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[cbaitdm145]

Transform Your Space, Quick and Easy Home Improvement Ideas

Interior design is the art and science of enhancing the interior of a building to create a healthier and more aesthetically pleasing environment for those who use the space. An interior designer is someone who plans, researches, coordinates and directs such improvement projects. An interior designer is a multifaceted profession that includes concept development, space planning, site visits, scheduling, research, communication with project stakeholders, construction management, etc., and project execution. 

 Past and Present 

Typical interior of one of the houses in the Vlkolíniec Folk Architecture Park (Slovakia) 

 In the past, interiors were designed instinctively as  part of the building process.[1] 

 The  interior design profession is a consequence of societal evolution and the complex architecture resulting from the development of industrial processes.

 The pursuit of efficient use of space, user well-being and functional design has contributed to the development of the modern interior design profession. The  interior design profession is separate and distinct from the role of interior decorator, a term commonly used in the United States. The term is less common in the UK, where the  interior design profession is not yet regulated and is therefore not, strictly speaking, an official profession. 

In ancient India, architects were also  interior designers. This can be deduced from the mention of  the architect Vishwakarma, one of the gods of Indian mythology. In these  17th-century Indian architects and house designs, carvings depicting ancient texts and events can be seen in the palaces, while in medieval times wall  paintings were a common feature of palatial dwellings in India, commonly referred to as havelis. Although most of the traditional houses have been demolished to  make way for 

 modern buildings, there are still around 2,000 villas in the Shekhawati region of Rajasthan[2] where the murals can be seen. 

 In ancient Egypt, "soul houses" (or model houses) were placed in tombs as receptacles for food offerings.From this, details of the interior layout of various residences of different  Egyptian dynasties can be discerned, such as changes in ventilation, porches, columns, loggias, windows and doors. 

 Reconstructed Roman triclinium or dining room with three clinai or sofas. 

 Interior wall paintings have existed for at least 5,000 years, with examples  as early as the Ness of Brodgar[4], as well as stenciled interiors such as the Rules of Skara Brae show this.[5] It's the Greeks, then the Romans in the first millennium BC. They added matching decorative mosaic floors and stenciled baths, shops, civil offices, castra (fortress) and temples, and interiors. With specialized companies for the manufacture of interior decorations and furniture according to the 

 formula in buildings built according to the forms defined by Roman architects such as Vitruvius: De architectura, libri decem (The Ten Books of Architecture).

Throughout the 17th and 18th centuries and into the early 19th century, interior decoration was done by a housewife, an  upholsterer or a hired craftsman who advised on the artistic style of the interior decoration. Architects  also employed craftsmen  to decorate the interiors of their buildings. 

 In the mid to late 19th century, interior design services grew significantly as the middle class in developed countries grew in power and wealth and began coveting national tokens of wealth to cement their new status. Large furniture companies have started to deal with general interior design and management, offering complete interior items in different styles. This business model evolved from  mid-century to 1914, when the role was increasingly filled by independent, often  amateur, designers.This paved the way for the emergence of  professional interior design in the mid-20th century.[9] 

 Illustrated Catalog of the James Shoolbred Company published  1876. 

  upholsterers began to expand their business in the 1950s and 1960s. They treat their business broader and in artistic categories and start promoting their furniture. To meet the growing demand for custom interior work on projects such as offices, hotels and public buildings, these companies have become much larger and more complex, employing builders, carpenters, plasterers, textile designers, 

artists and furniture designers, and engineers. and technicians to get the 

 to do the job.Businesses began publishing and distributing printed catalogs in various lavish styles to appeal to the burgeoning middle class. 

 As department stores increased in number and size, storefronts were decorated in different styles to serve as a model for customers. A particularly effective advertising tool was the setting up of showrooms in the showrooms of national and international exhibitions open to the public. Pioneer companies in this field include Waring & Gillow, James Shoolbred, Mintons & Holland & Son. These traditional, high-quality furniture companies began to play an important role as advisors in conveying taste and style to middle-class customers, and began designing and Home Improvement furnishing many of Britain's notable buildings.[10] 

 such companies emerged  after the Civil War in America. Founded by two exiled German  brothers, Gebrüder Herter began as a warehouse for upholstery fabrics and grew into one of the earliest furniture manufacturers and interior designers. With their own design office, joinery and upholstery workshops, the Herter brothers were ready to undertake all aspects of interior decoration, including decorative woodwork and fireplaces, wall and ceiling decorations, patterns, and carpets and curtains.

[nahid7877]

Transform Your Space, Quick and Easy Home Improvement Ideas

Interior design is the art and science of enhancing the interior of a building to create a healthier and more aesthetically pleasing environment for those who use the space. An interior designer is someone who plans, researches, coordinates and directs such improvement projects. An interior designer is a multifaceted profession that includes concept development, space planning, site visits, scheduling, research, communication with project stakeholders, construction management, etc., and project execution. 

 Past and Present 

Typical interior of one of the houses in the Vlkolíniec Folk Architecture Park (Slovakia) 

 In the past, interiors were designed instinctively as  part of the building process.[1] 

 The  interior design profession is a consequence of societal evolution and the complex architecture resulting from the development of industrial processes.

 The pursuit of efficient use of space, user well-being and functional design has contributed to the development of the modern interior design profession. The  interior design profession is separate and distinct from the role of interior decorator, a term commonly used in the United States. The term is less common in the UK, where the  interior design profession is not yet regulated and is therefore not, strictly speaking, an official profession. 

In ancient India, architects were also  interior designers. This can be deduced from the mention of  the architect Vishwakarma, one of the gods of Indian mythology. In these  17th-century Indian architects and house designs, carvings depicting ancient texts and events can be seen in the palaces, while in medieval times wall  paintings were a common feature of palatial dwellings in India, commonly referred to as havelis. Although most of the traditional houses have been demolished to  make way for 

 modern buildings, there are still around 2,000 villas in the Shekhawati region of Rajasthan[2] where the murals can be seen. 

 In ancient Egypt, "soul houses" (or model houses) were placed in tombs as receptacles for food offerings.From this, details of the interior layout of various residences of different  Egyptian dynasties can be discerned, such as changes in ventilation, porches, columns, loggias, windows and doors. 

 Reconstructed Roman triclinium or dining room with three clinai or sofas. 

 Interior wall paintings have existed for at least 5,000 years, with examples  as early as the Ness of Brodgar[4], as well as stenciled interiors such as the Rules of Skara Brae show this.[5] It's the Greeks, then the Romans in the first millennium BC. They added matching decorative mosaic floors and stenciled baths, shops, civil offices, castra (fortress) and temples, and interiors. With specialized companies for the manufacture of interior decorations and furniture according to the 

 formula in buildings built according to the forms defined by Roman architects such as Vitruvius: De architectura, libri decem (The Ten Books of Architecture).

Throughout the 17th and 18th centuries and into the early 19th century, interior decoration was done by a housewife, an  upholsterer or a hired craftsman who advised on the artistic style of the interior decoration. Architects  also employed craftsmen  to decorate the interiors of their buildings. 

 In the mid to late 19th century, interior design services grew significantly as the middle class in developed countries grew in power and wealth and began coveting national tokens of wealth to cement their new status. Large furniture companies have started to deal with general interior design and management, offering complete interior items in different styles. This business model evolved from  mid-century to 1914, when the role was increasingly filled by independent, often  amateur, designers.This paved the way for the emergence of  professional interior design in the mid-20th century.[9] 

 Illustrated Catalog of the James Shoolbred Company published  1876. 

  upholsterers began to expand their business in the 1950s and 1960s. They treat their business broader and in artistic categories and start promoting their furniture. To meet the growing demand for custom interior work on projects such as offices, hotels and public buildings, these companies have become much larger and more complex, employing builders, carpenters, plasterers, textile designers

[net3web02]

Transform Your Space, Quick and Easy Home Improvement Ideas

Interior design is the art and science of enhancing the interior of a building to create a healthier and more aesthetically pleasing environment for those who use the space. An interior designer is someone who plans, researches, coordinates and directs such improvement projects. An interior designer is a multifaceted profession that includes concept development, space planning, site visits, scheduling, research, communication with project stakeholders, construction management, etc., and project execution. 

 Past and Present 

Typical interior of one of the houses in the Vlkolíniec Folk Architecture Park (Slovakia) 

 In the past, interiors were designed instinctively as  part of the building process.[1] 

 The  interior design profession is a consequence of societal evolution and the complex architecture resulting from the development of industrial processes.

 The pursuit of efficient use of space, user well-being and functional design has contributed to the development of the modern interior design profession. The  interior design profession is separate and distinct from the role of interior decorator, a term commonly used in the United States. The term is less common in the UK, where the  interior design profession is not yet regulated and is therefore not, strictly speaking, an official profession. 

In ancient India, architects were also  interior designers. This can be deduced from the mention of  the architect Vishwakarma, one of the gods of Indian mythology. In these  17th-century Indian architects and house designs, carvings depicting ancient texts and events can be seen in the palaces, while in medieval times wall  paintings were a common feature of palatial dwellings in India, commonly referred to as havelis. Although most of the traditional houses have been demolished to  make way for 

 modern buildings, there are still around 2,000 villas in the Shekhawati region of Rajasthan[2] where the murals can be seen. 

 In ancient Egypt, "soul houses" (or model houses) were placed in tombs as receptacles for food offerings.From this, details of the interior layout of various residences of different  Egyptian dynasties can be discerned, such as changes in ventilation, porches, columns, loggias, windows and doors. 

 Reconstructed Roman triclinium or dining room with three clinai or sofas. 

 Interior wall paintings have existed for at least 5,000 years, with examples  as early as the Ness of Brodgar[4], as well as stenciled interiors such as the Rules of Skara Brae show this.[5] It's the Greeks, then the Romans in the first millennium BC. They added matching decorative mosaic floors and stenciled baths, shops, civil offices, castra (fortress) and temples, and interiors. With specialized companies for the manufacture of interior decorations and furniture according to the 

 formula in buildings built according to the forms defined by Roman architects such as Vitruvius: De architectura, libri decem (The Ten Books of Architecture).

Throughout the 17th and 18th centuries and into the early 19th century, interior decoration was done by a housewife, an  upholsterer or a hired craftsman who advised on the artistic style of the interior decoration. Architects  also employed craftsmen  to decorate the interiors of their buildings. 

 In the mid to late 19th century, interior design services grew significantly as the middle class in developed countries grew in power and wealth and began coveting national tokens of wealth to cement their new status. Large furniture companies have started to deal with general interior design and management, offering complete interior items in different styles. This business model evolved from  mid-century to 1914, when the role was increasingly filled by independent, often  amateur, designers.This paved the way for the emergence of  professional interior design in the mid-20th century.[9] 

 Illustrated Catalog of the James Shoolbred Company published  1876. 

  upholsterers began to expand their business in the 1950s and 1960s. They treat their business broader and in artistic categories and start promoting their furniture. To meet the growing demand for custom interior work on projects such as offices, hotels and public buildings, these companies have become much larger and more complex, employing builders, carpenters, plasterers, textile designers, 

[wallpaperpainter]

The Death Of Wall Stencil Ideas | Wall Stencil Ideas

Wish you could accompany the adorableness of the bank to your own backyard? Now you can! Thanks to the Spanish aggregation Piscinas de Arena NaturSand, your already absolute basin can be adapted into a albino haven aloof above the walls of your home. With the white bank and bright dejected water, you’ll feel like you’re seaside—even if you’re landlocked.

Any beachgoer knows that bank can get everywhere if you’re not careful. To ensure that your bank stays in place, Piscinas has developed a appropriate accurate that is alloyed with sand. (They alarm it compacted sand.). This makes it attending like the bank while accepting the anatomy and backbone bare for a pool.

Although the arena looks au natural, Piscinas de Arena NaturSand has added allowances associated with an accustomed pool. One big advantage: the bank doesn’t get hot. It can additionally be bankrupt and maintained like a accepted pool, and you don’t charge a ladder or accomplish to enter. “The access of the bank pools is fabricated from akin zero, on a bendable ramp, as if it were the access to a beach,” the aggregation writes. “In this way, it is ideal for everyone’s enjoyment.”

It doesn’t booty continued to install the faux bank pool. In some cases, with acclimate permitting, the accession can be completed in a month.

Piscinas de Arena NaturSand: Website | Facebook | Instagram

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[gays-bears]

Banksy to sell Oscar Wilde stencil for £10m to help save gay icon’s jail from developers

Renowned street artist Banksy has pledged to donate £10 million to help fund a bid to purchase Reading Gaol, the jail that once held Oscar Wilde, and turn it into an art centre.

The Grade II-listed building, which was once described as a “Mecca” and an “LGBT heritage site” by Karen Rowland of Reading Borough Council, was put up for sale by the Ministry of Justice in 2019.

Since then campaigners have been working to prevent it being bought by developers and turned into apartments, instead arguing it should be cultivated into a tourist attraction and a venue for the arts community in Reading.

The building famously housed the trailblazing Irish author and poet between the years 1885 and 1887. Wilde was convicted for “gross indecency” for consensual homosexual acts under the UK’s historic anti-gay laws after his affair with Lord Alfred Douglas was exposed.

The acclaimed writer’s trial was considered to be one of the first celebrity trials the world had ever seen. Following his incarceration there, Wilde wrote one of his most famous poems entitled The Ballad of Reading Gaol (1898) about his experiences inside.

“Oscar Wilde is the patron saint of smashing two contrasting ideas together to create magic. Converting the place that destroyed him into a refuge for art feels so perfect we have to do it,” Banksy said in a statement.

The artist has said he will sell the stencil of a mural he painted on the side of the building earlier this year in order to raise the necessary funds to support the bid, by Reading Borough Council. The artwork depicts a prisoner, possibly Wilde, escaping down the wall of the jail on a rope made of knotted sheets with a typewriter.

“We very much welcome the attention that Banksy’s interest in Reading Gaol has placed on both the MoJ’s [Ministry of Justice] sale of the vacant prison and on the council’s ambition to transform it into an hub of arts, heritage, and culture,” Jason Brock, leader of the council, told Artnet News.

The offer of financial support from Banksy comes after the council’s 2020 bid to buy the site and turn it into an art centre and LGBT+ museum was rejected.

Stephen Fry was among the high-profile figures who supported the bid at the time.

[annacriticalartsblog]

Continuing onto my piece i have decided to make my poster image into a vinyl cover so it can be in-tune with my vision and love with music. Using Butler(2012) as my form of context because he explains how sensory art is the most engaging. Butler explains that The idea that place and space can be understood and experienced in various ways seems to originate from the collective interest in the multi-sensory experiences that sound art has become known for. Despite this, the nature of sound art's multi-disciplinary nature makes it difficult to classify. Thus, using this as guidance to mash my design into a music based project because not only will it give viewers the visual of what I have made, it will also give the sensory sound so you can understand what my piece actually reflects.

 I used photoshop to mashup things that inspired me. I began with using Banksy and blending his street art into my favourite album by frank ocean - channel orange. Frank ocean has been the most inspirational throughout my life as he is solely one of thee most creative individuals I have come across. His album Channel Orange was awarded as one of the most listened to albums from 2012 until today. He created a radio station that broadcasts his music however it also allows you to hear the radio frequency and sounds, allowing each and every song to have a different feeling. For the final product of the vinyl i decided to add grass on one side to express the ‘fresh’ sound of Lofi that would come from vinyl once played. 

Banksy was an artist I focused on. Banksy is a street artist that was heavily inspired by Blek le Rat. This French artist is known for his use of stencils. In the 90′s he began spray painting on walls and trains in Bristol (his hometown), eventually expanding his work around the UK many years later. The unique thing about Banksy is his identity is hidden. Many have tried to figure out who he actually is but have come unsuccessful, resulting in tabloids and famous figures trying to ‘guess’ who he is. Of those guesses The Mail (2017) guessed that Banksy was a DJ that goes by the name ‘Rob’. Banksy has influenced me in ways I can not explain, the fact that this individual is anonymous however has such a huge impact on the art world today is extremely fascinating.

[wallpaperpainting]

Why You Must Experience Wall Stencil Ideas At Least Once In Your Lifetime | Wall Stencil Ideas

This Armpit Lets You Design Your Own Map to Hang on Your Wall — and the Results Are Gorgeous

this articulation is to an alien armpit that may or may not accommodated accessibility guidelines.

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[cdnzine]

The idea behind this heart formed of the didtrict areas of Croydon was to show your 💘 for the Borough. Seems like the perfect time to edit it as a symbol of love and appreciation for the keyworkers keeping the us safe, healthy and able to live as normal a life as possible during the pandemic. . . When it's finished I'll post it on here and sort out some way for snyone who might want to print it off to stick in their window or create a stencil to spray on a wall. _________________________________________________________ Reposted from @cdn_store . . Love (Standard fit) . £20 . Ready to ship today with UK rapid delivery available when you order before 1pm. Our brand new Love (Standard Fit) is a great addition to your wardrobe. We've taken the iconic tee and combined it with this awesome design. So that you'll have an item in your wardrobe you can always rely on for any occasion. And even better, this product is made from 100% organic cotton and printed in the UK in a renewable energy powered factory. . S-XXL . Black, Mustard, Moss green, White, Light heather, Navy blue, Red wine ___________________________________________________________ Sent via @planoly #planoly #yourcroydonpics #fashion #apparel #cronx #croydon #cdn #london #LondonLive #agameoftones #menswear #womenswear #aauk #ldn #eastcroydon #Love #southlondon #valentinesday #eastcroydoncool #maybeLDNer #lottieloveslondon #londonpop #streetwear #londonlife #logo #timeoutlondon #southlondon #Croydon2023 #LondonBoroughOfCulture2023 (at Croydon, United Kingdom) https://www.instagram.com/p/B_FoUM1nn5f/?igshid=1shcl7wqjq2wg

[terribleco]

The History Of Covpark

I recently put together a blog post for the War Memorial Ramp Renovation campaign, where I explained my history with Covpark and what improvement to the skatepark would mean for Coventry. Off the back of that, I thought it would make sense to post a revised history of the skatepark which (for anyone who cares) gives more context into how it came to be, and how it got to the point where we have a huge campaign to renovate the skatepark.

Note: A lot of this information is anecdotal, shared throughout the scene over the past 20 years. This is pieced together from those involved with the build as well as anyone involved in the campaign to improve the skatepark. 

Part 1: The Build

The War Memorial Park skatepark was built in 2001 by Bendcrete. As far as I can tell, the design for the skatepark is a cookie cutter pre-fab design that came from a catalogue - Bendcrete specialised primarily in pre-fabricated ramps throughout the 2000's and other examples of their ramps can be found in Wyken and Holbrooks. They built ramps like this to keep costs down and undercut prices from better park builders of the time like Wheelscape and Gravity. The downside of building ramps this way is they can easily become uneven, causing lips between ramp joints, and the pre-fab parts don't leave much room for interesting, quirky obstacles (which in general usually attract skaters from miles around).

Upon its initial build, the skatepark was well utilised on account of it being the only skatepark in the city, and because skateboarders were desperate for places to skate. The concrete park was a replacement for a temporary set of wooden ramps which were in the tennis court next to the skatepark's eventual location - the wooden ramps were poor quality, which ended up getting trashed because they couldn't withstand the weight of people doing tricks on them. 

During the build, the council had planned for the park to be a long strip of tarmac with a metal bank at the end. This was the result of an expensive consultation period where they went to nearby primary schools and quizzed kids who didn't skate on what they wanted to ride. This design was scrapped when Jim The Skin got involved and convinced the council that what they had planned sounded terrible, and a concrete skatepark was the only option. 

Steve Spain, another Coventry OG Skater, came up with new designs for the concrete park which would provide something affordable but interesting. He still has the physical model of these designs! Eventually the council went with Bendcrete's pre-fab design and build (stealing some minor ideas from Steve's design, but executing them poorly - e.g the moulded tacos that join the 4ft quarter pipes to the flatbanks). 

In executing what was meant to be a cookie cutter design Bendcrete made some bizarre mistakes with spacing and dimensions. Funboxes were not aligned correctly with nearby quarters, meaning you had to carve to skate in a straight line. Quarters and flatbanks ended up being half their intended width in some cases. The mini ramp walls ended up being slightly too close together, creating a tight mini ramp which could be a bit of a chore to skate.

The council shelled out cash for an overpriced fence which would delaminate speeding boards. I had more boards wrecked by that fence than I can remember. Rumours suggest the fence cost half the budget of the whole build.

The changes made by Bendcrete/Coventry City Council caused a lot of frustration in the skate scene to the point that locals spray painted Mickey Mouse stencils all over the skatepark upon its opening as a statement for how the build had been mismanaged and the wrong people had been given a say on the final design. 

Part 2: The Scene

Despite the build problems, the park encouraged kids in the area to start skating. A lot of locals in the younger generation of the time spent every waking hour at the park learning to skate. The scene eventually grew and a large crew of skaters local to the park spilled out into the city centre. This blog started at Covpark as a way to document what was going on down there and the skatepark was the start of a larger connection between all of the skaters in the city.

It quickly became obvious that Covpark wasn't the best skatepark in the world, but the scene was very active down there. For a long time it was the centre of Coventry's skate scene before the skatepark eventually began to degrade and build issues made it harder to skate. 

In 2006 the Karma team visited for a demo, and Vans held a skate competition there. Pro skaters invited to both events were not impressed with the skatepark at all. Coventry City Council held a competition at Covpark as part of the Godiva festival one year, and the whole vibe was just lame and disingenuous - the announcer tried to act like he was one of the locals and knew who everyone was but it quickly became obvious that, just like the skatepark, people outside of the scene had been brought in to do something with skateboarding. 

This prompted me to organise my own competition called Covpark Combat, with the first one happening a month after the council one. The vibe was way more fun and chilled out, and we did some silly stuff like a skateboard demo derby that became a staple of the competition for years after. 

We ran 5 of these before the council got wind of it and demanded we go through them and run it as a proper event with health and safety and other bullshit that just wasn't in keeping with the spirit of the event. On some occasions we had pro skateboarders turn up to compete like (Team GB Olympic Skater) Alex Decunha, and we got sponsorship from Ride, Vans, Two Seasons and Decimal Skateshop. The competition even got advertised by Sidewalk on their website and forum one year.

On the BMX side, the popularity of BMX brought the Backyard Jam to Coventry in the late 2000's, where BMX legend Ruben Alcantara turned up to Covpark and performed some mind-blowing tricks - he managed to hit up stalls on the back rail of the mini ramp, which was a definite NBD, and completely insane to see. BMX riders were invited to later iterations of Covpark Combat, which was symbolic of the close scene down the skatepark at the time.

Part 3: The Campaign

In 2010, after almost 10 years of the skatepark being installed, the local scene was getting frustrated. We had seen a decade of growth, with skateboarding growing in popularity, and skateparks increasing in quality. The 2000's saw a wealth of new skateparks being built as the UK scene grew and skateboarding became cemented as part of UK youth culture. Skateparks like Stoke Plaza appeared showing huge, near endless opportunities for tricks and lines. Varieties of obstacles in these parks made Covpark's design flaws obvious, and Coventry skateboarders were annoyed that they had to travel to get to amazing skateparks. 

I started a campaign to improve Covpark - fuelled by the build flaws mentioned earlier. Ramps at the park were sinking, causing unsafe lips, joints were becoming exposed, the ground was rough as the aggregate started to wear and the stones in the concrete mix became exposed. 

I met with council employees who looked at these flaws and admitted they had no idea this was a problem for skateboards. Bendcrete reps came down and suggested fixes for the build quality, some expensive, some cheap - the council took the cheap options. At my request Gravity were brought in to provide designs for a possible full extension/rebuild - with little funds available this fell apart, and Gravity instead came in to do the repairs Bendcrete had quoted us for. 

In the years that followed it quickly became apparent that a Covpark extension or rebuild was unlikely to happen without a serious rethink in strategy. With little help from the council, and a lack of guidance to help us raise the funds for an outdoor park, a few of us regrouped and changed course. We ignored Covpark to concentrate on an indoor park idea - an idea that Lucas Healey would pick up years later and would eventually evolve into The Coventry Skatepark Project.

With the campaign for improvement dwindling, Covpark was abandoned by the skate scene with only a few locals like Joxa and Nich Horishny skating the place regularly. The scene evolved and The Herbert Art Gallery became the heart of the scene for most people - most street skaters pretty much got everything they needed from the city centre, and if you preferred transition, the sessions usually ended up at Holbrooks, or further afield. The lack of a good skatepark fractured the scene as it grew and as I got older I started to recognise less and less of the local skaters. The scene was still thriving, but with no central location for all disciplines of skater it was splintered.

Part 4: The Next Generation 

In 2018, after 15 years of operation, The Terrible Company celebrated its 15th birthday at Covpark with a big session reminiscent of the skatepark's early days. Despite the high turnout, the park's flaws remained glaringly obvious to everyone who attended.

Last year the War Memorial Ramp Renovation Campaign started - ran by local kids who skated the park along with their parents (some of whom were already involved with the Cov Skatepark Project). Almost 10 years after the campaign for improvement started, and almost 20 years after the park was first built, the campaign aims to completely rebuild the skatepark from scratch to provide the kind of facility that should have existed there from the start. 

[ldnagainstapartheid]

London says ‘No’ to Brand Israel

LDN Against Apartheid is a grassroots campaign established to oppose the Israeli government propaganda festival TLV in LDN, in solidarity with the Palestinian Boycott, Divestment and Sanctions (BDS) movement and the call for the cultural boycott of Israel.

While claiming to be a celebration of culture, TLV in LDN was in fact an entirely political enterprise. Festival director Marc Worth said that the Israeli embassy in London asked him to organise the event as a response to the BDS movement and in particular the cultural boycott. The original idea came from former Mayor of London and current UK foreign secretary Boris Johnson, who proposed it to the Israeli embassy to “make amends” for the decision by the Tricycle Theatre in London to reject Israeli embassy funding for a film festival during Israel’s onslaught on Gaza in 2014. The theatre’s decision was later retracted under heavy pressure, including from UK government minister Sajid Javid who threatened to cut off the small theatre’s own funding, a move Javid explained was intended as a wider threat to other UK cultural institutions not to try “that kind of thing again”.

Bringing a taste of Israel's apartheid culture to London #TLVinLDN pic.twitter.com/icA7vuVszn

— LDNAgainstApartheid (@ApartheidinLDN) September 1, 2017

Three years later, and following endorsements from both London mayoral candidates in 2016, TLV in LDN was announced, with the majority of the programme at iconic north London venue The Roundhouse. That venue’s artistic director and chief executive Marcus Davey is a signatory to a 2015 open letter which condemns the cultural boycott of Israel. This letter was itself a direct response to the announcement earlier that year that hundreds of UK artists had signed a pledge to adhere to the cultural boycott of Israel. At the time of writing more than 1200 UK artists have signed the Artists for Palestine pledge.

Why do we call for a cultural boycott of Israel? Next week's #TLVinLDN events highlight exactly why... pic.twitter.com/MeNtR1Reks

— LDNAgainstApartheid (@ApartheidinLDN) August 31, 2017

Advertisements appeared at bus stops across the capital in the weeks leading up to TLV in LDN, calling for its cancellation. Artists including Pink Floyd’s Roger Waters, film director Ken Loach, rap artist Lowkey, leading playwright Caryl Churchill, and Thurston Moore of Sonic Youth joined more than 1000 UK residents in urging festival venues to withdraw their participation. Conscientious Londoners took to the streets outside the Roundhouse to demonstrate their opposition to the cynical propaganda of an apartheid regime and to express solidarity with Palestinian civil society in their call for the cultural boycott of Israel.

Side-by-side, Israel pushes its tools of violence and oppression at #DSEI, while trying to cover it up with #TLVinLDN pic.twitter.com/n9iehBQLA3

— LDNPalestineAction (@LondonPalestine) September 7, 2017

The Palestinian BDS human rights movement works to end international support for Israel’s regime of oppression and has three clear aims: the end of Israel’s occupation of all Arab lands and the dismantling of the apartheid wall; equality for Palestinians with Israeli citizenship; and respecting the right of Palestinian refugees to return to their homes. Israel’s attempts to counter the BDS movement and thus prevent the implementation of international law are led by Gilad Erdan and the strategic affairs ministry. Erdan’s ministry employs ‘black ops’ and ‘dirty tricks’ against human rights defenders in its efforts to challenge BDS.

Why did @MarkRegev & @giladerdan1 so badly want #tlvinldn to happen? Simple: they're very worried about the cultural boycott of Israel. https://t.co/7IC2IYgkFw

— TLVinLDN (honest) (@TLVinLDN_fake) September 7, 2017

At the private launch of the festival, director Marc Worth said from the stage of the Roundhouse that the involvement of the strategic affairs ministry had been crucial, adding that the festival’s steering committee was comprised of officials from that ministry as well as from Israel's embassy in London. The artistic producer of the festival said that "without the support of minister Erdan we would not be here tonight". Erdan himself explained from the stage why he wanted to “spearhead” the festival, but nothing could be more obvious.

We're down at #StopDSEI opposing colonial violence. Also calling for an end to pinkwashing of that same violence. Cancel #TLVinLDN pic.twitter.com/7V9Q85YVb0

— The London Latinxs (@londonlatinxs) September 8, 2017

Israel’s apartheid regime recognises that its increasing isolation in the cultural sphere represents a threat to the perpetuation of its colonial policies. They also understand the importance of art in relation to struggles against oppression. Erdan said at the Roundhouse that "the power of culture can unite or divide". On this point he is right. Millions of people around the world are united in opposition to Israel’s occupation and systematic human rights violations, and are standing together, in solidarity with Palestinians.

Comedian Alexei Sayle isn't joking around when he says this about #TLVinLDN https://t.co/aQccIDZ4ew pic.twitter.com/KI19Vndmm6

— TLVinLDN (honest) (@TLVinLDN_fake) September 6, 2017

The festival was open about its goal of showing those younger British people who know little of Israel’s oppression of Palestinians the state’s “prettier face”, in the hope they will be converted into vocal advocates for Israel’s settler-colonial project. Even on its own terms, this desperate strategy is doomed to failure, as increasing numbers of people around the world, including in the UK, become alert to Israel’s flagrant disregard for international law.

This particular failed effort is only a small part of a far wider attempt by the apartheid regime to counter the growing Palestinian BDS human rights movement, including through shameful attempts by many Western governments to criminalise support for BDS on Israel’s behalf, including by the UK government. LDN Against Apartheid are also aware that there are plans being made for a repeat of TLV in LDN. But if and when similar events are announced for London, or New York or wherever else, people of conscience around the world will firmly oppose such cynical propaganda, as long as Palestinians are denied their fundamental rights.

Antiracist groups gather today, against racism and border violence as exemplified by Israeli apartheid. #StopDSEI, Cancel #TLVinLDN pic.twitter.com/Q9iIavXEC6

— Protest Stencil (@protestencil) September 7, 2017

[garp19-lottie-blog]

https://www.ted.com/talks/candy_chang_before_i_die_i_want_to/up-next

This Ted talk discusses how public art/public spaces can be used to share experiences as well as information with neighbours in your community. (Chang, 2012) Artist Candy Chang started off her work using “simple tools like stickers, stencils and chalk” which provided people with the means to express themselves in a particular space. (2012) In New Orleans, she transformed an abandoned house into a giant chalkboard that read “before I die I want to…”, where members of the public were able to respond using the chalkboard, and “this neglected space became a constructive one”. (Chang, 2012)  Chang explains that it’s about knowing you’re not alone, understanding our neighbours in new ways, making space for reflection and contemplation, and remembering what really matters most to us as we grow and change.(2012) The artist went on to develop a toolkit that helped others in multiple countries create their own chalkboard walls, and believes that shared spaces such as these are important for both the individual and the community. (Chang, 2012)

This is an example of the use of a public space in a way that is engaging in the sense that the public participate in the art piece. I am interested in looking at different ways in which public art can be engaging. It’s also an interesting example because the public create the art themselves in their responses to the question/idea put forward by the artist. This relationship between the artist and the public is also something that related to Antony Gormley’s talk on his work; he describes how his art work is “making connections”, which could be between the artist and the viewer, as well as between the public themselves through the piece of art. (Gormley, 2012) This idea is also discussed in Nora Atkinson’s Ted talk. (Atkinson, 2018)

https://www.bbc.co.uk/news/entertainment-arts-47329270

A charity named Art UK is planning to create an online database in which approximately 150.000 public sculptures in UK will be catalogued. (BBC.CO.UK, 2019) It is the largest project of its kind in the UK.(BBC.CO.UK, 2019) The article also highlights some significant public sculptures around the UK; these include works by Rodin, Dame Elisabeth Frink, Barbara Hepworth, Antony Gormely and Sir Jacob Epstein. (BBC.CO.UK, 2019) Hepworth’s Winged Figure has been installed in London’s Oxford Street for more than 50 years and is Grade II-listed.(BBC.CO.UK, 2019) Gormley’s Another Time, can be seen on the roof of a shop in Oxford and was commissioned by Exeter College.(BBC.CO.UK, 2019) Dame Elisabeth Frink’s Wild Boar is situated in Water Gardens in Essex, whilst other sculptures by the artist can be found in Winchester Town Centre and London’s Grosvenor Square. (BBC.CO.UK, 2019)

The idea of cataloguing public works of art could be a useful tool in understanding the role it plays within public spaces. This article also covers many questions that I could look into when researching about art in public spaces. As it describes these sculptures as being “hidden in plain sight”, it suggests that some people might not know about these works of art. (BBC.CO.UK, 2019) Which also suggests that there could be potential for more engagement with the public in relation to public art, in terms of learning about the art and their experience of visiting it.(Atkinson, 2018) It also highlights the relationship between the artwork and where it’s placed; why are pieces of art placed where they are?  

Atkinson, N. (2018) Why art thrives at Burning Man [online video] 

Available at: https://www.ted.com/talks/nora_atkinson_why_art_thrives_at_burning_man

[Accessed: 12/03/19]

bbc.co.uk/news (2019) From Gormley to Rodin: The famous artworks hidden in plain sight.  [online],

Available at: https://www.bbc.co.uk/news/entertainment-arts-47329270 

[Accessed: 10/03/19]

Chang, C. (2012) Before I die I want to... [online video] 

Available at: https://www.ted.com/talks/candy_chang_before_i_die_i_want_to

[Accessed: 11/03/19]

Gormley, A. (2012) Sculpted space, within and without [online video] 

Available at: https://www.ted.com/talks/antony_gormley_sculpted_space_within_and_without

[Accessed: 10/03/19]

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[superb-y-lab]

The Art of Punk and the Punk Aesthetic.

（Ramones Los Angeles fan club mail-out, USA, 1977. Source: Punk: An Aesthetic (Rizzoli).

... ...

For a musical and social movement that snarled in the face of authority and wasn’t averse to spitting at its friends, punk has received a great many shelf inches in the last 30 years respectfully devoted to histories, reassessments and eyewitness accounts. Today, there is even an academic journal exclusively devoted to the pursuit of punk and post-punk studies, which has just published its second issue. There can’t be much left to say about the music, clothing, media outrage and legendary gigs, but the graphic expression of punk has received less critical attention. Now, within weeks of each other, two thick, illustrated volumes have appeared: Punk: An Aesthetic (Rizzoli) edited by Johan Kugelberg and Jon Savage, and The Art of Punk (Omnibus Press/Voyageur Press) by Russ Bestley and Alex Ogg. Kugelberg and Savage have also curated “Someday all the adults will die!”, an exhibition of punk posters, handbills, record covers and ’zines at the Hayward Gallery in London.

The books are nicely complementary, with fewer overlaps in what they show than one might expect. Both address British and American punk, with the Rizzoli survey leaning towards the US, and the Omnibus volume inclining towards the UK, while also showing a strong awareness of punk scenes in other countries. Anyone nursing a serious interest in this subject will need to buy or consult both titles.

(Anarchy in the U.K. fanzine, UK, 1976. Photo: Ray Stevenson. Design: Jamie Reid. Source: Punk: An Aesthetic)

The editors’ approaches are different, too. Kugelberg and Savage’s book is more of an album, with the images presented in art-book style on a plain white page (no objections here — it’s good to be able to see the work clearly without punk-inspired page layouts intruding). These are smart writers and Savage, author of England’s Dreaming: Anarchy, Sex Pistols, Punk Rock, and Beyond, is a key participant in the era; his punk archive is now stored at Liverpool John Moores University. But neither author is a historian or critic of graphic art, design or visual culture. “The history of the punk aesthetic cannot be told, only shown,” claims Kugelberg, somewhat unpromisingly. Savage made punk collages with the artist Linder Sterling and he has some good observations about punk montage: “In the act of dismembering and reassembling the very images that were supposed to keep you down and ignorant, it was possible to counteract the violence of The Spectacle and to refashion the world around you.” He points to the visual influences of John Heartfield, Martin Sharp’s work at Oz magazine, the feminist artist Penny Slinger, the Beach Books 1960s pamphlets, and Dawn Ades’ Photomontage (1976). I bought Ades’ trail-blazing study when it came out and would love to hear more: which punk image-makers were looking at the book and what did they get from it?

Bestley and Ogg write with a carefulness of phrasing and appearance of academic detachment that only partially masks the same devotion to punk as listeners and fans. Punk graphics was the subject of Bestley’s PhD and he curated the earlier exhibition “Hitsville UK: Punk in the Faraway Towns”; he is course director of the graphic design MA at the London College of Communication. Ogg is author of No More Heroes, a history of British punk, and an editor of the Punk & Post-Punk journal. “It is important to question the notion of a direct association between work by prominent early punk designers and the emergence of a radical new visual language of parody and agitprop,” they write. “To an extent, the techniques adopted by Jamie Reid, for instance, were already widely accepted as the natural languages of anger and protest.” Such a comment can only be addressed to readers who know nothing about the histories of graphic design and graphic protest. As Savage and Kugelberg point out in their exhibition intro, punk’s precursors and putative influences include Dadaist collage, the Situationist International, the mail art movement, the graphics of counter-culture protest, and the 1960s underground press. I say “putative” because none of these connections is explored in depth and definitively established in their book.

(Situationist pamphlet by David Jacobs, USA, 1973. Source: Punk: An Aesthetic)

(Sex Pistols, Pretty Vacant poster, UK, 1977. Design: Jamie Reid. Source: The Art of Punk (Omnibus Press) The buses appear to come from David Jacobs’ design. Reid claims he sent the Situationist group the image in 1973)

(Pretty Disobedient, screenprinted poster by Shepard Fairey, USA, 2001. Signed by Fairey)

It was valuable to revisit so many original pieces in the exhibition after looking at small reproductions in the two books because the show communicates the explosive energy and “messthetic” rawness of punk graphics with persuasive power. This was an art of expediency, making use of collage, cartoon drawings, hand-lettering, rub-down lettering, ransom-note lettering, stencils (Savage and Kugelberg include a fantastic display of used stencils made by Crass), rubber-stamping and black and white Xerox copying, as well as silkscreen and offset litho. Looking at the discordant profusion of examples in the books, I kept trying to single out less familiar pieces that were highly accomplished as “design” from the many pieces that are hugely expressive and exciting, but not original or well resolved when seen in strictly graphic design terms. In the show, savoring scores of examples packed together at full size on the walls, those distinctions seemed irrelevant. These were raucous, vitality-filled transmissions from a turbulent graphic universe totally different in intention and effect from the smooth, orderly, design history-conscious parallel universe of professional design aesthetics, purposes and training. There didn’t necessarily have to be any points of contact or interchange between the two co-existing spheres.

(Flyer promoting a gig by Adam and the Ants, UK, 1977. Design: Adam Ant. Source: The Art of Punk)

(Poster promoting a gig by Crass, UK, 1978. Source: Punk: An Aesthetic)

But the question of the relationship between punk D.I.Y. design in its most basic or amateur forms and the later development of graphic design cannot be avoided for anyone who is both sensitive to punk’s impact and legacy (“the immediate implementation of D.I.Y. grassroots culture among the young” — Kugelberg) and committed to graphic design as a medium. Kugelberg and Savage say that the “anarchic upsurge in graphic creativity . . . revolutionised design,” a clear attempt to assert punk graphics’ significance beyond the punk subculture, yet this claim, too, can only be substantiated by a lot more detailed research. (In my book No More Rules, I connected punk’s anti-design ethos to the late 1980s/early 1990s idea of “deconstruction” in graphic design.)

In the UK, the punk-related designers that had most influence in the early 1980s were a handful of individuals such as Malcolm Garrett, who had been formally educated as graphic designers (in his case at the University of Reading and Manchester Polytechnic), though design’s mainstream was, in fact, slow to learn from and assimilate the lessons and styles of subcultural music design’s new wave. In any case, the graphic sensibility of Garrett’s work for Buzzcocks and Magazine, shown in The Art of Punk, has always seemed closer to “post-punk” graphic design than to what is commonly understood as punk — even allowing for Bestley and Ogg’s precautionary advice that “there is no one standard punk visual language” and that “a notion of a pure or authentic punk style is difficult to justify.”

(The Desperate Bicycles, “Occupied Territory” 7-inch single, Refill, UK, 1978. Source: The Art of Punk)

(Prag Vec, “Existential” 7-inch single, Spec, UK, 1978. Source: The Art of Punk)

(Black Flag, “Jealous Again” 12-inch EP, SST, USA, 1980. Design: Raymond Pettibon. Source: The Art of Punk)

It is no accident, too, that the stencil-based graphic identity of Crass, one of the most highly politicized punk bands, is so well coordinated and trenchant. “Both Gee [Vaucher] and myself trained as graphic artists,” Crass co-founder Penny Rimbaud tells Bestley and Ogg. “Both of us prior to Crass had brought money into the house by doing book design and that sort of stuff. And part of training as a graphic artist wasn’t just learning type[setting], it was also thinking in terms of marketing; a lot of the projects at college were: ‘This is the product, how do you design and market it? How do you create a corporate idea?’ . . . It was a very distinct policy that things should have an instantly recognizable image.”

(Crass, The Feeding of the 5000 LP, Crass, UK, 1978. Design: Gee Vaucher. Source: The Art of Punk)

(Crass, Yes Sir, I Will LP (back), Crass, UK, 1983. Design: Crass. Source: The Art of Punk)

There is an old slogan and rallying cry that insists, “Punk’s not dead.” Bestley and Ogg certainly believe that. Their book ends with examples of more recent punk design, though I find it hard to get excited by most of them in graphic terms. Punk might, as they say, have employed a fairly broad set of graphic conventions, but they remain as consistent and constrictive over time as those found in heavy metal. Kugelberg deduces from punk a more general lesson for today: “Form a band, start a blog, become an artist, a DJ, a guitar player, an editor.” No one can argue with that, though many might see it as a stretch to claim that, in 2012, these possibilities derive from punk’s mid-1970s example — unless, perhaps, one were to view punk prophetically as a form of science fiction. Interestingly, this is just how Savage does regard punk: as a “jump cut” into the future. “[P]eople in Britain see punk in terms of social realism and rock music. It was pure science fiction and it was very informed by J.G. Ballard, and by The Man Who Fell to Earth, among a lot of other things. . . . I think what’s important about punk is the idea that it was for a brief period very futuristic.” That’s another intriguing insight that calls out for more excavation.

(Anti, I Don’t Want to Die in Your War LP, New Underground, USA, 1982 Design: Dan Phillips, Ed Colver, Gary Kail. Source: The Art of Punk)

original from here.

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Ten Things To Know About Sunset Ombre Painting | Sunset Ombre Painting

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Caroline Aghajanian: Actuality are four accessible DIY methods to actualize attach art on yourself. Try ombré or acclivity nails with a architecture sponge, bespatter nails with a toothpick or a blockhead pin, orted attach designs appliance band to actualize stencils, and a tie-dye or marble architecture appliance artificial wrap. Here’s how it works. And actuality she comes. Wow.

[cameras clicking]

Boom, boom, boom, boom, boom, boom. It’s a home salon. Welcome to Caroline’s Attach Parlor. I got my sponges, I got my attach colors, I got some absolutely beautiful attach colors. This is gonna be fun. The coffee has absolutely hit. Aboriginal I’m activity to try accepting ombré nails with a architecture sponge. Aah! There you go, got my dusk nails! The blot technique, you get the adhere of it, but do, like, a little bash and again a dab, dab, dab. Like, if it’s not absolute it’s OK. You can accomplish it perfect. I capital a sunsetty attach design, so I best white for my base, again ablaze blush and apricot to alloy together. That’s ugly. I’m accomplishing a abhorrent job. This attach brightness is not my favorite. I’m blaming it on the attach brightness and the attach and

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Five Elements That Impact Kitchen fitter bedford, uk’s Longevity.

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In terms of home improvements, they could be beneficial, nevertheless they may also be a hassle. The following advice will give you important home remodeling information. The ideas on this page will help you to have success together with your home remodeling projects.

It is essential that you just always modify the air filters. Changing the environment filters regularly will make your own home environment much more healthy whilst making your air conditioning unit function properly. Many repair calls are due to dirt accumulating within a furnace or air conditioning unit due to a messy filter.

Plain lampshades can certainly make the entire room look boring. By using stencils, creativity, and paint, you will be able to change your boring lampshade in to a masterpiece. Using this simple tip could make all of your room appear livelier.

Make use of a dampened sponge in your drywall. As an alternative to sanding drywall seams, just sponge them. When performed by a competent individual, using wet sponges could be just as good as sanding with regards to smoothing drywall seams. The extra edge is sponging doesn’t kick up all of the dust that sanding does.

It’s not at all times a great idea to fix leaks on your own. Just gather a little bit of the dripping liquid within a bucket and call somebody that knows the things they are going to do.

Ceramic tiles can actually lose luster as time passes. They are able to even look grungy.

Try using a water/vinegar means to fix clean it up. Pour your solution in a bucket and mop the floors with it. This will clear away the gunk and can leave your floors looking as good as new.

Get exhaust fans to your bathroom, kitchen and laundry room. By venting humidity to the outdoors, you can expect to reduce the potential risk of problems with mold and mildew. Additionally, once you reduce humidity you reduce the risk of condensed moisture collecting within the walls and causing rotting.

Glass jars like baby food jars are actually excellent organizers inside your workspace. The tops of those jars may be used under a wall shelf. Insert small items in the jars, including: beads, jewelry parts, screws or nails. Afterwards you must twist your jars in place again beneath the shelf. You’ll maximize the application of the shelf and acquire another use from all of the jars.

Enhance your house’s kitchen by adding new cabinet handles and knobs! Cabinet knobs are easy to install plus they do wonders in sprucing up a tired looking kitchen. Before installing the new knobs, thoroughly clean your cabinets. Screw on your new knobs and you’re finished!

Possess a budget for various renovations projects if you want to keep your house up to date with repairs and updates. A house owner that dedicates a good annual figure for home maintenance can keep her or his house in better shape. Place this money right into a bank account specifically utilized for home repairs, and employ it later on.

Redesigning is a lot more complicated than is often realized such a good point You will need to study and work tirelessly if you would like ideal results, nevertheless the savings along with the fun will likely be extremely rewarding. When you put the above ways to use, you’ll be doing projects all on your own very quickly..

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