#Marketing Biro For Construction

[dubaiorforeigners]

DUBAI FOR FOREIGNERS

DUBAI FOR FOREIGNERS

Welcome to Dubai: Your Ultimate Expat Adventure Begins

Hey there, fellow adventurers!

If you're reading this, chances are you're curious about life as an expat in Dubai – and for good reason! This city is a whirlwind of opportunity, culture, and sunshine. As someone who's made the leap myself, I'm thrilled to start this blog to share all the ins and outs, tips, and tales from my Dubai experience.

Why Dubai?

Let's be real, Dubai isn't your average expat destination. It's a city that's constantly reinventing itself, pushing boundaries, and offering a lifestyle that's hard to find elsewhere. Here's what hooked me:

Thriving Economy: Whether you're in finance, tech, or even the creative arts, Dubai's economy is booming. There's a real sense of energy and ambition in the air.

Cultural Melting Pot: Expats from every corner of the globe call Dubai home. This creates a vibrant mix of traditions, cuisines, and perspectives.

Tax-Free Income: Yes, you read that right! Your hard-earned money goes further here.

Luxury Lifestyle: From world-class shopping to stunning beaches and gourmet dining, Dubai knows how to indulge.

Safety: Dubai consistently ranks as one of the safest cities in the world.

What to Expect on This Blog

I'm not just going to sugarcoat things – this blog will be your honest guide to navigating expat life in Dubai. Here's what I have planned:

Practical Tips: Visa processes, finding housing, healthcare, schools – I've got you covered.

Cultural Insights: Understanding local customs and traditions is key to thriving here.

Neighborhood Guides: Discovering the different vibes of Dubai's diverse areas.

Hidden Gems: Unearthing the spots only locals know about.

Personal Stories: Sharing my own expat journey – the good, the bad, and the hilarious.

Get Ready to Dive In!

Whether you're daydreaming about Dubai or have already booked your flight, this blog is here to be your companion. So, buckle up, stay tuned, and get ready to embrace the Dubai adventure!

Your Next Steps:

Subscribe: Hit that subscribe button so you don't miss a post.

Connect: Share your Dubai questions or experiences in the comments.

Explore: Start browsing the rest of the blog for a taste of what's to come.

Let's embark on this journey together!

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An Overview Of Ambulatory Surgery Centers Nursing Essay

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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?’

[michaelchapmanba3b]

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 

[lovelyfantasticfart]

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[fashiontrendin-blog]

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

[jacktitmas]

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.

[juliandmouton30]

"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.

Related story

"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/

[jeniferdlanceau]

"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.

Related story

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

[dubaiorforeigners]

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.

[dubaiorforeigners]

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