#barbican conference centre

[wellourgerdes]

The Barbican Centre

The Barbican Centre, Silk Street The Barbican Centre is free to enter, regardless of whether you’re there to watch an exhibition or seek somewhere to hang out. The largest performing arts venue in Europe is located on the Barbican Estate of the City of London, England, called the Barbican Centre. The centre presents theatre productions, film screenings, art exhibitions, and concerts of both…

[lotusevents]

Discover the Best Event Spaces in London

London, a city brimming with history, culture, and innovation, offers an array of event spaces that cater to a diverse range of occasions. Whether you're planning a corporate conference, a wedding, or a private party, the capital boasts some of the most unique and versatile venues in the world. In this blog, we'll explore some of  top event spaces London that promise to make your event memorable.

1. The Shard

Standing tall at 310 meters, The Shard is an iconic symbol of modern London. Its event spaces offer unparalleled views of the city skyline, making it an exceptional choice for any high-profile gathering. The Shard's venues, such as the Shangri-La Hotel and the View from The Shard, provide elegant settings with state-of-the-art facilities. Whether you're hosting a business meeting or a glamorous soirée, the breathtaking vistas and luxurious interiors will leave a lasting impression on your guests.

2. The Natural History Museum

For those looking to add a touch of grandeur and history to their event, the Natural History Museum is an excellent choice. Located in South Kensington, this architectural marvel offers several stunning spaces, including the iconic Hintze Hall, which features the magnificent blue whale skeleton. The museum's versatile spaces can accommodate anything from intimate dinners to large-scale receptions, providing a unique backdrop that combines science, history, and beauty.

3. The Brewery

Situated in the heart of the City of London, The Brewery is a versatile venue that seamlessly blends historic charm with modern amenities. Once a renowned brewery, this venue now hosts a variety of events, from corporate conferences to weddings. With its exposed brickwork, wooden beams, and atmospheric lighting, The Brewery offers a distinctive setting that can be tailored to suit any occasion. Its range of rooms and outdoor spaces ensures flexibility, making it a popular choice for event planners.

4. Sky Garden

Perched atop the "Walkie Talkie" building, Sky Garden offers a lush, green oasis with panoramic views of London. This unique venue features beautifully landscaped gardens, open-air terraces, and spacious indoor areas. Sky Garden is perfect for both daytime and evening events, providing a stunning backdrop of the city skyline. The venue's in-house catering and event planning services ensure that every detail is meticulously handled, allowing you to focus on enjoying the occasion.

5. The Barbican Centre

As Europe's largest multi-arts and conference venue, the Barbican Centre is a hub of creativity and culture. Located in the heart of the City, it offers a range of event spaces, including theaters, conference rooms, and exhibition halls. The Barbican's distinctive Brutalist architecture and versatile interiors make it an ideal choice for conferences, performances, and exhibitions. Its central location and excellent transport links further enhance its appeal for both local and international guests.

6. Kensington Palace

For a truly regal experience, Kensington Palace offers an opulent setting steeped in history. This royal residence, set within the picturesque Kensington Gardens, provides a range of exquisite event spaces London, from the elegant Orangery to the intimate Sunken Garden. Kensington Palace is an exceptional venue for weddings, gala dinners, and prestigious events, offering a unique blend of historical grandeur and modern luxury.

Conclusion

London's event spaces cater to every need and preference, offering a diverse array of venues that combine historical significance, architectural beauty, and modern amenities. Whether you're planning an intimate gathering or a large-scale celebration, the city's unique venues ensure that your event will be unforgettable. From the soaring heights of The Shard to the regal splendor of Kensington Palace, London's event spaces provide the perfect backdrop for any occasion.

[canovahall-blog]

Exploring the late night time culture of London

If you've taken pleasure in the facilities of any kind of London conference hotels you will certainly know what effort the day can be. If you complete your meetings early enough, you can pay for to take time out of your active schedule to check out some of the several museums and also galleries that remain open late, just for people like you. So when you require some culture later on into the night, where can you go?

Head over to the Barbican

In addition to Thursdays, the galleries below are open till 10 pm. There are numerous night unique events, which may consist of talks or workshops with DJs. Beverages are readily available at Late Night Bar Brixton.

Collection and also museum

The British collection needs to not be missed, but if you only have your evenings complimentary, there are a number of later programs that frequently correspond to any type of brand-new essential events. The British Museum constantly remains open up until 8.30 pm on Fridays. You can end up being involved with the ordered disputes, unique talks and particular efficiencies.

The Arts Centre at Camden

If you go to events at Best Restaurants in Brixton London, you will be able to head to the Arts Centre at Camden Town to see talks as well as screenings. There are often online discussions for those who can stay until 9pm.

The National Gallery

This gallery comes in handy to most of the London meeting resorts as well as presents late programs on Fridays until 9pm. There are guided excursions, talks, as well as some online songs and special occasions. The National Gallery is not to be confused with the National Picture Gallery, just following door.

Late night galleries

You can choose in between the a little older made Victoria as well as Albert Gallery - which remains open till 10pm on Fridays and offers special motifs on the last Friday of every month except December - or choose the Tate Modern, with unique events on the first Friday of every month. They are open up until 10pm on both Friday and Saturday, and the special Friday events include anything from online efficiencies of songs to talks and also film shows.

The Science Gallery

The Scientific research Gallery supplies a delightful Wednesday evening collection of tasks simply for grownups and is open up until 10pm. The scientific research themed fun permits the youngster in you to play on every one of the 50+ interactive exhibits without having to describe your sudden burst of energy to your children!

For more info:- Bottomless Brunch Brixton

[mlittinfineartstage1]

Dr Zoë Mendelson (b. London, 1976) studied at Chelsea College of Art (BA Fine Art, Painting, 1998), Royal College of Art (MA Painting, 2000) and Central Saint Martins (PhD, 2015). Dr Zoë Mendelson is an artist and writer with an expanded field practice that owes its spatialisation, historical narratives and compositional framework to painting. Her work incorporates animation, collage, drawing, installation, painting, performance and fiction writing. She engages collation as a methodological framework for creating networks between psychoanalytic theory, psychotherapeutic practice, spatial theory, fine art and critical practice. Her work includes various forms of writing (fiction and non-fiction), painting, collage, drawing, hand-driven animation and installation. Mendelson has exhibited widely showing works, performing and publishing, nationally and internationally, most recently at Science Museum, London. Her work is also installed permanently (visibly and covertly) in public buildings.

 Zoë Mendelson's specific research interests as an artist are focused on disorder - in psychological terms - as a culturally produced phenomenon, in parallel to its clinical and spatial counterparts. She is interested in how culture coopts psychological and medical motifs and spectacularises them, leading to complex and widespread mis-readings. This has led her to produce artworks in direct response to imagery produced or used within medicine itself - particularly in diagnostics. Zoë has made works and curating events focused on the spectacularisation of disorder via culture, and in criticism of its historical visualisation and exhibition. Her theatricised conference ‘Spectacular Evidence: Theatres of the Observed Mind’, funded by UAL in 2017, is being developed into an edited book. Funded projects include Wellcome Trust and AHRC funded work in medical areas. She has made works that consider the clinic as cultural site; excessive accumulation; histories of hygiene; wellness and the city and has a PhD that examines hoarding in relation to collection via collagist methodologies. In 2015 Zoë was a selected member of the AHRC/Wellcome Trust funded New Generations programme for researchers in the Medical Humanities at the University of Durham. Zoë is Head of Painting and Printmaking at Glasgow School of Art, and is based in Glasgow. Mendelson co-curates the network paintingresearch with Geraint Evans and and is co-founder and editor of The Edit, an online and inclusive, de-canonised bibliography for students in Fine Art and related fields, now used in Arts education internationally. She was previously Course Leader for BA Fine Art Painting at Wimbledon College of Arts, University of the Arts London. Mendelson’s work has been shown/performed regularly nationally and internationally in public and commercial spaces. These have included Fondation Cartier, Paris (2005), Chapter, Cardiff (2006), CRAC, Alsace (2008), Barbican Centre, London (2015), Kunstmuseum Olten, Switzerland (2015) and Science Museum London (2018). Her writings on painting in the expanded field include a recent catalogue essay for Fully Awake (2019) and forthcoming chapter with Tom Cardwell and Geraint Evans, ’Painting as Technology�� in Teaching Painting: Painting the New (2021, Cambridge Scholars Press). Zoë has a profound interest in ill-being as a place of potential agency and advocacy - at odds with a current focus on well-being as a ‘success’ narrative. This interest stems from living with type 1 diabetes and finding that this allows for forms of embodied knowledges and empathy useful to many aspects of a life.  

Blaze

[methodsandmethodologies]

Dr Zoë Mendelson (b. London, 1976) studied at Chelsea College of Art (BA Fine Art, Painting, 1998), Royal College of Art (MA Painting, 2000) and Central Saint Martins (PhD, 2015). Dr Zoë Mendelson is an artist and writer with an expanded field practice that owes its spatialisation, historical narratives and compositional framework to painting. Her work incorporates animation, collage, drawing, installation, painting, performance and fiction writing. She engages collation as a methodological framework for creating networks between psychoanalytic theory, psychotherapeutic practice, spatial theory, fine art and critical practice. Her work includes various forms of writing (fiction and non-fiction), painting, collage, drawing, hand-driven animation and installation. Mendelson has exhibited widely showing works, performing and publishing, nationally and internationally, most recently at Science Museum, London. Her work is also installed permanently (visibly and covertly) in public buildings.

 Zoë Mendelson's specific research interests as an artist are focused on disorder - in psychological terms - as a culturally produced phenomenon, in parallel to its clinical and spatial counterparts. She is interested in how culture coopts psychological and medical motifs and spectacularises them, leading to complex and widespread mis-readings. This has led her to produce artworks in direct response to imagery produced or used within medicine itself - particularly in diagnostics. Zoë has made works and curating events focused on the spectacularisation of disorder via culture, and in criticism of its historical visualisation and exhibition. Her theatricised conference ‘Spectacular Evidence: Theatres of the Observed Mind’, funded by UAL in 2017, is being developed into an edited book. Funded projects include Wellcome Trust and AHRC funded work in medical areas. She has made works that consider the clinic as cultural site; excessive accumulation; histories of hygiene; wellness and the city and has a PhD that examines hoarding in relation to collection via collagist methodologies. In 2015 Zoë was a selected member of the AHRC/Wellcome Trust funded New Generations programme for researchers in the Medical Humanities at the University of Durham. Zoë is Head of Painting and Printmaking at Glasgow School of Art, and is based in Glasgow. Mendelson co-curates the network paintingresearch with Geraint Evans and and is co-founder and editor of The Edit, an online and inclusive, de-canonised bibliography for students in Fine Art and related fields, now used in Arts education internationally. She was previously Course Leader for BA Fine Art Painting at Wimbledon College of Arts, University of the Arts London. Mendelson’s work has been shown/performed regularly nationally and internationally in public and commercial spaces. These have included Fondation Cartier, Paris (2005), Chapter, Cardiff (2006), CRAC, Alsace (2008), Barbican Centre, London (2015), Kunstmuseum Olten, Switzerland (2015) and Science Museum London (2018). Her writings on painting in the expanded field include a recent catalogue essay for Fully Awake (2019) and forthcoming chapter with Tom Cardwell and Geraint Evans, ’Painting as Technology’ in Teaching Painting: Painting the New (2021, Cambridge Scholars Press). Zoë has a profound interest in ill-being as a place of potential agency and advocacy - at odds with a current focus on well-being as a ‘success’ narrative. This interest stems from living with type 1 diabetes and finding that this allows for forms of embodied knowledges and empathy useful to many aspects of a life.

[dd20century]

The Timeless Designs of Robin and Lucienne Day - Part Two

Read Part One of “The Timeless Designs of Robin and Lucienne Day”

Robin and Lucienne’s Pivotal Work in the 1950s

In 1952 the Days moved to 49 Cheyne Walk in Chelsea and decorated their home in the new style that they champion. (1) During the 1950s Robin continued to develop exhibits for Central Office of Information (1) and designed furniture for Hille, including the Hillestak plywood chair (1951), 675 Chair (1952) and the Interplan Unit U modular storage system (1955). (2)

Robin Day and his Q Stak Chair (1953).  Photographer unknown. Image source.

Lucienne also experienced tremendous success in the wake of the Festival of Britain. While she became Heal’s top designer, she also designed fabrics for “for Liberty, John Lewis and Edinburgh Weavers. (3)” These patterns from the 1950s featured linear motifs, some inspired by organic plant forms, others were abstract. Her designs from later in the decade were sketchier with bold colored blocks and stripes. (3) While the 1950s were a period of great professional activity for Lucienne, in 1954 her life changed when she gave birth to a baby daughter, Lucienne and Robin’s only child. (4)

Lucienne Day, Dandelion clocks Fabric for Heal’s (1953). Copyright: Robin and Lucienne Day Foundation. Image source.

The Days’ Become Britain’s Leading Designers

During the 1960s Robin continued with ground-breaking furniture design for Hille; his design for the “Polypropylene chair for Hille, which becomes one of the best-selling chairs of all time. (1)” During the 1960s Robin and Lucienne did collaborate on several projects: “furnishings for Churchill College, Cambridge” 1and that same year became design consultants for “John Lewis stores and Waitrose supermarkets. (1)”

British Overseas Airways Corporation (BOAC) also hired the couple as design consultants; together Robin and Lucienne “designed interiors for a range of aircraft. (5)” The next year Robin got the opportunity to work again with Peter Moro to design Hille’s showroom in London. (6) In additional to furniture Robin design electronics for Pye employing his “aesthetic on a smaller scale. (7)” Lucienne’s work in the 1960s became less representative, more geometric and abstract, as can be seen in her Octogon carpet for Wilton Royal (1964) and Apex fabric for Heal (1967). (8)

Robin and Lucienne Day, rendering of interior of BOAC VC10 Airline Cabin (1967). Image source.

Robin and Lucienne’s New Directions

Robin’s most recognized work of the 1970s was his E Series classroom furniture for Hille. With a molded plastic seat and metal legs E Series chairs were originally available in 5 colors: “blue, flame, forest green, donkey and brown. (9)” The chairs are still sold by Hille today but now are marketed in sixteen colors, including sapphire and charcoal. (10)

Robin Day, Series E Classroom Chair for Hille Furniture, polypropylene and metal (1971). Image source.

Lucienne Day, Helix Upholstery Fabric for Heal’s (1970). Image source.

Lucienne’s designs in the 1970s continued to feature bold colors and strong geometrics but stylized plant motifs made their way back into her work. With changing fashions and many of her old contacts retiring Lucienne decided to stop designing fabrics and concentrated her efforts on serving as a design consultant to John Lewis. (9)

In the 1980s Lucienne channeled her love of textile design into developing silk mosaic tapestries, made “from small squares or strips of dyed silk. (11)” She would go on to create 144 of these silk mosaics. (1) In 1990 she would produce a stunning series of large-scale silk mosaics called “Aspects of the Sun” which were hung in the café of the John Lewis store at Kingston-on-Thames. (12) During this decade Robin turned his attention mainly to designing public seating, most notably for the Barbican Arts Centre and for British Rail. (13)

Lucienne Day supervising the installation of her series of tapestries “Aspects of the Sun” (1990). Image source.

Robin Day continued to maintain his interest in public seating, designing as well consulting on several, such as his Toro seating designed for the London Underground (1990) and the modular polypropylene Sussex Bench (2003). (14)

Final Tributes to the Days

Robin and Lucienne Day’s work was introduced to a new generation of designers first in 1991 “their work was prominently showcased in a landmark exhibition called ‘The New Look: Design in the Fifties’ at Manchester City Art Gallery.” Then in 1993, the Whitworth Art Gallery held a one-woman show of Lucienne’s designs. (15) “A joint retrospective, "Robin and Lucienne Day – Pioneers of Contemporary Design" [was] held at the Barbican Art Gallery in 2001, which juxtaposed her textiles, carpets, wallpapers, ceramics and table linen with Robin's furniture. (16)”

The Days and their work were the subjects of the documentary film “Contemporary Days: The Designs of Lucienne and Robin Day.” One of Robin’s last public appearances was attending the film’s opening. (17)

Robin Day, Toro Bench, steel (1990). Image source.

The Design Legacy of Robin and Lucienne Day

Robin and Lucienne Day proved that excellence and innovation in design are timeless. Lucienne Day’s obituary in The Independent reported that when her “pylon-inspired pattern called Graphica was put back into production by Habitat in 1999 … it still looked so strikingly modern that it was hard to believe it was 46 years old. (15)” Robin’s “public seating was used for decades after its original installation”1 many of his designs for Hille, especially his designs for school furniture are still marketed and widely in use today. (1)

Lucienne Day died on January 30, 2010. Robin died on November 9 that same year. (1) In 2012 their daughter Paula Day established the Robin and Lucienne Day Foundation. The Foundation is a charitable organization that celebrates the Day’s design legacy through exhibitions, conferences and design projects. The Foundation recognizes innovation in design through a series of awards to textile and product design students. (17)

References

Design Museum, (n.d.). Robin and Lucienne Day. https://designmuseum.org/designers/robin-and-lucienne-day

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1950s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1950s/interplan-unit-u

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1950s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1950s/lucienne-day-br-1950s

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1950s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1950s/lucienne-and-paula

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1960s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1960s/vc10-aircraft-interior-design

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1960s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1960s/hille-showroom

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1960s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1960s/robin-day-br-1960s

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1960s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1960s

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1970s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1970s

Hille (n.d.), Series E Chair. https://www.hille.co.uk/e-series-chair

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1980s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1980s/lucienne-day-br-1980s

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1990s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1990s/aspects-of-the-sun-silk-mosaic

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1980s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1980s/robin-day-br-1980s

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 1990s. http://www.robinandluciennedayfoundation.org/lives-and-designs/1990s/toro-seating-in-the-underground

Jackson, L. (13 February, 2010). Lucienne Day: Textile designer whose work brightened up Fifties Britain, Independent Online. https://www.independent.co.uk/news/obituaries/lucienne-day-textile-designer-whose-work-brightened-up-fifties-britain-1898179.html

Robin and Lucienne Day Foundation, (2018). Lives and Designs: 2000s. http://www.robinandluciennedayfoundation.org/lives-and-designs/2000s/robin-day-br-2000s

Robin and Lucienne Day Foundation, (2018). Foundation. http://www.robinandluciennedayfoundation.org/foundation

[architectnews]

Barbican Centre Renewal Competition, London Buildings

Barbican Centre Renewal Competition, City of London Corporation Architecture Competition

Barbican Centre Renewal Competition

8 September 2021

Location: Barbican Centre, central London, England, UK

World’s best architects and designers asked to renew Barbican Centre

Barbican Centre Renewal Contest News

8th of September 2021 – The City of London Corporation has today launched its search for a design team to develop and deliver plans for a major renewal of the Barbican Centre.

The Barbican Renewal project, first announced in February, puts culture front-and-centre of the City’s recovery from the pandemic.

The Barbican is one of London’s most ambitious and unique architectural achievements; it is a global icon of brutalist architecture, renowned for its scale of ambition and consistency of design.

photograph © Nick Weall

Opened by HM The Queen in 1982, the Barbican is approaching its 40th birthday, and there is the opportunity to mark this milestone with a vision that enables the building to meet the needs of 21st century artists, audiences and communities.

Applications are invited from multi-disciplinary teams who have the skills, experience and ambition to deliver a complex and detailed project whilst respecting its Grade-II listing status.

The City Corporation – the founder and principal funder of the Barbican – is seeking submissions from practices working together: architects, engineers, sustainability and heritage consultants and others, who can embed equality, diversity and inclusion into their creative vision.

The initial brief allows for the Barbican Centre to be considered in its entirety – from upgrading venues and transforming underused areas into new flexible spaces, to improving the welcome, navigating and wayfinding. Embedding digital technology across the building to enable the Barbican to connect with a global audience is also a major focus.

The Renewal Project will also tackle a critical need to make major improvements to the building’s environmental performance. Under its Climate Action Strategy, the City Corporation commits to achieving net zero carbon status for its own operations by 2027 and its investment and supply chain by 2040.

The budget for the project is subject to approval by the City Corporation, and the successful design team will be asked to develop a range of options for the project that would be deliverable at different budget levels.

For the purpose of the design team selection process, interested bidders are being asked to propose a number of design options that would be deliverable within a construction cost budget of £50m to £150m.

photograph © Adrian Welch

Chair of the City of London Corporation’s Barbican Centre Board, Tom Sleigh, said:

“Since its opening almost four decades ago, the Barbican has become a much-loved, internationally acclaimed multi-disciplinary venue for world-class arts, creative learning and community work.

“We have welcomed millions of visitors and thousands of artists, all of whom have come together to share extraordinary experiences in a unique environment.

“The Barbican project has been a huge success, but there have been dramatic changes in arts practice over the last forty years, as well as the way in which civic buildings cater to their visitors and make themselves sustainable for the future.

“This is a fantastic opportunity for the world’s best architects and designers to bring together imaginative and ambitious teams to renew this iconic arts centre, adapting it to respond to the creative opportunities and urgent challenges of today’s world and ensuring that the Barbican plays a leading role in the recovery of the City, the capital and the nation from the pandemic.”

photo © Nick Weall

Each year, over a million people attend Barbican events performed by hundreds of artists from across the globe.

The Barbican is a key part of Culture Mile, the City of London’s cultural district, stretching from Farringdon to Moorgate. Led by the City of London Corporation, with the Barbican, Guildhall School of Music & Drama, London Symphony Orchestra and Museum of London, the five partners are together creating a vibrant, creative area in the north-west corner of the Square Mile.

Interested teams should submit an initial selection questionnaire by 21 October 2021.

Collaborative bids from design consortiums, particularly those that include emerging practices and widen representation within the project team, are actively encouraged. In addition, previous experience sections of the selection criteria are open to bidders who can demonstrate transferable skills that show their ability to meet the requirements of the brief.

The full brief and more details can be downloaded here.

photo © Adrian Welch

City of London Corporation

The City of London Corporation is the governing body of the Square Mile dedicated to a vibrant and thriving City, supporting a diverse and sustainable London within a globally-successful UK. www.cityoflondon.gov.uk

MORE INFORMATION ON THE COMPETITION

An open two-stage selection process is being run by the City Corporation – with up to five teams being shortlisted and invited to submit more details of their approach before an appointment is made.

The winning team will work with the City Corporation, the Barbican Centre and its stakeholders on the scheme.

The Barbican

A world-class arts and learning organisation, the Barbican pushes the boundaries of all major art forms including dance, film, music, theatre and visual arts. Its creative learning programme further underpins everything it does. Over a million people attend events annually, hundreds of artists and performers are featured, and more than 300 staff work onsite. The architecturally renowned centre opened in 1982 and comprises the Barbican Hall, the Barbican Theatre, The Pit, Cinemas 1, 2 and 3, Barbican Art Gallery, a second gallery The Curve, public spaces, a library, the Lakeside Terrace, a glasshouse conservatory, conference facilities and three restaurants. The City of London Corporation is the founder and principal funder of the Barbican Centre.

The Barbican is home to Resident Orchestra, London Symphony Orchestra; Associate Orchestra, BBC Symphony Orchestra; Associate Ensembles the Academy of Ancient Music and Britten Sinfonia, Associate Producer Serious, and Artistic Partner Create. Artistic Associates include Boy Blue, Cheek by Jowl, Deborah Warner, Drum Works and Michael Clark Company. The Los Angeles Philharmonic are the Barbican’s International Orchestral Partner, the Australian Chamber Orchestra are International Associate Ensemble at Milton Court, and Jazz at Lincoln Center Orchestra are International Associate Ensemble.

Barbican Centre Arts Centre Building

The arts centre building comprises: • the Barbican Hall (1,943 seat concert hall) • the Barbican Theatre (1,156 seat theatre) • The Pit (164 seat studio theatre) • Cinemas 1 (280 seat), 2 (153 seat) and 3 (153 seat) • Barbican Art Gallery, and a second gallery The Curve • public spaces • a library • the Lakeside Terrace • a tropical glasshouse conservatory • event and conference facilities, including the Barbican Exhibition Halls on Beech Street • three restaurants • car parks

Barbican Centre Renewal images / information received 080921

Location: Barbican Centre, London, England, UK

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The Building UK Premiere, Barbican Centre

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Centre for Music London Competition Shortlist

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Barbican Centre Film – Architecture on Film : Suburban Dreams

Arts Centres

Barbican Centre, London – www.barbican.org.uk

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Contemporary Architecture in London

London Architecture Links – chronological list

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Comments / photos for Barbican Centre Renewal Competition – 20th Century City of London Architecture page welcome

The post Barbican Centre Renewal Competition, London Buildings appeared first on e-architect.

[pinar-arch]

Environment/Part6

After the first review , we developed our project through the feedbacks.

We chose the Conservatory at Barbican center as our project site. We figure out that Barbican is more suitable for our project concept. Barbican Center’s performative feature and the idea of connecting with plants in the conservatory led us to chose that area. After that, I started to make more research about the barbican centre and conservatory.

The Centre is Europe’s largest multi-arts and conference and conference complex, with an array of different features was opened in 1982 by the Queen. Due to its immense structure the building is seen as a landmark and was designed by the eminent architects Chamberlin, Powell and Bon. Their vision was to reconstruct the area as it had been destroyed by bombing during the Second world war. The architectural structure is Brutalist constructed mainly concrete, avoking a feelings as if an enormous war battleship had established its place heavily in the middle of the city. With towering blocks of flats, brick pathways landscaped gardens and lakes, the structure produces a distinct separation of private, community and public areas.

Barbican Center

Conservatory houses exotic fishes, terrain and more than 2000 species of plants, trees some of them are rare and endangered in their native habitat. The roof is constructed of steel and glass and covers 23,000 square feet, providing cover 1600 cubic metres of soil

Why did we choose this site?

-Integrate plants with users

-Take advantage of the effect of the glass roof

-Connecting the residents to nature who barely have chance to get touch in

Conservatory

[vantaxis-london-taxi-van-and-man]

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[rixmatthews-blog]

Adeste+ Lisbon 2019 - Day 2

Hello!

Thanks everyone for the lovely comments on yesterday’s blog which were very nice to receive and much appreciated. Hope you’re all keeping well and happy and not too rained on.

I didn’t sleep at all well last night, so today’s memoir is going to be more photo based, as my inner vocabulary failed to recharge overnight.

Another brilliant day but SO MUCH to take in, I’m a bit on information overload.

And so without further adoo, here’s a few photos with accompanying captions:

Below: The Gulbenkian Foundation, where I’m based every day. As mentioned yesterday, it’s very Barbican-esque (if this reference is lost on anyone, the Barbican is a big conference/cinema/theatre/gallery complex in London in a very similar Brutalist style).

Below: The nespresso machine in the foyer of the conference centre. Arguably one of the most important - and most popular - delegates here. It looks like a space ship as you can see, so the relay of people understanding how to use it and then explaining to the next person how to use it was an excellent bonding/ice breaking exercise.

Below: This mornings key note lecture, which I’m sure was excellent but I found it far too academic for my very non-academic brain. It reminded me why I sometimes wake up in cold sweats having dreamt of doing an MA (massive respect to everyone who has!)

It started with a question: how do you combine participation with artistic excellence (my answer to that: easy, you have Jodi and Mette running your Creative Learning Programme). It then moved onto the democraitisation of culture, the creative economy and cultural policy paradigms. Yeah I’m not entirely sure what some of those words mean either. Anyway, after the phrase “stupid people who go to see an easy show” was used, all I could think about was how relieved I was not to have worn my CATS t-shirt today (NB: I don’t have a CATS T-shirt...or maybe I do...).

Below: a massive toad who a few of us met at lunchtime. He wasn’t very impressed by having his photo taken so retreated into some nearby shrubbery shortly after this photo was taken.

Below: the afternoon masterclass, which was about listening - REALLY listening to and hearing an audience. It gave me lots of food for thought for things we can be doing at Graeae to engage our local community in Hackney. Each of the sessions here is being transcribed in the form of an animation from a professional cartoonist (which I think is a genius idea) so his cartoons for this session are below which will explain it a lot better than I will. NPU are the Norway equivalent of The Audience Agency who were leading the group. Some really good practical examples and case studies of how to talk to, how to listen to and how to act on what an audience wants.

Below: a few of the other delegates at a closing debrief session today, one of who had their birthday today, so we sang Happy Birthday first in English and then in Portuguese (my joining in to the latter just involved clapping along. My grasp of Portuguese isn’t up to the singing of Happy Birthday just yet).

So that’s about it for today. Off for a drink and dinner now with some Audience Agency / Mercury Theatre friends who are also partners on the project).

Over and out for now. Muchos love Xxxx

[riverfishmusic]

😍 the new #aimsync @aim_insta_uk International #synclicensing conference 2019 👏🏽👏🏽👏🏽 Definitely the best yet! Thanks for an inspiring day with a stellar line up of top #musicsupervisors @guildofmusicsupervisors and all other panellists from across the spectrum of sync licensing ... Time for some shuteye after the very long drive home to Cornwall 😴 (at Barbican Centre) https://www.instagram.com/p/BtPH1-aHzXl/?utm_source=ig_tumblr_share&igshid=1mi60dh78dy15

[holmesoverture]

In Sherlock’s Room, Part Two

Part One Be Here

Title: In Sherlock’s Room Rating (for this half): PG Total Word Count: 6431 Pairing: bi Watson/ace trans Holmes Universe: Modern AU of the original canon Summary: Holmes solves a case in his jammies.  Watson does laundry and makes ravioli.

TW for this half: very vaguely implied past acephobia; another mention of past acephobia (probably past transphobia also) which is immediately followed by petty revenge

Editing was tedious work.  My editor, for all his many redeeming qualities, invariably failed to appreciate the flowery endings to my tales and insisted I cut them off far earlier than I should have preferred.

“People read your stories for two reasons,” he once told me after nearly a half-hour of increasingly stormy debate on the subject; “the mystery, and the solution to the mystery.  No one cares what happens to you once the crook is sitting in a jail cell.  You can spend the night giving each other gob-jobs for all anyone cares.  Oh, I’ve said something funny now, have I?”

The bundles of fan mail I received every week inquiring as to whether I was single and whether Holmes was any good at finding hidden sausages made me question his judgment, but I was paid very handsomely for my work.  I could afford to assume that he had been made editor for a reason.

My efforts to curtail the offending epilogues on my own proved futile and so I had given up altogether, allowing my fingers to stretch the story for as long as they pleased, knowing that my editor would cut it all anyway while cursing my name. I was well into an appallingly purple passage in which Holmes and I compare the seasonal changes of the leaves to the arc of the average criminal’s career when Holmes burst in, catching the door before it could slam into the wall.

“Ceromancy!” he cried.

“Gesundheit,” I said.

“Kommst du mit, Naseweis.”

One did not need to speak German to understand what he wanted.  I followed him back to his room.  He had turned on some music since I left, a whiplash-inducing blend of classical pieces and Eurovision finalists.  Several new items had taken up residence on his desk.  His laptop now sat amongst the clutter rather than on his bed, along with a large, overly fragrant lavender candle, either borrowed or stolen from Mrs Hudson, and a bowl of water with a vaguely egg-shaped bit of hardened wax floating in its centre.

“I take it this is somehow connected with cera… ciril—”

“Ceromancy.  It is the art of divining the future via wax images in water.  One of the methods involves adding certain ingredients to the water, including seeds of the cuminum cyminum, which Mrs Mulvehill reports smelling in her wife’s vehicle on more than one occasion, and sprigs of ruta graveolens, a toxic herb that can cause blisters.”

I recalled the neatly torn note in the package that had started Holmes’ day, in which Mrs Mulvehill remarked upon the blisters on her wife’s hand.

“Further,” Holmes continued, “this particular set of instructions involves tying two candles together with a red ribbon.”

He spun the laptop so I could see the screen, though I hardly needed to look to know what would be there: the photograph of the red ribbon tied to the rearview mirror.

“That looks about long enough to bind a pair of candles, does it not?” said he.

I thought it strange that a woman should drive five hours one way every weekend simply to have her fortune told, and said so to Holmes.

“I have not yet finished examining all of the evidence.  There may very well be another explanation for these clues that will become apparent once I reach the end of my investigation.”

“So there is still a chance that Polly Mulvehill is seeing another woman?”

“Unfortunately for our client, yes.”

He lifted a hand to swipe to the next photograph, then gave it a second thought and turned to me instead.

“Why do people do it?” he asked.

“Do what?”

“Cheat.  Polly Mulvehill has a perfectly devoted and intelligent wife, but that wasn’t enough for her.  She still felt the need to fill her time and, presumably, various other things with someone else, all in pursuit of a few sweaty, sticky moments on a flat surface. What can possibly be so thrilling about sex that it drives people to betray those closest to them?  It can’t be any better than a concert at the Barbican, and I wouldn’t cheat on you for a box seat.”

That hadn’t ever been a concern of mine, but it was nice to know.

“Sex is pleasurable for a lot of people,” I said, “and for some, it confers a certain status that concert tickets don’t.  It makes them feel powerful, attractive, special, even loved—”

“That hardly justifies cheating.”

“Of course it doesn’t.  I suppose some people never learned the same sort of self-control that you have with regard to box seats.”

He laughed at the jab and began setting up his chemical apparatus as the delicate dénouement of Gluck’s Melodie ceded to the gravelly bombast of Lordi’s Hard Rock Hallelujah.

“What are you going to do now?” I asked.

“I must test the dirt samples sent to me by Mrs Mulvehill to determine if there is anything distinctive about them.  The definitive answer to the question of how Polly Mulvehill has been spending her weekends may well be lurking in one of these test tubes.”

He muttered a few more disparaging comments about unfaithful spouses before returning to work.  I sat on the edge of Holmes’ bed and ran a finger along a seam in his blanket.  It had some peculiar stains that I would have to remember to ask about, to make sure he wasn’t slowly poisoning himself in his sleep.  Not for the first time, I was grateful that we had elected to retain separate bedrooms even after starting our relationship.

At that time it had been almost a decade since I last slept with someone.  Her name was Allie, or something like it.  She was tall and dark and sarcastic and just barely passable in the bedroom.  I suppose it was the lingering memory of her mediocrity that helped reinforce the idea of there being more important elements than sex in a romantic relationship when Holmes wrote me the first of what would become an entire drawerful of love letters.  He made it clear from the very start that he could offer me every sort of intimacy except that one, but that does not make our relationship in any way less.  Maybe it’s the fact that I will never have the chance to confront this issue in my published works that compels me to be perfectly clear about it here: we are lovers, in every sense of the word except that one upon which our society places the most importance.

Well, I suppose I shouldn’t judge others for their ignorance.  I held a similar view in a past life.  “Experience of women on three continents” was, despite what my editor prefers to believe, not an exaggeration.  Nor is it an exaggeration to say I have never once regretted abandoning my old ways.  Who wouldn’t give up sex for love?

Perhaps not Polly Mulvehill.  Or perhaps she really did learn her lesson and would agree with me after all.  It seems to me such an obvious decision, but on those infrequent occasions when I have attempted to explain our relationship to an outsider, I am almost inevitably met with disbelief at best.  Mrs Hudson took it in her stride, bless her, but Lestrade got very confused when I responded to his barely veiled innuendos with the truth. I am slightly ashamed and very satisfied to say that I went for the jugular almost immediately.

“If your wife got sick and wasn’t able to have sex with you anymore, or if her hormones change as she gets older and her libido drops, which does happen by the way, would you walk out on her just because she wasn’t giving you any?”

“Of course not!”  To Lestrade’s credit, he looked scandalised at the very suggestion.  “She’s my wife, the mother of my children—”

“It’s the same with us.  Well, not exactly the same.  Obviously, there are some differences in our lines of reasoning, but my point is that you love your partner more than you love sex and so do I.  That is, I love my partner more than I love sex, not your partner.  You know what I meant,” I said, irritated, when he started laughing.

“You’re much more eloquent as a writer than as an orator,” he replied, but he bought me a pint as an apology and we never spoke on the matter again.

I suppose I could have laughed along with his jokes instead of lecturing him on asexuality, but I should have felt guilty allowing him to continue operating under the assumption that Holmes and I were doing it.  The mere idea of engaging in such activities makes Holmes so terribly uncomfortable.  Having to endure ribald ragging, no matter how good-natured, from the one police inspector he respects could only end unpleasantly for both parties.

Feeling suddenly maudlin, I moved my bad leg so it rested fully on the stained blanket, leaned back against the headboard, and watched as Holmes went about his work.  His hands, despite appearing ill-fittingly large on his slender wrists, always managed to look graceful when engaged in one of his chemical experiments.  But I suppose everyone looks more themselves when they are doing what they are best at.

I believe I drifted off a bit after that, lulled into a contented daze by the rhythm of clinking glass and the scratch of pencil on notebook paper.  I began to come out of my trance when he came out of his.  He tried and failed to control a smile.  A few scribbles later and he gave up all pretense of dignified detachment, jumping in place and clapping, sending the pencil clattering into the dustbin beside his desk.  That was alright.  He preferred to keep his writing implements in there anyway.

With but a short moment of warning he swept me into his arms, then released me and tugged me towards his desk before I had the chance to hug him back.

“This is far better than I could have hoped for!  What a splendid case this has turned out to be!”

“Such excitement for a bit of dirt,” I remarked.

“No mere ‘bit of dirt’ is this.  Have a look at the results of the soil analysis I ran.”

I did as he asked.  Even with my limited understanding of soil composition, I knew at once what had brought the light to his grey eyes.

“Iridium?”

“Yes.  It is exceedingly rare on Earth but much more common in meteorites.”

“I know what it is.  I just didn’t think you would, given your extreme disinterest in astronomy.”

“I looked it up,” Holmes said, witheringly.  Then, perking up, he added, “I suspect the sample in Polly Mulvehill’s boot came from such a meteorite, or perhaps from an object that was found within the iridium anomaly.”

“You did say she works at a museum.”

“She volunteers as a tour guide.  I rather doubt she has the authority to take archaeological treasures home with her.”

“So you’re saying—”

“Museums are a study in contrasts, my dear Watson.  In their exhibition rooms, they are well-organized, often beautifully laid out bastions of knowledge dedicated to preserving the past into the future.  However, safely shielded from the public eye is invariably an overcrowded and poorly catalogued backroom littered with valuables that could be missing for months or years before anyone noticed.  Why, I stole this very spoon from the British Museum over a decade ago and still they’re none the wiser!”

“Holmes!”

“Oh, come now, Boswell.  This is a soup spoon from my mother’s flatware collection.  Do you really think so little of me?”

“On the contrary, I think highly enough of you that I expect you could abscond with the British Museum’s entire collection of Egyptian antiquities and return them to Egypt before the guard could leave his chair.  Why do you have your mother’s soup spoon?”

Holmes abruptly stopped preening at my inquiry.

“After my last visit to Sussex, you asked why I was in such a strop and I wouldn’t tell you.”

“Yes?”

“She kept asking when you and I would give her grandchildren.  I should have run out at once and arranged for a hysterectomy if Mycroft hadn’t been there to stop me.  Instead I took her soup spoon.  Are you very angry with me?”

“Not with you, no.”  But the next time I was misfortunate enough to encounter Mrs Holmes, I thought I might distract her long enough for Holmes to make off with the rest of her flatware, and possibly a vase or two.  I did not tell him the specifics of my thoughts, instead running a careful hand through the tangles in his hair.  He was much more appreciative of such gestures when not occupied by a case.  Had I attempted to demonstrate any form of affection prior to the discovery of the iridium, he should have pulled back and shook his head, putting a stop to my ministrations.  Now, he not only permitted the display, he encouraged it, throwing back his head with a contented sigh.  He grasped my free hand with both of his, enjoying the light scratch of my callouses across his own, eyes closed so he could focus on the sensation.

At length he straightened in his chair and looked around, as if in search of something.

“I believe we have gotten rather off the subject,” he said.  He crowed with victory when he made visual confirmation of his laptop teetering precariously on the edge of his desk, where it had been shoved to make room for the chemistry equipment.  “I must get in touch with Mrs Mulvehill—Mrs Evelyn Mulvehill, that is—and alert her to the happy news.”

“I would hardly call the fact that her wife is stealing from her place of employment happy news, Holmes.”

“Perhaps not to you or I, but to a woman bracing herself for the news that her beloved has yet again been unfaithful, it may well be the highlight of her day.”

I never saw Evelyn Mulvehill’s response to the longwinded email Holmes sent containing his deductions, but Holmes informed me it was cordial and grateful and would I please stop scribbling in my notebook?  He had just learned the most wonderful new waltz that I was sure to love if only I’d pay it the attention it (and he) deserved.

We did not hear from the Mulvehills for nearly a fortnight.  At that time, as a harsh rain assaulted the streets and the rooftops of London, Holmes thrust an open envelope, sent from Kendal, Cumbria, under my nose.  Along with her cheque came a letter from our former client, thanking Holmes for his help and informing us of the full meaning behind the clues he had deciphered for her.  Evelyn confronted her wife about the matter the moment she returned from work on the day of Holmes’ revelation.  Polly, to her credit, admitted to the scheme at once, but the story which followed her confession was one that neither of us could have expected.

Polly Mulvehill loved her museum and the history it saved and displayed, but the longer she worked there, the more she realised how dependent it was upon artifacts illegally obtained when Britain was at her most imperialistic. What right did any museum, even the one she held so near and dear, have to keep such items?  She made then a vow to smuggle what she could out of the museum and back to the lands from which they had been taken.

She sought out a fence, a man based in Aberdeen who was very superstitious and insisted upon consulting a friend who specialised in divination, including ceromancy, before each and every step of their exchange.  At least twice, to Polly’s intense displeasure, the fence interpreted the candle drippings negatively and refused to accept the goods, forcing Polly to return with the stolen artifacts to Kendal until the following week.  Still, the trouble was worth it, Polly Mulvehill insisted, for the fence was just as devoted to repatriation as she and would do most anything, so long as the candles gave their blessing, to bring the haughty English down a peg. Upon receipt of the stolen items, the fence made his escape on a flight from Aberdeen International Airport, which Polly only made the mistake of booking a hotel next to once, compared with the eleven times she had travelled to Aberdeen on her self-imposed mission. One was also the number of times she made the mistake of handling the herbs which the fortune teller used to predict their chances of success.

Evelyn was so awestruck by her wife’s courage and integrity that she quit her accounting job and started an organisation dedicated to negotiating the legal return of all stolen artifacts to their countries of origin.  It is an organisation the Mulvehills run to this very day.  The missive ended with a plea veiled as a compliment, stating that Evelyn Mulvehill knew Holmes to be a gentleman of the utmost discretion, and that she trusted him to breathe not a word of her wife’s rashness to the authorities.  The final item enclosed in the envelope was a familiar, stout red ribbon.  Holmes smiled when I held up the ribbon and requested I put the note into the fire.

“Another mystery over and done with,” said he, snapping the blinds shut against the sight of the driving storm.  “Will you be writing up this case for your eager public?”

“I doubt it.  I spent more time folding your laundry than doing anything related to the case. Perhaps I could end it with a big car chase through Aberdeen between us and the superstitious fence.  Maybe throw in the Mulvehills for good measure.”

Holmes chuckled around the empty pipe in his teeth.

“It is no more or less ludicrous than anything else you have written,” he said.

I chose to interpret this remark in a positive light.

Were this a polished and published work rather than a hastily scribbled collection of remembrances in a shabby moleskin notebook, my editor should have ended the account with my destroying the evidence of Polly Mulvehill’s crimes and her wife’s complicity.  It is just as well.  Holmes is, despite the great fame I have inadvertently thrust upon him, an intensely private man.  I doubt he would appreciate the whole of the English-speaking world reading about how we sat together on the sofa, shoulder to shoulder and hip to hip, he kneading the pain from my bad leg with a practiced hand, I reading selections from the story I had been editing and taking note of the parts he disapproved of.  He certainly wouldn’t want anyone else knowing about how our light bickering over whether or not I was allowed to describe him as gentle ended in several minutes of kissing that served my argument rather better than his.  And, most of all, he would recoil at the slightest possibility of strangers spying after the fact as he pulled out his laptop and helped me work out plans for a weeklong holiday in Cumbria.

[liberalartssociety]

06.02.17 I've been in London over the weekend to go to some exhibitions and to head up to Nottingham. The Barbican Kitchen in the Barbican Centre is one of my favourite places to have a coffee and study. At the moment I'm working on an essay on Dante, my dissertation and two conference papers. 💻📖☁️☕️

[writing-photographs]

Writing Photographs  Spring/Summer Events 2017

Public events – all welcome!

We are pleased to announce the continuation of our series of research events on the relationship of photography and writing – and how photographs are expanded, altered and dissected through text in the gallery context.

The talks will held here at London College of Communication and be introduced by short presentations of works by current students and alumni.

Talk: Michael McMillan: ‘Words, Sounds, Images & Things’ Wed 1 Feb 2017, 5.00-6.00, Lecture Theatre B

I am interested in telling stories and the installation-based works I create use imagery, video, sound, voices, and text to invoke the performativity in the material culture of everyday things like characters in a play.

Dr. Michael McMillan, playwright/artist/curator, is Lecturer in Cultural & Historical Studies at London College of Fashion and an Associate RAS Researcher (UAL) as well as a Research Associate with the Visual Identities in Art & Design Research Centre (VIAD) at the University of Johannesburg. Michael curated the critically acclaimed The West Indian Front Room exhibition (Geffrye Museum 2005-06). http://www.thefronteoom.org.uk http://www.peckhamplatform.com/artists/michael-mcmillan

Talk: David Mollin and Salomé Voegelin: Writer’s habits Wed 8 Feb, 4.00-6.00, Lecture Theatre B

This performance is a talk, loosely based on the idea of an artist’s talk that demonstrates and discusses the voice and text as part of artistic production. Referring to their own work and its contexts in poetry, the news, architecture and language, David Mollin and Salomé Voegelin problematize through critical theory, live interventions and more colloquial discussion, ideas around words and language as things of image and sound, in contemporary art practice. 
An ornithological interest meets the notion of technology and community through the presence of Villem Flusser, and gains a new articulation as swarm through the voice of Franco “bifo” Berardi; anecdotes, taken from the internet, on how to write will guide proceedings into the realm of Terence McKenna’s experiments with the hallucinogen DMT; and while the British geneticist J.B.S. Haldane will lead the charge into “the universe (that) is not only queerer than we suppose but queerer than we can suppose”, Hindu numerology and the particular numerological time structure of the virtual environment of the computer game, interjected by other concerns about words and texts will form the content of proceedings.


David Mollin and Salomé Voegelin are Swiss-UK artists working since 2008 collaboratively as Mollin+Voegelin on projects that focus on invisible connections, transient behaviour and unseen rituals. Their work reconsiders socio-political, architectural and aesthetic actualities through the possibilities of things, sounds, voices and words, whose invisible mobility invites an individual and collective inhabiting and promotes participation. Their work take the form of installations that as “dispositifs” lend shape and a setting to the performances that happen within them, and that in turn expand the installative material in a temporal mode. In this way they entail a relational dimension: bringing associations, conditions and dynamics into view and prompting different perceptions and insights in response to particular architectural, geographical or conceptual sites. Their work has been shown at Kunstraum Riehen, Switzerland 23.05-28.06.2015 and at Dar Bellarj, Partner Project of the 6. Marrakech Biennale, Marrakech, Morocco 24.02-08.05.2016, and the Showroom London (with Thomas Gardner). Most recently they have been awarded a highly remunerated Art and Architecture award from the Kunstkommission Bern, Switzerland, to realise a public art project in the city. www.davidmollin.net www.salomevoegelin.net @mollinvoegelin 
 Joseph Kendra: If You Had a Year to Change Something What Would You Do? Wed, 3 May, 2.00-4.00, Lecture Theatre A

The BMW Tate Live Thought Workshop Series 2013-14 was a project that explored the possibilities of change and transformation, through ideas about art, thought and technology. Organised in partnership with theatre company Quarantine, the project asked people to answer a simple question: If you had a year to change something, what would you do? A group of 30 recruited participants met across a series of events between 2013-2014, with invited guests from a wide range of disciplines. The ‘Thought Workshop Series’ acted as a case study for Tate Exchange, a new space at Tate Modern for the public to collaborate, test ideas and discover new perspectives on life, through art. This talk explores how long-term collaborations between institutions, artists and the public might transform the way we think about current artistic practice, learning and the role of the museum.

Joseph Kendra is Curator, Public Programmes, Tate Modern and Tate Britain. He has held several positions at Tate over eight years as well as working for the BFI Southbank and Barbican Art Gallery, London. He holds an MA in Visual Anthropology from Goldsmiths, University of London, and an MA (Hons.) in Social Anthropology from the University of Edinburgh. He has worked on public programmes for Tate exhibitions including Wolfgang Tillmans, Malevich and Conflict Time Photography and has organised a number of high profile events and conferences featuring names such as Hal Foster, Theaster Gates, Zaha Hadid, Marc Jacobs and Saskia Sassen.

Followed by:

Wed, 3 May, 4.30-8.00, Shopping Centre Project Space Private View ‘Writing Photographs’ exhibition with new text and image constellations by LCC students from MAP, BAP and PhD programme, alumni and staff – aiming to extend recent definitions of ‘writing on the wall’ through other means.

Writing Photographs - a Debate on how Text and Image relate through Installation Sat, 6 May, Tate Modern, Starr Cinema, 2.00-4.00 – followed by workshops Building on London College of Communication’s reputation for conceptual photography this event brings together an international line up of artists to explore current approaches to how photography is expanded, altered and dissected through writing as part of photographic exhibition works. Putting forward photography as essentially interdisciplinary, we will be looking at how text and writing counter notions of the photograph by bringing in elements such as voice, technology, performance and as a means of writing in the expanded field, all adding to the contemporary field of Writing Photographs. Confirmed speakers include Erica Scourti and Marcus Coates.

Please RSVP or direct enquiries to:
Wiebke Leister w.leister@lcc.arts.ac.uk
Beverely Carruthers b.carruthers@lcc.arts.ac.uk 
For updates see: http://writing-photographs.tumblr.com

Photography and the Contemporary Imaginary Research Hub Funded by UAL Communities of Practice fund, LCC Research fund and UAL Teaching Scholars award.

[chiomachuka]

Adedoyin Odufa-The Software Programmer

Image Credit: www.Linkedin.com

About Her:

Adedoyin Odunfa is an Information Technology expert who holds a B.Sc (Combined Honors) in Computer Science and Economics from the Obafemi Awolowo University (formerly University of Ife), Ile Ife, Nigeria. She did her secondary education in Queens College, Lagos State.

In 1993 she graduated with an MBA in Information Technology & Management from the CASS Business School London Barbican Centre, London.

Odunfa has over 20 years cognate experience in active Consulting, Business Development and Management in general and specialized areas of information technology which include IT Governance, Risk & Compliance, Information Security, Project Management, E-business and Capacity Development interventions.

She is also a Certified Information Systems Auditor (CISA), a Certified Information Systems Security Professional (CISSP), an ISO27001 Lead Auditor and a Project Management Professional (PMP). Adedoyin has a certification in the Governance of Enterprise IT (CGEIT) and a COBIT 5.0 Certified Assessor and Implementer as well as a SFIA Accredited Consultant.

Her Works:

Adedoyin who began her career as a Software Programmer and Systems Analyst assisted in research and facilitation at the Lagos Business School.

She also worked as Executive Director at Philip Consulting Limited between April 2000 and January 2008 where she pioneered the organization’s Information Systems and e-business operations.

She founded Digital Jewels in February 2008, an IT GRC Consulting and Capacity Building Firm Certified to the IS027001:2013 standard (global Information Security Management System), the ISO9001:2015 standard (global Quality Management Standard) and a certified Payment Card Industry Qualified Security Assessor (PCIDSS QSA).

Adedoyin’s penchant for hard work has positively influenced the work ethics of Digital Jewels’ team thereby making the company to proffer effective solutions to clients.

Why TechHer Loves Her?

She is determined to keep pressing further and never give up. She strives and invests towards self-development programmes and training conferences, seminars and business networking events in her career pursuit both local and international.

Information gleaned from the Internet

The post Adedoyin Odufa-The Software Programmer appeared first on #TechHer.

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[architectnews]

Gensler Architects Practice, USA Design Office

Gensler Architects USA, American Design Office, Architectural Studio, Interiors

Gensler Practice Information

International Architecture Studio: Design Firm News + Images

May 12, 2021

Arthur Gensler – In Memoriam

Celebrating Art Gensler, architect, USA

photograph : Emily Hagopian

Celebrating the Life, Contributions and Achievements of Architectural Icon and Groundbreaking Interiors Proponent, Arthur Gensler, Inaugural IFI PRIZE Recipient (2020)

In 2020, IFI was privileged to award Mr. Gensler with the inaugural IFI Global Awards Program (IFI GAP) PRIZE in recognition of his indelible contributions to our discipline. As its first recipient, he established the highest benchmark for practice and the profession for this, the top honor for Interior Architecture/Design at the world level. We celebrate his life and are appreciative of his leadership and the impactful legacy he has made to the built environment. On behalf of the world community of IFI, we share our condolences with Mr. Gensler’s family, the Gensler firm, his friends and colleagues.

On this occasion, we share the following public announcement from Diane Hoskins & Andy Cohen, Co-CEOs, Gensler

We come to you today with heavy hearts to share with you the passing of Art Gensler. Art was an industry icon and entrepreneur with the vision that we not only design spaces, but that we do so with the understanding of how they have the power to shape the way we experience the world and who we become within it.

In 1965, with his wife Drue and James Follett, Art founded the firm that he led until the Board introduced the Co-CEO leadership structure in 2005. He is credited with making interior design a new area of architectural practice, raising it to a new level of professionalism. Art led the firm to break new ground as early proponents of interior spaces that reflect and reinforce a company’s brand and unique culture. His “inside-out” approach to architecture, examining the user journey in a building, laid the seeds for the human experience framework our firm still embraces to this day.

In his later years with the firm, Art’s leadership helped Gensler blossom into a full-service practice. He helped craft the blueprint for the firm’s interdisciplinary approach seen through the creation of practice areas. These decisions helped the firm earn clients’ trust and paved the way for Gensler’s expansion abroad.

Art’s lasting legacy is a global brand that only he could have created. He mentored his colleagues to put clients first, fostering a dynamic that can be seen in the firm’s decades-long relationships with clients. He championed the adaptive, proactive, and client-focused approach that treated service as a privilege and clients as partners. His philosophy of working alongside our clients to provide solutions for their most pressing challenges was part of this trademark style for yielding the most value for clients. His spirit and people-focused values will always be the pillars of Gensler.

Art passed away peacefully today, May 10, at his home in Mill Valley, California. He was 85 years old.

Art was predeceased by his wife of nearly 60 years, Drucilla (Drue) Cortell Gensler. He is survived by his four sons and their families: David and his children (Aaron, Thisbe, Dunia, and Pales) with Alisoun; Robert and his wife Gillian; Douglas and his children (Cortie, Cailin, and Mamie) with Kinzie; and Kenneth and his children (Morgan, Jake, and Sam) with Jennifer and grandchild (and Art’s great-grandchild) Charlotte.

Gensler Architects News

Gensler Architects – Latest News

17 May 2018 The Stephen Lawrence Centre, Deptford, London, UK photography : Gareth Gardener The Stephen Lawrence Centre BW: Workplace Experts is thrilled to have delivered the fit-out for Your Space; an evolution of the design of the Stephen Lawrence Centre in Deptford, London.

29 Apr 2018 The Nest, Wapping, East London, England, UK Architects: Gensler image from architects The Nest in Wapping Gensler creates creative co-working space for Cherryduck studios. A striking, architect-designed, creative co-working hub called The Nest has just opened in Wapping, near London’s St Katharine Docks.

3 Oct 2016 Temporary UK Parliament Concept on the River Thames, England, UK picture © Project Posiedon Temporary UK Parliament on the River Thames in London

29 Jan 2013 Gensler Ranks 2nd in World Architecture 100 Survey Gensler 2nd ranking : World Architecture 100 Survey Gensler has been ranked the world’s second largest architecture practice in the World Architecture 100 (WA100) survey.

16 Aug 2012 The Developing City – Vision 2050, London, UK Gensler Developing City Walking Tour A major exhibition on the past, present and future of the City of London as a centre for international trade.

image from architects office

The Walbrook Building, London EC4 21 Jun – 9 Sep 2012

5 Sep, 13.15-14.30 The City in 2050 Walking Tour Take a step into the future on this free guided walking tour around the City of London, exploring how the City might look in 2050. Led by leading global architects and planners Gensler, the walk will examine future visions for five London districts, using the architecture firm’s panoramic visualisation app.

Take a peek at the fusion of innovation and creativity characterised by the tech media and life sciences sectors which will co-exist and thrive in proximity to the well established legal and banking industries. See also how the City will expand beyond its historic walls embracing the post war ‘ring of opportunity’ which will encompass the vibrant fringe districts of Aldgate, Shoreditch, Barbican, Smithfield and the Upper Thames Street. And hear about the pioneering infrastructure, new public parks and world class transport improvements that will ensure that the City of London becomes the ultimate Business Capital of the World.

Information: This event is free but registration is essential Meeting point: Reception of The Developing City exhibition at The Walbrook Building, London EC4, 10 minutes prior to the start time

If you can’t make it take a virtual tour yourself…http://bit.ly/POIew3

An NLA exhibition in conjunction with the City of London

The Developing City – Vision 2050, London, UK The Developing City – Vision 2050 – 19 Jun 2012 London consolidates its position as the world’s Financial Centre and emerges as the first genuinely “Global City.” The competition from New York, Hong Kong, Singapore and Shanghai is over. London has positioned itself as the capital of a global free trade zone which extends from the US to China. London is no longer one of two world cities; it is the only global city.

Gensler Architects : main page with news + key projects

21 Feb 2012

Gensler Appointment News

GENSLER APPOINTS PHILIP TIDD AS HEAD OF CONSULTING

London – this leading architecture, design and planning firm is delighted to announce that Philip Tidd has been appointed as Head of Consulting EMEA. The newly created role sees Philip lead architecture firm’s consultancy practice area across the EMEA regions, building on the success of Gensler’s US based consultancy teams.

image © Gensler

Working with Gensler London’s leadership team, led by Managing Principal Chris Johnson, Philip will work closely with senior colleagues across Europe, the US and Asia to enhance the architecture firm’s rapidly growing consulting practice area in the EMEA region. He will also be an intrinsic member of the firm’s consulting practice area global leadership team, together with US based Gervais Tompkin and Andrew Garner-Wortzel.

Philip joined the architecture practice from DEGW where he undertook a number of leadership roles over a 20 year career, most recently as UK Managing Director. His career includes more than 15 years experience across mainland Europe, including establishing new businesses in Germany, the Netherlands and the Scandinavian markets.

David Gensler, CEO Gensler said “We’re delighted to welcome Philip to Gensler, as he brings a wealth of experience garnered across Europe. Philip will be the driving force behind our strategy to emulate the success of our global consultancy practice across EMEA.”

Philip Tidd, Head of Consulting at the architecture practice, said “I am delighted to have joined Gensler. The London office continues to go from strength to strength and the consulting group has tremendous opportunities ahead of it in the EMEA region. This is a fascinating period which I believe will see more fundamental change to ‘The Future of Work’ in the next decade than we have seen in the last twenty years. At the heart of Gensler’s DNA is design thinking coupled with close and enduring relationships with many of the world’s leading global corporate organizations; and we are ideally placed to bring creative insights and solutions to our client’s challenges”.

Philip is an active member of CoreNet, the British Council of Offices (BCO), the Workplace Consulting Organisation (WCO) and the Urban Land Institute (ULI) and is a regular speaker at Industry conferences in the UK and Europe on a wide range of ‘Workplace and City’ issues.

His appointment follows three recent promotions at Gensler London. Ian Mulcahey and Duncan Swinhoe’s appointments as Managing Directors, and Krista Lindsay’s promotion to Principal. These promotions further demonstrate the architecture practice’s continuing commitment and growth within the EMEA region, whilst nurturing and rewarding the success and talent amongst its employees.

2 Feb 2012

Gensler London Appointments News

NEW LONDON LEADERSHIP

London – the leading architecture, design and planning firm today announces the appointments of Ian Mulcahey and Duncan Swinhoe as the new managing directors of the London office.

The new senior management positions underline the firm’s continued commitment to the London market. The new managing directors key responsibilities will be the strategic direction of the London business across all design disciplines and typologies, building on the reputation established since the office opened over 25 years ago. They will also provide support to regional managing principal, Chris Johnson, and the Gensler offices in Abu Dhabi and Doha.

images © Gensler

Chris Johnson, Managing Principal EMEA at the architecture office said “2011 was an exceptional year for the London office and similar expectations are anticipated for 2012. These new positions reflect the architecture practice’s success and growth within the EMEA region. The appointments are also recognition of Ian and Duncan’s dedication and leadership in driving the business forward.”

Ian Mulcahey joined the architecture practice in 2000 and is the firmwide leader of Gensler’s Planning & Urban Design practice area. Ian has 24 years experience in the design and implementation of complex urban projects working in major cities in the UK and across the globe. Whilst at Gensler, Ian has worked on a number of high profile developments and masterplans, including Glasgow Clyde Gateway, Scotland, Saadiyat Island, Abu Dubai, UAE, Aqaba Special Economic Zone, Aqaba, Jordan and the London River Park.

Duncan Swinhoe is the architectural studio’s firm-wide leader for Commercial Office Buildings with extensive experience in large-scale architectural developments in the UK, Europe and the Gulf region. Duncan joined the architectural practice as design director in 2004 and has led numerous projects at the practice, including the World Trade Centre and Gulf Corporation Council HQ buildings in Riyadh, Saudi Arabia, and the Tameer Towers in Abu Dhabi.

6 Dec 2011 Gensler Film Surface Design Show have a new video, featuring a discussion between architects and designers from this architecture practice and 1508 London on the ways their roles can complement, or aggravate, each other: (no longer active)

More Gensler buildings online soon

Location: headquartered in USA – international offices

USA Architects Practice Information

Gensler Architects Background

This is a global design, planning, and strategic consulting firm, with over 2,200 professionals networked across 32 locations on five continents. Consistently ranked by U.S. and international industry surveys as the leading architecture and interior design firm, the studio leverages its deep resources and diverse expertise to develop design solutions for industries across the globe.

Since 1965, this architecture studio has collaborated with clients to create environments that enhance organizational performance, achieve measurable business goals, enrich people and communities, and enhance everyday experiences. For its longstanding commitment to the advancement of sustainable design, the architectural studio received the Leadership Award from the U.S. Green Building Council in 2005. Gensler Architects’ Bay Area offices include San Francisco, San Jose and San Ramon.

This architectural studio is an international architecture and design firm that was founded in San Francisco in 1965. In 35 years the firm has grown from one office to a broad-based organisation with offices in London, Amsterdam, Hong Kong, Tokyo and a total of 18 offices in the USA. The London office of Gensler was opened in 1989. It has a team of 210 staff and has designed over 25 million sqft of office space and is responsible for over £1 billion of construction in the UK.

American Architects

BD’s Largest 100 World Practices 2007 : 1st place

Former Gensler designer : Marshall Strabala architect

First Featured Project by this US Architects Practice

New Street Edinburgh £100m mixed-use development by Gensler Architects received detailed planning permission but didn’t proceed: image : Gensler, architects Calton Gate was originally designed for the Cuckfield Group by one of the world’s largest practices, Gensler, with Hackland & Dore Architects of Edinburgh.

Website: Building

Buildings / photos for the Gensler Architects page welcome

Website: https://www.gensler.com/

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