts granted Warner stage rights to the songs of Cole Porter, Flickers (Broadway’s Circle-In-The-Square Theater), The House on the Corner (Edinburgh International Festival) and, in addition, Tallulah For A Day and Sleep With Friends. Plays include Laughing Dove, Wavelength and The Prospero Suite, directed by John Doyle.

Warner has worked extensively in Europe, most recently writing the musical Garbo, with music by ‘Meatloaf’ rock legend Jim Steinman. He also has extensive writing credits for the BBC and was Script Associate of the BBC Classic Musicals Series, for which he adapted fourteen musicals featuring many international stars. Warner was the subject of the BBC Two TV documentary The Making Of A Musical. Warner is co-sponsor of the international music prize The S&S Award, named in honour of his late parents.

Craig Revel Horwood is a well-known face on television in the UK and now internationally for his role as a judge on all fifteen series of BBC One’s Strictly Come Dancing and for directing and appearing as a judge in the Live Tour.

Craig’s recent credits as director and choreographer include the current UK tour of Sister Act, the previous UK tours Brother Love Travelling Salvation Show and Chess; for television, How Do You Solve a Problem Like Maria? and Just the Two of Us; and for film, the feature film Paddington 2. In addition, he recently directed the all-star concert version of Stephen Sondheim’s Follies at the Royal Albert Hall. Other credits as a theatre director and choreographer are: West Side Story (Prince Edward), Miss Saigon (Drury Lane), Hey, Mr Producer! (Lyceum), Spend Spend Spend! (Piccadilly Theatre; Olivier nomination for Best Choreography), Pal Joey (Chichester Festival Theatre), Guys and Dolls (Sheffield Crucible), Paradise Moscow (Opera North), Carmen (Holland Park), My One and Only (Piccadilly Theatre; Olivier nomination for Best Choreography), Beautiful and Damned (Lyric Theatre), Arms and the Cow (Opera North), The Ballet Boyz: Yumbo Vs Nonino (Festival Hall, Sadler’s Wells, Royal Opera House, Covent Garden), The Hot Mikado (Watermill Theatre and UK Tour; Martin Guerre (Watermill Theatre), Sunset Boulevard (Watermill Theatre and Comedy Theatre, West End), Spend Spend Spend! (Watermill Theatre and UK Tour) and Copacabana (Watermill Theatre).

He recently returned to his roots as a performer in musical theatre, starring as Miss Hannigan in the UK national tour of Annie, and in Christmas 2016 as Captain Hook in Peter Pan at the Churchill Theatre, Bromley. Other performing credits include Captain Hook in Peter Pan at the Orchard, Dartford in 2014 and at the Swan, High Wycombe in 2015. Previously, Craig starred as the Wicked Queen in Snow White at Venue Cymru, Llandudno in 2009, The Hawth, Crawley in 2010 and The Orchard, Dartford 2011. He reprised his role at The Swan Theatre, High Wycombe in 2012 and the Cliffs Pavilion, Southend in 2013.

Amongst his numerous TV credits, highlights include winning the BBC Two series Maestro at the Opera, the final of which saw him conduct Act II of La Bohème at the Royal Opera House. He was also a grand finalist on the hit cooking show, Celebrity MasterChef and participated in and won Ready, Steady, Cook.

Book Warner Brown Director & Choreographer Craig Revel Horwood Set & Costume Designer Morgan Large Musical Supervisor & Arrangements Paul Herbert Lighting Designer Richard G Jones Sound Designer Richard Brooker Musical Director Brady Mould Associate Director & Choreographer David James Hulston Casting Director Anne Vosser Diana Vickers (Kat), Debra Stephenson (Alison), Ian Reddington (Simon), Michael Howe (Paul), Michelle Long (Cappuccino Sister One), Kate Hardisty (Cappuccino Sister Two), Cassiopeia Berkeley-Agyepong (Cappuccino Sister Three), Lewis Kidd (Liam/ Young Paul/ Ensemble), Liam Vincent-Kilbride (Andy/ Mike/ Young Jack/ Ensemble), Jon Bonner (Hardman/ Otis/ Jack/ Ensemble), Rachel McAllister (Pippa/ Miss Marsh/ Ensemble), Ellie-Jane Goddard (Sandra/ Anna/ Ensemble), Gary Mitchinson (On-Stage Swing & Ensemble) and Jess Barker (On-Stage Swing & Ensemble).

Casting for the 2018 tour to be announced. Son of a Preacher Man is produced by Brian Berg, John Sachs, Andrew Berg & Kimberley Sachs for Eclipse Live, Michael Park for The Infinite Group, Paul Tyrer & Jamie Clark for TBO Productions, Churchill Theatre Bromley and executive producers Andrew Green and Ben White, all on behalf of Dusty Touring Ltd.

TOUR AND TICKET LINKS

http://ift.tt/2mSjutI LondonTheatre1.com

#IFTTT #LondonTheatre1.com