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grantgoddard · 15 days ago

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I just looked around and he was gone : 1979 : Jerry Dennis, Palatinate editor, Durham University

“I am here for the Accommodation Office, please,” I said with trepidation to the uniformed man behind the huge wooden reception desk in the lobby of the Old Shire Hall. On the front of the desk, elaborately carved nineteenth century working-class scenes from Durham’s coalmining industry seemed to clash with this building’s present users – high-flying academics and the children of Britain’s upper classes.

The man behind the desk looked at me with a suspicion seemingly reserved for the occasional long-haired student who ventured into his domain wearing crumpled denim clothes and platform shoes … like me.

“You will have to leave a message,” he eventually replied in a bored tone that conveyed the regularity with which he was required to offer such a response. He did not bother to elucidate whether the Accommodation Office was presently unmanned, temporarily closed or existed in any physical form. Instead, he gestured towards an open hard-backed ledger laid at one end of his mighty desk, beside which was a chained Biro.

I was made to feel so small and insignificant in the foyer of that hugely imposing town centre monolith constructed in 1898 as the headquarters of Durham County Council but, since 1963, used as the administrative centre of Durham University. (Years later, when I watched Lowry approach the front desk of The Ministry of Information Retrieval in the movie ‘Brazil’, I instantly recalled my sentiment). I wrote in the visitors’ book that I was requesting information urgently about landlords presently offering accommodation to rent.

I was homeless, secretly spending my nights in a sleeping bag on the floor of an office in the Students’ Union building, Dunelm House. Student ‘digs’ around Durham were advertised but landlords were demanding rents way beyond my budget. Extortion proved no barrier to the 95%+ of undergraduates who had arrived from private schools, receiving only the minimum student grant from their local authority, but whose parents were sufficiently wealthy to uncomplainingly pay such rents through their noses. Some students I met lived in accommodation their parents had even bought for them as an investment within this English county so poor that miners’ cottages could be acquired for £1,000.

I was not amongst this privileged majority of students. Since arriving in Durham in 1976, a chunk of my full student grant from Surrey County Council and my vacation earnings had been diverted to pay the utility, property ‘rates’ bills and overheads of my family’s home in Camberley. After my father had deserted his family four years earlier and then ignored court-ordered maintenance payments, my mother had been struggling to raise my two younger siblings in austere circumstances. During my first two undergraduate years, I had opted for subsidised college rooms but then had been forced out onto the ‘open market’ by university policy. Additionally, I had waived my vacation earnings during the summer of 1978 by choosing to remain in Durham to edit (unpaid) the annual ‘Durham Student Handbook’ with the hope it might benefit my career in media. Whereas, the previous two summers, I had worked twelve hours a day, seven days a week continuously for two months in a basement office in Aldershot, maximizing available overtime to help fund my family’s expenses.

Weeks after having left my message for the university’s Accommodation Office, I received by internal mail sent to my college’s basement pigeonholes a photocopied A4 page listing about a dozen local landlords. This document was of no practical use, lacking basic, accurate and timely information that could have helped me. I wondered whether the university’s ‘Accommodation Office’ really even existed since Durham’s posh students scarcely appeared to require practical assistance when their parents were still organising their education. Who was the university’s ‘Accommodation Officer’ Catrin Prydderch-Jones, a 1977 graduate of Durham University with a 2:2 in music who had been appointed in September that year to the post of “Administrative Assistant in the University Office”?

I was not her only unsatisfied customer. In January 1979, a letter from archaeology undergraduate Jeanette Ratcliffe published in Durham student newspaper Palatinate had complained:

“Miss Prydderch-Jones sent out to students looking for accommodation next year a list of landlords and their respective houses and flats” that was “incomprehensible, grossly out of date and of little constructive use”

“A considerable number of landlords no longer wished to be on the list and students who contacted them became the subject of their anger at receiving numerous phone calls a day enquiring about their property.”

One listed house “according to the landlord has not been standing for six years”

“What exactly does Miss Prydderch-Jones do to retain her position in the Accommodation Office?”

“… I suggest she give up her position as Accommodation Officer”.

In a follow-up front-page article in February 1979, the student newspaper reported that “doubts have been expressed in Durham Student Union council [meetings] about the efficiency of an Old Shire Hall-based Accommodation Office.” It explained that “complaints about the way that the [Accommodation] Office is working led Palatinate to talk to Ms. Prydderch-Jones” who was pictured sat at a desk. Her quoted responses proved to be wholly evasive and she ended by assuring readers “there is no crisis at the moment about finding places to live!”, apparently oblivious to the notion that the high prices of available accommodation might prove a barrier for those students having to survive without parental support.

In the same issue of Palatinate that had published the letter from Ratcliffe, a front-page expose had criticised the financial management of the Durham University Athletic Union [DUAU], provider of the university’s “excellent” sporting facilities, under the headline ‘DUAU Foul Play’. Beneath a photo of DUAU treasurer Ian Graham sat at his Old Shire Hall desk, the article explained that the £38 annual ‘Composition Fee’ paid by the local government authorities of each of Durham’s 4,000 students was divided by the university between its athletic union, student union and college ‘Junior Common Rooms’. DUAU audited accounts showed that:

In 1977/8, 42% of the Composition Fee had been spent on sport, compared to the 18% national average (the DUAU share increased to 52% the following year)

When Durham colleges’ expenditure was included, £20 of the £38 per head Composition Fee was spent on sport.

DUAU accounts documented a surplus greater than £4,000 during each of the previous three years, a situation that “should lead to a cut in their grant, as showing a surplus is interpreted as meaning that too much money has been given”. Surpluses of £5,200 in 1976/7 and £10,000 in 1977/8 were said to have been allocated to “reserve funds”. Questioned about these reserves, Graham “evaded the fundamental points by talking at some length about the rather vague uses of these funds” which the article concluded “does not alleviate Palatinate’s concern[s]” which were:

“One of the complaints that the [government] Department of Education & Science is making is that there is not enough public accountability for student unions”

“DUAU, by claiming large sums of money for their FUTURE but, as yet, UNSPECIFIED capital expenditure, is effectively avoiding any sort of accountability whatsoever.”

Some of Ian Graham’s unverified arguments in the interview to justify DUAU’s dominant share of the per capita funding appeared bizarre:

“It is much easier for a student who has been actively involved in university sport to get a job”

“Many parents have sent their children here because of its fine sporting reputation”

“There was a correlation between the increase in good A-level results of Durham students and the growth and success of DUAU”.

Confusingly, although DUAU was constituted as a student organisation, just like Durham Students’ Union, Graham was no student but rather the university registrar responsible for managing the entire institution’s administration. This would be like having a school principal in charge of its students’ council! It was no wonder that DUAU could appropriate the greater part of each student’s Composition Fee with impunity, to the detriment of the student union, because each year it was the university administration, led by the very same Ian Graham, that determined the division of funds. Conflict of interest or what?

These separate anonymous front-page articles appeared in Palatinate within weeks, criticising two Durham University administrators, Catrin Prydderch-Jones and Ian Graham. However, a link existed between these two that had not been published. It was Graham who had appointed Prydderch-Jones to the accommodation job for which she appeared to be poorly qualified. It was also Graham who allegedly had invited Prydderch-Jones amongst a bevy of posh, female undergraduate first-years to stay in the expansive university flat at 71 Saddler Street that accompanied his job.

Whether the Palatinate editor of the day knew of this connection I know not. What I divine is that the student newspaper’s simultaneous critical coverage of Graham and his ‘protegee’ must have embarrassed and infuriated the registrar who ran our university with an iron rod. Having served in the British Army and been wounded at Anzio during “the Italian campaign”, he had joined Durham University in 1950 as assistant registrar. Promoted to registrar in 1963, Graham devised and drafted a new constitution and statutes for the university that were reported to be “almost entirely Ian’s work.” His objective was said to be “to provide for the North of England a Collegiate University, one in which the undergraduate experience would be essentially the same, though simpler (and less expensive) than that afforded by Oxford and Cambridge in the South.”

A lifelong bachelor, Graham was said to have given “to the University the time which most people spend with their families” and to have “sought out also a large number [of students] whose names were known to him through his acquaintances in the schools or among previous generations of students.” In this way, he perpetuated the institution’s old (private) school tie connections, making Durham University a natural social repository for posh people’s children not smart enough to attend ‘Oxbridge’. Apparently, “all of these people were welcome in [Graham's flat at] 71 Saddler Street, not only for the crowded parties which regularly took place there, but on frequent more private occasions.”

Whoa! This 50-something year old bureaucrat was organising student ‘parties’ for newly arrived teens in his flat? It would be easy to characterise Graham as the Hugh Heffner of Durham University, an aged man with a gammy limb, surrounded by a bevy of good-looking, posh-sounding, double-barrelled debutantes prancing around his flat in their underwear. The truth is rather more insidious. Graham had been the architect in 1963 of Durham University’s ‘divorce’ from its considerably less posh partner Newcastle University and had accumulated more power to control the organisation he had created during thirty years in the job than anyone else employed in Old Shire Hall. Any perceived threat to Graham’s eco-system would have to be eradicated. And so it was.

The elected editor of Palatinate at the time was Jerry Dennis, an English Literature undergraduate who was not at all the typical upper-class student that Graham desired at ‘his’ university. Despite a posh accent, Dennis appeared somewhat hippy-like with a tall rake-thin body and long straight brown hair falling to his shoulders. He spoke languorously and purposefully with a keen wit and an analytical mind. He was fearless and unafraid to challenge the status quo, hence the investigative articles concerning Prydderch-Jones and Graham published in a fortnightly student newspaper that, until his appointment, had been more a gossip sheet and CV builder for adolescent essays by aspiring upper-crust authors.

Graham required revenge. Unfortunately for him, Dennis’ two-year academic record at Durham had been positive as he had passed all mandatory exams. Instead, Graham had to scour ancient statutes within the 1832 Act of Parliament and 1837 Royal Charter that had created England’s third-oldest university. There he discovered that a student accused of holding the university ‘in contempt’ could be expelled by a specially convened committee. This procedure had never been used in Durham’s century and a half history, though Graham was undaunted given the power he wielded. He set about convening the requisite brand-new committee of university personnel upon whom he could rely to do his bidding.

Weeks later, I was startled to find in my college pigeonhole an official letter from Ian Graham inviting me to be the one student that the statute required to attend the meeting of this committee which would be considering Dennis’ case. Out of the university’s 4,000 students, it was against all odds that I had supposedly been chosen randomly to consider a verdict on a fellow student with whom I was already acquainted. I could read between the letter’s lines. In reality, it had been sent as a warning shot across my bows, hinting that I might soon follow Dennis and be dispatched into the wilderness. Why?

That year, I had been tasked with writing the annual Durham Students’ Union submission to the university to request the following year’s Union funding through the aforementioned Composition Fee. My application was the most voluminous and forensic ever compiled, documenting why a substantial year-on-year increase proved necessary. The chair of the university Finance Committee, finance officer Alec McWilliam, seemed to appreciate my expertise in accountancy (the result of my mother having taught me double-entry bookkeeping and accounts reconciliation at the age of seven). The outcome was that McWilliam’s committee awarded Durham Students’ Union its largest ever year-on-year increase in funding.

However, for every winner, there has always to be a loser. My personal success meant that Ian Graham’s competing bid for additional funds for the Athletics Union had been rebuffed at the same committee meeting. For once, Graham was not getting all his own way and was probably not enamoured of this outcome. That was my reading of the reason I had received his letter. My suspicions were confirmed when I called the confirmation phone number in the letter and was told by a woman administrator at Old Shire Hall that my receipt of the invitation letter had been an ‘administrative error’. In fact, I had never been randomly selected to witness the ‘Inquisition’ against Jerry Dennis … who Graham’s committee agreed to expel at the end of his second year.

Palatinate subsequently published a front-page story beneath a photo of Dennis that noted “a considerable degree of shock and dismay at the apparently unsympathetic attitude taken by the University authorities towards this case, an attitude which several students believe to be almost vindictive.” It commented somewhat hesitantly that “the paper did adopt a particularly critical stance under the editorship of Mr Dennis, and many feel that it is not beyond the bounds of possibility that the difficulties he created for the University may not be totally unconnected with his present predicament.”

Incensed by Dennis’ expulsion, I wrote Palatinate a signed letter it published in October 1979:

“It is frightening to think that any students at this University can be sent down for not ‘keeping term’, which could mean:

Not attending a course of instruction (which could be a subsidiary [subject]) to the satisfaction of the Chairman of the Board of Studies concerned.

Not attending ‘academic engagements to the satisfaction of the Board of Studies concerned.

Not presenting written work as and when required unless excused in advance.

Is it really fair to leave such vague definitions to the interpretation of the Chairman of the Board of Studies? How clearly are these conditions communicated to new students? How many students treat their lectures as ‘optional’?

It is a sobering thought that if YOU do not get on the right side of the Chairman of your Board of Studies (do you know who he/she is?) and you:

Miss a lecture because your alarm clock fails to go off

Miss a tutorial because you muddle the date

Hand in an essay late because you could not get the books

YOU could be accused of not keeping term …. Sweet dreams.”

If Ian Graham’s letter to me the previous term had been an oblique personal warning, this publication of my opinions ensured that there was now an oversized target on my back. That is a story for another day.

Despite this realisation, I was determined to persevere with investigating Ian Graham for a potential further article in Palatinate. Each new academic year, Graham distributed invitations for a ‘fresher’ party held in his flat to first-year female students arriving from the private schools he favoured. My then student girlfriend had a friend who was prepared to pose as one of these targeted young women. ‘KT’ was suitably talkative, pretty and had a posh accent. Although she was in her second year, she would attend using a ticket we wrangled from a new student who had no interest in taking up the offer.

KT arrived at Ian Graham’s flat the evening of the party with my Sony TCM-3 cassette recorder under her clothing, attached to a hidden lapel microphone. She was sufficiently bold to strike up conversation with Graham who, as hoped, suggested she return on her own for one of his “more private occasions.” However, after reviewing the tape recording, there was nothing substantial enough from their dialogue with which to craft an article. After much discussion, and in light of Jerry Dennis’ expulsion, we decided regrettably that a further ‘mission’ to follow up Graham’s invitation would prove too dangerous for KT’s academic future. His annual recruitment of ‘pretty young things’ would continue regardless.

I had been upset, angry and horrified by Jerry Dennis’ expulsion. I still am. It was me who had analysed the audited financial data for the article Dennis published about DUAU’s finances. I was partly responsible for the ructions caused with Ian Graham. However, it frustrates me that, whenever Palatinate is mentioned now in the media, its former student editors Hunter Davies and Harold Evans are frequently vaunted for their subsequent glittering journalistic careers. From my perspective, it was Dennis who introduced investigative journalism into the formerly staid student newspaper … and paid a terrible price. The Jerry Dennis I recall remains an inspiration.

On 27 December 1984, Ian Graham was returning to Durham from Edinburgh by car when he was involved in an accident in which he died from his injuries. His official university obituary mentioned his “happy and congenial social life” and noted that, for many Durham graduates, “the name of Ian Graham has been something of a legend.”

In March that year, the British government had announced the initial closure of twenty coalmines, including one in County Durham, with the loss of 20,000 jobs. It was the cornerstone of a deliberate strategy by then prime minister Margaret Thatcher to destroy the strong trade unions within traditional North of England industries, the dominant employer of working-class people there. This annihilation was enabled by financial and electoral support for Thatcher’s Conservative Party provided by successive generations of the very same privileged, wealthy class of (mostly) southerners with whom Ian Graham had successfully populated Durham University. Their ideological objective destroyed the surrounding County Durham local economy and created mass unemployment on a hitherto unseen scale.

The figurines of miners carved into the front of that huge wooden Edwardian reception desk in Old Shire Hall would have wept at the ease with which their new owner’s affluent cohorts had so casually succeeded in destroying their centuries-old livelihoods. Before long, coalmining disappeared altogether from Durham.

#career #Durham University #Grant Goddard #Palatinate #student

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howtodoacollegeessay335 · 4 years ago

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danieledorazi · 5 years ago

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The Value of Things.

‘“Look at this pen,” says sociologist Simon Susen, holding up a cheap biro in his office at City, University of London. “Right now it’s just a standard industrial object like a thousand others. But what if I told you it was owned by François Mitterrand or Winston Churchill? Suddenly it is transformed.”

Susen is referring to a new way of thinking about objects theorized by two French academics, Luc Boltanski and Arnaud Esquerre, in their 2017 book Enrichment: A Critique of Commodities. After studying the ways countries like France, Spain and Italy market their histories to billions of tourists every year through museums, universities, private collections, and a torrent of PR, Boltanski and Esquerre devised a system for understanding how assets maintain value in the long-term. They called it “The Enrichment Economy.” Nerd shit, obviously, but it works.

“It means you can make profit from different sorts of things,” Susen explains. “It could be from commerce, trade, exchange, or from the construction of a narrative.”’

From HS: ‘Hype Futures: Will Supreme Go the Way of Beanie Babies?’

#rolex #che guevara #the enrichment economy

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michaelchapmanba3b · 6 years ago

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Collaboration - Puppet and Set Construction

Today I as well as Maddy and Eddie spent the first half of the morning fixing the set up by making final last minute changes to which I spent the afternoon making great progress. Following on from the sucess that was our set making session we met u again to finish the last remaining aspects for our set. Eddie took on the role of making the white road marking dirtier and faded with time which with refference pictures he did a great job with.

Both Maddy and Eddie focused on painting the detail on the pavement and the curb. I wanted to make it look like they were individual curb pieces, which Maddy was keen on focusing on meanwhile eddie was applying a base coat for the pavement which Maddy then kater dry brushed the set bring out all the small deatails within the material giving it a more pavement feel.

I was focused on painting the section of the road that lead up to the gate, I had to mix the same colour and use the same process as before by mixing the paint then mixing the sand in. I believe now I got a darker grey to what I origionally used on the road however I don’t believe it will be that noticeable in real life and on film. I also painted round the sides the same orange colour. My main concern is if the camer will be at an angle the camera might spot the wood. whild maybe breaking the suspension of disbelief I mixed the same orange and coated all the sides just to make sure. I finally added a few boits of moss and glued it to the base to give it a textured feel. Maddy would then later use some more fake moss and put some on the biggest part of the set. We focused our remaining effort on the small details such as leaves, cirgerette buds and the chewing gum I made meant to represent someone has already stood in it.

And finally the sets is finished. The small details such as the leaves, stones, Cigarette buds and chewing gum really makes the street feel alive. I believe we all did a fantastic job on the set. What started as a blank set has now transformed into a weathered British street set. It is a visually striking set perhaps due to its size but in order to showcase how small the character are it needed to be. If I could make this set again I would focus on making the gutter and drain a bit bigger but that’s mainly it. I think adding in anymore would ruin the image. Overall I am very happy with this. Now onto the hornet puppet.

I have had many false starts with this hornet although finally it feels like I’m making progress. Today I used thin wires for the leg and whilst testing if the puppet can support its own weight through it’s legs, we found out it can. I experimented with this foam to begin with however the blue foam felt to chunky and to big for a small insect that will be the hornet so I decided to go to the market stall is buy thinner foam.

The wings were tricky to make. With the help of Barry Leith we were able to use perspex plastic whilst using a fine biro to mark out the veins on the wings and then used araldite on the wire to stick to wings. However that is a small issue. The brio marks even after being left to dry for an hour still smudges whilst completely dry. We treated it to this drying agent which helped a little but not a lot mainly. I may use nail varnish if this problem continues to paint of it to give it a seance of depth for the biro but to hopefully give it a material that it could stick to. I have been advised to stick the wings on last after I have painted the entire body and therefor can’t get any paint on it which I will do. I drilled holes in at the top of the hornet body section and are ready to be placed in the armature.

I was also experimenting with the talons and the the antennas. I picked out a wire that best suited the both whilst being thin enough and abl. I wanted the antennas to be thicker then normal to replicate eyebrows. I plan to coat these in a thin foam as I did to the legs.

as you can see the hornet measures out to be taller then the snail but shorter then the pigeon which was always the planned height for these so I’m proud that I was able to make the it to the similar specification and height despite all the troubles and set backs I have had along the way. I also found a suitable foam to represent the legs being thing enough foam that once painted will resemble an insect the hornet having hairy legs. I plan to use this foam for the remaining arms, antennas and talons which I will try to keep the same thickness as I do already. So far I’m proud of my progress. if I was to change anything I would have it so that the head is a bit more curved to match the body and the tail section as once it reaches the face of the insect the design becomes flat straight down. Sadly I’m not able to change this aspect. The next stage is to add the foam to the appendages and to then start painting the body

#collaboration

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lovelyfantasticfart · 4 years ago

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fashiontrendin-blog · 7 years ago

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7 Essential Shoe Styles Every Man Should Own

https://fashion-trendin.com/7-essential-shoe-styles-every-man-should-own/

7 Essential Shoe Styles Every Man Should Own

There are two simple rules for owning a small shoe collection that is versatile enough to cover all bases. The first: forgo fashion and hotfoot it to classic styles. The second: spend as much as you can. Think quality, not quantity because the old adage is true. Your shoes are often the first thing people notice about you, especially if they look like they’ve been round too many blocks.

Since this is about having as few pairs as possible, there’s one more rule: be brutal. Some of our favourite styles are not included below because they’re not absolutely essential if you’re on a budget or trying to save space. Chelsea boots? Hiking boots? Nice to have, not need to have. The same goes for monk straps, pool sliders and even high tops.

But whatever your look, whatever your budget and whatever’s in the diary over the next 12 months, if own a pair of well-made shoes in each of the following styles, you’ll have just about every social situation – from office to gym to bar – stylishly shod. You need never put a foot wrong again.

For Anytime, Anyplace: Minimal Trainers

Chunky trainers might be having a fashion moment, but the minimalist sneaker is the real wardrobe hero. Based on a retro tennis shoe, this simple sneaker has become an essential component in most of our outfits in recent years and it should be in yours too. The real deal is devoid of any obvious sports logos or branding, thick treads or air cushioned soles, are made of leather (real or imitation), and are never to be confused with plimsoles.

Consider these your go-anywhere kicks because their USP is versatility (especially in white). Wear them day-to-night with tees and chinos, jeans, shorts and informal tailoring. However, they do have a use-by date: that moment they start looking past their best, relegate them to loafing about the house or doing chores. Never wear them for exercise and keep them as box fresh as possible – be sure to pop some deodorising insoles in on day one. Common Projects, Axel Arigato, C.QP and Adidas Stan Smiths are some of the best versions around.

AXEL ARIGATO

For The Smartest Occasions: Black Oxfords

The black Oxford shoe is your classic ‘school’ shoe: it’s strictly for work and formal occasions such as weddings, funerals, christenings and job interviews. Basically, whenever you’ve got the good suit or black tie out. It’s often viewed as the shoe for ‘professionals’ – in fact they used to be a dress requirement for jobs at banks in the city. A little boring, perhaps, but also a safe pair of hands (or feet) and the work horse in your footwear collection if you have a job that requires daily smart attire.

Ostensibly, the name comes from a type of half boot that became popular at Oxford University in the 1800s, but today most Oxfords will be found in shoe format. In technical shoe-geek terms, these are ‘close-laced’ shoes, where the inside and outside quarters are stitched under the vamp (the piece of leather that makes up the front of the shoe) and the tongue is stitched in separately. A high-quality pair is a worthy investment because they’ll never not work for smart occasions. Some of the finest examples are made in England by Crockett & Jones, Church’s, Loake, Tricker’s and John Lobb.

Tricker’s

For The 9-5 And Beyond: Derby Shoes

The Derby shoe is the Oxford’s chunkier cousin. It’s an ‘in-between’ shoe, and the ultimate in smart casual footwear. They can sharpen up raw denim as well as they loosen up a suit and are practically standard issue for flat white-carrying creatives.

The technical difference with an Oxford is in the construction; the tongue is part of the vamp (not stitched on separately) and the quarters are stitched to a tab point either side of the vamp – this is known as ‘open lacing’.

The sole is another key component with the Derby: these can be leather or rubber for extra grip and durability. Either way, these are often Goodyear welted. American Charles Goodyear patented his welt technique in 1871, whereby the upper is stitched to the leather strip known as the welt, which is then stitched to the insole of the shoe. This game changing method made shoes waterproof and today, Grenson is a go-to brand for its triple welted Derby.

For those reasons, Derbies are practical shoes that look good with pretty much everything. The simpler the model (without brogue details, single welt) the more versatile the shoe will be. On a practical note, the shape of the Derby is also more forgiving to wider feet with a higher in-step.

Grenson

For The Dinner Date: Leather Slip Ons

This type of shoe covers a range of styles including the penny and tassel loafer. The slip on has American heritage and is synonymous with the preppy ‘Ivy League’ look and Michael Jackson’s Moonwalk. George Henry Bass, maker of the original penny loafer, founded G.H Bass & Co. in Maine in the United States in 1876. His famous ‘Weejuns’ are still the most notable style today and were based on the Norwegian farm shoe.

Going with the preppy vibe, loafers and chinos are a classic combination. If it feels too stuffy, it’s acceptable to wear loafers with and without socks – here’s an opportunity to experiment with different prints, patterns, colours – with a rolled-up cuff. It’s an easy, versatile shoe, hence its adoption by everyone from bankers to outdoor sports enthusiasts to punks and Ivy League frat boys. Today, under Alessandro Michele, Gucci’s horsebit loafer has regained the top spot as the most desirable slip on.

GH Bass & Co

For The Weekend: Work Boots

Northampton is the capital of the British shoe industry and much of its centuries old success is down to outfitting British armies and workers. Infantry needed boots on a mass scale, as did the thousands of workers toiling in factories during the industrial revolution. Most British shoe brands originate from this English county – the village of Wollaston, for example, is the original home of Dr Marten’s.

And for anywhere with inclement weather, work boots remain an essential type of shoe for tricky terrain and wet conditions, the smarter equivalent to wellingtons. The laced Derby work boot is a double-lined extension of the shoe version, and a smarter relation to the hiking boot. It looks excellent with heavy weight fabrics such as wool or tweed trousers, cropped above the ankle. Incidentally, Daniel Craig, as James Bond, wore Crockett & Jones’ Radnor boot for scenes in SPECTRE so you can be sure that in a Derby boot, you’re ready for anything.

Dr Martens

For The Beach: Espadrilles

The oldest type of shoe on this block, the espadrille has been knocking around Europe since the 14th century. The term espadrille is French, but the origins come from esparto, the Greek name for a tough type of Mediterranean grass used to make rope, rugs, baskets and the plaited soles of this type of shoe. It’s a common form of footwear that can be picked up inexpensively from markets around Southern Europe, but pricier, designer versions abound too.

Sturdier and more versatile than flip flops, espadrilles are fairly comfortable for short distances and suitable for sandy shores and beyond. Which means you can wear them from beach to bar and then take in the sights of the old town. The canvas uppers are breathable and cover the front of the foot – a bonus if you forgot to tidy your nails. Espadrilles go well with linen, beach wear, shorts, chinos, light jeans and can even go with a summer suit on the right occasion – a pool side wedding for example – but never, ever with socks.

Rivieras

For The Gym (Or The Pub): Runners

Ever heard of Carolyn Davidson? We doubt it. So, you might be surprised to learn you could be wearing one of her designs right now. In 1971 Davidson designed the Nike Swoosh logo – for the princely sum of $35 (yeah, she got mugged off). The athletic shoe market is worth billions today – something that hasn’t gone unnoticed by high fashion brands: cue designer (overpriced) versions and endless collaborations to lure in younger customers.

In the 2000s Martin Margiela took a €10 runner off a Parisian market stall, scribbled on it with biro and sold it for €300 – and the cult fashion trainer was born. Other hits include Dior Homme’s ‘B01’, Valentino’s ‘Rockrunner’ and Balenciaga’s recent ‘Triple S’.

These days you can wear a multitude of sneaker styles with almost anything, but unless you’re confident pushing the fashion envelope, stick to denim and sportswear as foolproof options. Whether you’re a dedicated sneaker freak or just like the comfort factor, make sure you always have a decent pair for the gym – New Balance are a good shout. Proper running shoes give right support in the right places and can help protect the feet and ankles from injury. (And don’t worry about Carolyn – she received a diamond ring and 500 Nike shares some years later.)

Saucony

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jacktitmas · 7 years ago

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Unit 12 Assessment Reflection

Reflecting on my assessment for the Journeys project, im happy with the progression I made in maintaining and developing on areas of my work which previously were highlighted as areas I could improve. Improving upon areas of work such as research, demonstrated that I used a wider range of sources and explored a series of contexts that offered me a range of development opportunities for my project across the duration of the term.

I’m happy that I was able to extend my grade in the planning and production of my work. Having created a range of final outcomes that I believe were not only aesthetically appealing but suited the needs of my audience as well. Highlighting how I was able to create a clear visual connection between the project titles, seamlessly linking the principles of the ‘Scrappers’ brief and having the opportunity to further demonstrate my exploration of animation as a specialist skill.

Moving towards the FMP I must take into consideration the area’s for improvement across my work. Making sure I reflect upon the constructive criticism given to best amend and push myself outside my comfort zone to create an effective outcome and journey throughout the final major project. To summarize, it is in my best intentions to;

Sketch, sketch and sketch again...(Use different tools pencil/ biro/ ink/ brush) to gauge a wider array of ideas in the stages of early development.

Look at more references outside my comfort zone, considering wider cultural concerns moving past just the aesthetics of an artists or my own work.

Organise my time to allow for greater productivity (Spending less time on graphics for my blog and more time designing/ making).

Keep clearer records of the work I produce and refine this constantly. Consider the journey should not be from A to B, creating a range of market research based upon audience response. The effectiveness and intentions of my work.

Using these amendments will help refine and push the development of my work, and in reaction to this I have taken the opportunity to purchase an A5 sketchbook. Dedicated to drawing to expand my productivity to experimenting with alternate mediums and materials.

Having explored the specialism of animation across the two years of this course, the FMP presents the opportunity to create a piece im proud of. Considering the effectiveness of my outcome not only in aesthetic quality but in consideration of other aspects such as audience. With the hopes of working in stop-motion I hope to be able to incorporate my specialism in reflection to the given brief within the upcoming week.

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juliandmouton30 · 8 years ago

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"Architects and designers are no good at altering your mental topography"

With her latest exhibition, British artist Laura Oldfield Ford is more likely to change your understanding of London's working-class landscape than any architect or designer, says Owen Hatherley in this Opinion column.

At the far end of Laura Oldfield Ford's exhibition Alpha/Isis/Eden – on at the Showroom Gallery in Lisson Grove, just northwest of central London – is an image taken from a property brochure for a recent building in the area.

It's a view of an interior, of a very familiar kind. The room is small, but expensive furnishings and a view manage to obscure that fact. Vaguely modernist lightweight chairs, a plush sofa, a coffee table with design books and objets d'art frame what you can see through the floor-to-ceiling windows – which you'll notice, if you've just wandered around the area, is an aerial view of where you are, with the spire of John Soane's Holy Trinity Marylebone as a marker ("occupied", we'll learn, "by an American evangelist sect").

Multicoloured writing is scrawled between the angles of this clean-lined space, and the colour has been tinted, making it look queasy, radioactive. What is happening here is a conjuring act – an attempt to call back all that this image of a perfect high-rise room for sale erases. All the forgotten moments, fervent hopes and lost connections that these ubiquitous photos and renders of mediocre super-modernity suggest have definitively disappeared are brought back, albeit fleetingly.

For the last 10 years, Oldfield Ford has tried to maintain the presence of a barely remembered London

For the last 10 years, Oldfield Ford has tried to maintain the presence of a barely remembered London of squats, council estates and picket lines, a place all but wiped off the face of the earth by property prices, through her work as a painter and writer, particularly in her zine Savage Messiah, which was collected into a book by Verso in 2011, in time for the riots it predicted.

The average issue of Savage Messiah took a particular part of London – the Westway, Kings Cross, Stratford, Heathrow, to name a few – and collaged, scribbled or typed memories of it, both her own and others. It would include distorted photographs, property renders and, particularly memorably, her own densely wrought counter-images, often meticulously cross-hatched in biro, of waste-strewn industrial sites, dilapidated Victorian squats, industrial estates, heroic concrete engineering, and GLC housing estates with their labyrinthine walkways and hiding places (a disaster for planners and architects since the 60s, because they are so hard to patrol and police, and an ideal landscape for Oldfield Ford for exactly the same reason). Within these would be endangered 80s subcultural tribes of anarcho-punks, skinheads and rude boys, treated by Oldfield Ford treats as almost angelic figures, but whose places are now taken by the grinning, glass-clinking figures on the billboards.

It was the sort of thing easily caricatured as sentimental by those who think everything is wonderful as it is. But the lament in Savage Messiah is not merely about how great London was when the rich were confined to an enclave in Mayfair-Belgravia-Kensington and bankers lived in Surbiton rather than Peckham. It's a matter of what her ghostly figures didn't manage to do – to transform London into a new kind of city, one where work barely exists, property is irrelevant and everywhere can be walked. Their hopes were thwarted and so, in her collages, they haunt 21st century London instead. But traces of them can also be found in the present – something the zine did its best to record.

This is an immersive environment – the closest this enthusiast for Brutalism will ever come to architecture

What Alpha/Isis/Eden (named after three local high-rises under threat of demolition) does is a little different. Earlier exhibitions have often been of paintings and drawings, but this is an immersive environment – the closest this enthusiast for Brutalism and relentless opponent of rational town planning will ever come to architecture. And it's in the perfect place for it, a part of inner London which hasn't quite been crushed yet.

Much of the area is extremely wealthy (and an earlier architectural response – Tony Fretton's early, elegant, Platonically austere Lisson Gallery – is a reminder of art's role in that transformation), but the density of council estates and Peabody tenements built there between the 1870s and 1970s means that signs of working class metropolitan life – cafes, launderettes, an unpretentious street market, a multicultural population – are still to be found.

"The housing crisis isn't a crisis, it's a design project"

The entrance to the Showroom has dense text pasted over it: "I could trace paths through the squats of Elgin Avenue, the acid house parties beneath the Westway....strange constructions emerging from heaps of scrap metal...the Acklam Hall, crepuscular worlds of dreaming and drifting". Inside, the ground floor is turned over into full-height blow ups of collages of property ads, drawings and snapshots of estates, underpasses and the nearby Marylebone flyover, covered in text, sometimes encrypted, sometimes suddenly clear. Minions make several unexpected appearances. Metal grille doors, of the sort used to deter squatting, are placed around to frame these. The text carries the original disclaimer "lifestyle images are indicative only".

The most striking addition is the sound – an hour-long composition by Jack Latham, better known as Jam City. The result is psychedelic, a montage of her readings, snippets of luxury apartment marketing patter, the sounds of the street around, drones and rumbles of bass, and snatches of the dizzy electro-soul showcased on his album Dream a Garden.

After leaving, you see where you are completely differently

After a time – and it takes time – in this space, the sound and the images melt together. Oldfield Ford's soft West Yorkshire tones contrast with the oblique but violent words edged into the landscapes: ZONES OF SACRIFICE; THE WESTWAY HAS ALWAYS BEEN THERE; LISSON GREEN MAN DEM; LONDON HAD SNAPPED AWAKE. ALL THOSE DORMANT STRANDS, HIDDEN CURRENTS EXPOSED.

After leaving, you see where you are completely differently, your mental topography altered and filtered in a way that the heritage culture tropes of "psychogeographic" writing no longer can.

Architects and designers are not good at this. The past means "context" and "reference", politics is "consultation", modernism becomes the affirmation of what is. Through this, an enormous amount has been repressed – things you're not meant to think about, lest they complicate the brief, or suggest that the brief itself is fundamentally corrupt.

Alpha/Isis/Eden is all about those things that even professedly "radical" architectural practices find it impossible to work with. In a small space, it creates an environment suffused with anger, memory, longing, vengefulness and solidarity, in a city that is trying to force those emotions, and the people who hold them, out.

Owen Hatherley is a critic and author, focusing on architecture, politics and culture. His books include Militant Modernism (2009), A Guide to the New Ruins of Great Britain (2010), A New Kind of Bleak: Journeys Through Urban Britain (2012) and The Ministry of Nostalgia (2016).

Photograph is by Daniel Brooke.

The post "Architects and designers are no good at altering your mental topography" appeared first on Dezeen.

from ifttt-furniture https://www.dezeen.com/2017/03/02/architects-designers-good-altering-mental-topography-opinion-exhibitions/

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dubaiorforeigners · 8 months ago

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DUGITAL NOMAD IN DUBAI

Moving to Dubai as a digital nomad can be a great idea, but it's important to consider both the pros and cons before making your decision.

Reasons to Move to Dubai as a Digital Nomad:

Tax-free income: One of the biggest draws is the lack of income tax in Dubai, meaning you keep more of your earnings.

Modern infrastructure: Dubai boasts excellent internet connectivity, co-working spaces, and a modern lifestyle that caters to digital nomads.

Safety: Dubai is known for its safety, making it an attractive option for solo travelers and women.

Cultural diversity: You'll encounter a vibrant mix of cultures and nationalities, creating a unique and enriching experience.

Networking opportunities: Dubai has a thriving entrepreneurial scene with ample chances to connect with other digital nomads and professionals.

Luxury lifestyle: If you enjoy the finer things in life, Dubai offers plenty of high-end options for dining, shopping, and entertainment.

Reasons to Reconsider Moving to Dubai as a Digital Nomad:

Cost of living: Dubai can be expensive, particularly for accommodation and entertainment. Make sure your income can cover the higher costs.

Visa restrictions: Obtaining a visa can be complex and costly, especially if you're not sponsored by a company.

Social restrictions: Dubai has stricter social norms than many Western countries, so be prepared to adjust your behavior and dress accordingly.

Limited outdoor activities: While Dubai has beautiful beaches and deserts, outdoor options can be limited due to the extreme heat during certain months.

Lack of nature: If you enjoy spending time in nature, Dubai might not be the ideal choice as it is a largely urban environment.

Making the Decision:

Before making your final decision, ask yourself these questions:

Can I afford the cost of living in Dubai?

Am I comfortable with the social restrictions and cultural norms?

Do the benefits of living in Dubai outweigh the drawbacks for me?

Have I researched the visa requirements and process?

What kind of lifestyle am I looking for, and does Dubai offer it?

Tips for Digital Nomads in Dubai:

Network: Join online communities and attend events to meet other digital nomads and expand your network.

Research visa options: Investigate the different visa options available for digital nomads in Dubai, such as the freelance visa or remote work visa.

Budget carefully: Create a realistic budget that accounts for the higher costs of living in Dubai.

Explore co-working spaces: Dubai offers a variety of co-working spaces, each with its unique atmosphere and community.

Embrace the culture: Learn about the local customs and traditions to make the most of your experience in Dubai.

By carefully weighing the pros and cons and doing your research, you can determine if moving to Dubai is the right choice for your digital nomad lifestyle.

#Digital Nomad #Digital Nomads #Digital Nomads Dubai #DUBAI #MOVING TO DUBAI #BUSINESS BAY #DUBAI LIFE #DUBAI INVEST #INVESTMENTS #DIGITAL ART #DIGITAL NOMADS #Marketing Biro For Construction And Architecture #Marketing Biro For Construction #Marketing Biro #Marketing #Marketing Biro For Architecture

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jeniferdlanceau · 8 years ago

Text

"Architects and designers are no good at altering your mental topography"

For the last 10 years, Oldfield Ford has tried to maintain the presence of a barely remembered London

This is an immersive environment – the closest this enthusiast for Brutalism will ever come to architecture

"The housing crisis isn't a crisis, it's a design project"

After leaving, you see where you are completely differently

After leaving, you see where you are completely differently, your mental topography altered and filtered in a way that the heritage culture tropes of "psychogeographic" writing no longer can.

Photograph is by Daniel Brooke.

The post "Architects and designers are no good at altering your mental topography" appeared first on Dezeen.

from RSSMix.com Mix ID 8217598 https://www.dezeen.com/2017/03/02/architects-designers-good-altering-mental-topography-opinion-exhibitions/

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