#Art Appraiser UK

[seoteamwxt]

Ensure higher profits on your Art Investment London with Art Market Solutions! We have expertise in handling different types of art such as old master buildings, modern art, modern British art, and more. For more information, you can visit our website https://www.artmarketsolutions.co.uk/ or call us at 01462 612268

[getyourhomedecor]

Are Oriental Rugs Worth It?

In the realm of home décor, oriental rugs attract respect and attention, but are they really worth the money? Because of their durability and potential for value appreciation, they are highly valued as material representations of craftsmanship and history.

Oriental carpets that are handcrafted and in good condition can be excellent investments, albeit not all of them increase in value with time. Each rug's distinct designs and knots highlight the maker's artistry and cultural background, and with proper care, they can last for multiple generations. An Oriental rug's authenticity, material quality, and skilled craftsmanship define its worth; expert appraisals are essential for insurance and resale. If you want to buy green rugs UK, visit The Rug Shop UK.

Reasons Why Oriental Rugs Are Worth It?

1. Décor for Different Generations:

An Oriental rug that is handcrafted can outlive you by many years. Beautiful antiques that have been in families for generations make up a large portion of these rugs. They are frequently handed down as priceless family heirlooms and, with proper maintenance, can endure for decades.

2. Cosy And Elegant:

It's true that an oriental rug can lower your home's heating expenses! Wool rugs help prevent drafts on wood floors and can lower your heating costs because heat won't escape as rapidly.  Better yet, it will accomplish this without sacrificing the style of your interior decor.

3. Durable:

Handmade with a high knot density from wool, silk, and cotton, premium oriental carpets guarantee both beauty and longevity.

4. Great Art Is Always in Vogue:

Purchasing an Oriental or Persian rug is an investment in a unique work of art rather than merely a rug. Since the resources available to artists vary greatly from one place to another, each artwork they create is unique from the others. Each artist works with the materials that they have on hand.

5. Starter for a conversation:

Every Oriental rug has a backstory, encompassing the place of manufacture, the significance of the motifs, and the sources of inspiration the weaver must have drawn upon to produce the designs. Individuals who recognize and comprehend this, and value every discussion their Oriental rug has sparked.

6. Ecologically Viable:

The best of these carpets are the ideal eco-décor for people who desire something that is both attractive and environmentally sustainable because they are produced from natural and biodegradable materials without the use of chemical derivatives in their dyes.

7. Symbol of Status:

Buying something for their house is one way that some people show the world that they've "made it." This kind of interior design is frequently seen as a status signal for people who possess excellent taste and creative flair.

8. Beneficial To The World Economy:

Buying a hand-made Oriental or Persian rug not only gets you something useful, but it also helps people who live in remote areas support their families.

9. Simple To Keep Up:

To keep it looking great, give it a short shake, a little broom brush, or an incredibly gentle vacuum. The only rugs that might need more frequent cleaning are those stored in high-activity areas.

10. A Piece of Investment:

Oriental rugs are genuinely expensive décor items. These carpets haven't just come off a production line someplace. The best rugs, which are regarded as antiques, are shown in museums across the globe. Purchasing an authentic Oriental rug is similar to making an investment that will eventually yield large rewards.

The Oriental Rug Investment Value:

Investing in an Oriental rug means purchasing a work of art that will hopefully appreciate in value, rather than just a decorative accent for your house. An Oriental rug that has been stored carefully can appreciate in value over time, much like a fine wine. This appraisal is greatly influenced by elements including the rug's age, demand for its pattern, and condition. For example, pre-World War I rugs, like Persian and Caucasian rugs, are highly prized and can fetch prices of $150 to $200 per square foot or more.

But bear in mind that not all Oriental rugs increase in value over time or to the same extent. Even while machine-made rugs might lose up to half of their initial cost, handmade, handwoven rugs can keep their worth significantly better. Therefore, purchasing an Oriental rug should be more about enjoying its beauty and craftsmanship than it should be about worrying about its potential value growth. This offers possible benefits for future generations and guarantees satisfaction even in the event that the value does not improve sufficiently.

The Factor of Durability: A Rug for Generations to Come:

Oriental rugs are renowned for their durability and strength. They have several knots in each square inch and are hand-woven from cotton, silk, and wool. These rugs can endure for decades, even over a century, with the right maintenance. Therefore, you are investing in something that may be passed down through the centuries as a family heritage when you purchase an Oriental rug, rather than just purchasing it for yourself.

There are elements other than material quality that influence how long an Oriental rug lasts. It is also very significant how properly you care for it. Hand-knotted carpets, for example, are well-known for their durability, lasting up to 80 years or more with proper care. Hand-tufted rugs, which are occasionally mistaken for hand-knotted ones, typically last 20 years.

Upkeep and Handling: Safeguarding Your Investment:

Oriental carpets need to be regularly maintained and cared for to retain their beauty and worth, just like any other precious object. This includes:

-Vacuuming gently

-Spot cleaning when required

-Maintaining the fringes' health requires taking extra care of them, getting them professionally cleaned every 12 to 18 months, and keeping them out of direct sunlight.

For complete cleaning without the risk of damage, professional in-plant cleaning services are advised for handmade carpets, particularly antique or sentimentally significant ones. For regular maintenance, spot-clean rugs using a vinegar and baking soda mixture; for fabrics like cotton, use mild dishwashing solutions to clean the dirtier-looking fringes.

If your rug needs to be stored, be sure to adhere to these guidelines:

-Before storing the rug, give it a thorough cleaning.

-Tightly roll the rug to avoid creases and damage.

-Use breathable materials to cover the rug, like muslin fabric or cotton sheets.

-Keep the rug somewhere dry, well-ventilated, and climate-controlled.

-The rug should be exposed to sunshine on a regular basis to avoid mould growth, insect damage, and fibre deformation.

[lcurham]

Aust Soc Archivists lightning talk 5 Sep 2023 Melbourne

Proposed Title: Participatory archives in Australia - adding to the knowledge base Abstract details, max 300 words - What are the details? Provide an abstract or other description of what your proposed contribution will cover and involve: Participatory appraisal has been discussed amongst archivists for decades. There is literature reporting on experiences in the UK and the US but there is limited reportage of the practice of building archives with communities in Australia. In January 2023 a project focused on a low-social capital suburb in Canberra was exhibited. This lightning talk reports back with some insights. A challenge for participatory appraisal identified through this project was scale – if successful, the volume of content quickly becomes overwhelming. Another challenge is the responsibility that goes with accepting content from contributors. Expectations are set up that the content will be used or shared. And crucially, participation means everyone. Strategies are needed to connect with contributors that goes beyond relationships in easy reach for the archivist based on existing connections. Recognising who is likely to be overlooked and thinking about how the project might connect with the aspirations of those community groups offered a starting point in this project. Demonstrating that those voices are wanted and welcome is another part of the puzzle. Some strategies include partnerships and focusing on community events where there has been broad participation. A final lesson comes from social engaged art, a practice that focuses on community participation. This calls on the archivist to recognise their standpoint, the worldview they bring. Our sector has recognised that collections and building them is not neutral. For archivists, there remains much to do to work out how to meaningfully share that power and authority as collections are built.  I am submitting a proposal for the following:: Lightning Talks – informal short talk of 7 mins plus 5 minutes for Q & A My contribution fits in with the conference theme as follows: The challenge of developing archival collections with communities is ongoing, this short talk makes a contribution to that discussion.  The format of my presentation is: Lightning talk presenting 3 key challenges and some strategies to address them. 

Brief biography (max. 200 words): Dr Louise Curham is an archivist, artist and lecturer in the Libraries, Archives, Records and Information Science discipline at Curtin University. As an archivist, Louise worked for over a decade at National Archives of Australia in audiovisual preservation and government information. Other work in archives and records has been in community archives and museums. As an artist, Louise has been part of Australia’s experimental and media arts scene since 1992

[asandreolli]

Shary Boyle: Outside the Palace of Me February 24, 2022 - May 15, 2022 Gardiner Museum

Outside the Palace of Me is a major exhibition of new work by Canadian visual artist and performer Shary Boyle. Borrowing a line from UK poet Kae Tempest’s 2017 song “Europe Is Lost,” Outside the Palace of Me assembles the artist’s ever-mounting anxieties about global crises, within the context of identity theatre. Reflecting on contemporary constructions of self through the language of costume, character, set design, and stage effects, Boyle explores how we see each other, and how we see ourselves.

In our evolving political and cultural reality, the distinction between personal integrity and public persona has become dangerously blurred. We are encouraged by social media to perform our brand for an invisible audience. Yet at the same time, role-playing and self-examination are essential tools to gain perspective on historical relationships. As global responses to racial and economic injustice, colonial violence, gender fluidity, and environmental crisis deepen and divide us, artists ask themselves: what is our responsibility for, and relationship to, dominant narratives? Is identity static, or something we shape and define, ever-moving, between us all?

Outside the Palace of Me is a multi-sensory installation including drawings, ceramic sculpture, life-sized automatons, two-way mirrors, and coin-operated sculpture, set to an interactive score. Reimagining the museum as a collective performance space, the artist worked closely with a scenic designer, robotics engineer, amusement park innovator, and costume artist to joyfully envision a set for humanity and imagination.

Boyle mines histories of craft and obsolete technologies to connect our current realities to legacies of the past. Revolving the stage on her uncanny characters and their destabilized audience, she urges viewers to think critically about how we create both ourselves and the world we inhabit.

ABOUT THE ARTIST

Shary Boyle (b. 1972) is from the Scarborough area of Toronto. The recipient of a 2021 Honourary Doctorate of Fine Arts from her alma mater, Boyle graduated from the Ontario College of Art in 1994, developing a studio practice centered on figurative drawing, painting, and live performance. Creating deeply imaginative, idiosyncratic, and unsettling worlds, Boyle was an early innovator of live-drawing techniques using overhead projectors referencing shadow puppetry and cell animation. Boyle often collaborated with musicians and artists of other disciplines for these performances, activating her practice with a characteristically inclusive spirit.

Boyle began making sculpture in the late 1990s, modelling small polymer clay figures. Seemingly naïve and otherworldly, these flesh-like works incorporated fantastical imagery and often had an explicitly sexual aspect. She began working with ceramics in 2002, following a workshop on cast porcelain figurines and lace draping, approaches typically associated with elderly hobbyists. Boyle began researching the European history of the porcelain figurine, critically appraising its Enlightenment roots. The resulting works, exhibited at Toronto’s The Power Plant Contemporary Art Gallery in 2006, balanced highly refined and seductive surfaces with startling, sometimes disturbing imagery: a noblewoman holding her own bloody head in her hands, a lady consumed by delicate blossoms, a reclining damsel with an arching ouroboros of heads terminating between her legs.

Shary Boyle continues to work in sculpture, installation, drawing, and performance. Her multidisciplinary artworks were the subject of a major touring exhibition, Shary Boyle: Flesh and Blood in 2010–2011. She represented Canada at the 55th Venice Biennale in 2013 with Music for Silence, and co-curated the collaborative touring project Earthlings in 2017. Boyle has performed and exhibited extensively, from Los

Angeles, New York, Paris, and Icheon, South Korea, to remote communities such as Dawson City, Yukon Territory, and Inuvik, Northwest Territories. Her work is widely represented in private and institutional collections, including the National Gallery of Canada, the Art Gallery of Ontario, the Montreal Museum of Fine Arts, and the Gardiner Museum. source: https://www.gardinermuseum.on.ca/event/shary-boyle-outside-the-palace-of-me/

[lumus360uk]

360 Appraisal | Lumus360

Established back in 2000, Lumus360 is like the Jedi of 360-degree feedback tools in the UK. These folks are the masters when it comes to helping organizations, trainers, and consultants make the most out of the 360 appraisal magic.

Why are they the champs? Well, it’s all about their impressive track record. Over the past 22 years, they’ve cooked up over 1000 custom 360 feedback tools, making them experts in the art of designing, building, and implementing 360-degree feedback systems.

Whether you’re looking to supercharge your leadership and management development programs, tweak your company culture to match your values, or help underperforming managers level up their game, Lumus360 has got your back. They can even make 360-degree feedback a seamless part of your performance reviews.

Situated in Chepstow, UK, the Lumus360 team is like the dream team of feedback. With a mix of deep organizational knowledge, tons of experience, and tech wizardry, they’ve got it all covered.

What sets them apart is their dedication to meeting your expectations, offering various implementation options, and providing feedback reports that can give you insights on both individuals and groups.

And they don’t stop there! Lumus360 offers training and coaching support, turning your feedback into actionable improvements for both individuals and the organization. Plus, their customer service is top-notch, with super-fast responses and a commitment to getting things right the first time.

So, if you’re in the UK and looking to make 360-degree feedback work like a charm, Lumus360 is the name to remember. They’re the 360 Appraisal wizards you’ve been searching for.

[thestrategicpartner]

The Money Laundering Regulations 2017 Explained: Ensuring Compliance

Unveiling the Intricacies of The Money Laundering Regulations 2017: Ensuring Unwavering Compliance

Embarking on an all-encompassing expedition, we embark on an in-depth exploration of the intricate labyrinth that is The Money Laundering Regulations 2017. Our aim is to bestow upon you a lucid comprehension of the multifaceted measures and requirements essential for unwavering compliance. These regulations assume an indubitably pivotal role in the ceaseless battle waged by the United Kingdom against the perils of money laundering and the nefarious financing of terrorism.

With the baton of responsibility handed down from the preceding Money Laundering Regulations 2007 and the Transfer of Funds (Information on the Payer) Regulations 2007, the 2017 regulations stand resolute, poised to thwart the clandestine origins of ill-gotten gains and to nurture an ambiance of transparency and accountability in the realm of financial transactions. Compliance with these regulations emerges as a paramount obligation for businesses and institutions ensconced within the labyrinthine corridors of the UK's financial system.

This enlightening compendium casts its radiance upon a myriad of pivotal provisions. The hallowed halls of Customer Due Diligence (CDD) beckon, mandating the meticulous evaluation of customer identities and the vigilant monitoring of transactions, all in the relentless pursuit of identifying any whispers of dubious activity. Risk Assessment, an essential facet, unfurls its tapestry, necessitating that entities deftly navigate and appraise the potential perils of money laundering and terrorist financing that might lie in wait. Enhanced Due Diligence (EDD) gracefully makes its entrance upon the stage, donning the mantle of greater scrutiny when higher risks unveil themselves, compelling the undertaking of additional background checks and the implementation of intensified monitoring procedures.

The art of record-keeping emerges as a sacred duty, shackling businesses to the solemn task of maintaining meticulous archives encompassing customer due diligence, transactions, and the beating heart of internal policies. Another pivotal obligation materializes in the form of promptly reporting any glimmers of suspicion that arise from the mists of transactions, assuring that any inklings of money laundering or terrorist financing are expeditiously conveyed to the custodians of justice and security.

But lo, the grand tapestry of this guide would be incomplete without illuminating the sanctity of training and the harmonious integration of internal controls. As businesses find themselves ensnared within the embrace of these regulations, they are compelled to erect formidable ramparts comprising effective policies and procedures, crafted with unwavering determination to thwart the machinations of money laundering and terrorist financing. Moreover, the nurturing tendrils of education are diligently extended to employees, fostering a collective awareness that bolsters compliance and safeguards against the wily predations of financial malevolence.

Thus, by dutifully adhering to the tenets and precepts enshrined within the hallowed confines of The Money Laundering Regulations 2017, businesses unabashedly march forward, poised to make their indelible mark upon the grand tapestry of the collective crusade against financial malfeasance. Compliance, a bulwark of integrity, safeguards not only the hallowed bastions of the financial sector but also weaves an ethereal tapestry of security and transparency, creating a fertile ground upon which the seeds of business within the United Kingdom may flourish.

[ax3022-ancutadantepelgrom]

Inspiration For the Project

So my friends saw this film at the Manchester animation festival 2022, I, unfortunately, could not make it. However, they kindly shared the trailer with me since when explaining my project it reminded them of this film. I would say we have very similar ideas about using wood however it is much different to mine. As I have an emphasis on the environment. I like the aesthetic of wood being carved in a stop-motion manner it makes it feel organic rather than 2D, and it draws the audience into the environment as though you could touch it. I would like to try and engage a similar effect in world-building however, my desire is to have a burnt aesthetic instead.

I do wish I had the opportunity to go as I was not able to stream this at home.

I would say I, of course, have to include William Kentridge as an inspiration for my work since he is using a non-traditional form of medium to make animation with charcoals. He is a South African artist, now 67 years old with several exhibitions in several museums around the world, recently he had one in London that I was unable to attend. He works within many mediums with a political, science, literature and history ground within them. In 2016 he created a centre in his home town called Less Good Idea to create a space for experimentation and creativity whilst holding workshops, public performances and mentorship. He is also a recipient of honorary doctorates.

He is an inspiration because I found enjoyment from using charcoals through him and his expressive medium. And try to replicate this has been fun through my experiments. Its artwork intrigues me about how it can make art move and further express an emotion. It has a gritty sense of realism and humanity which I also desire to express within my work.

Jodie Mack

English born (1983, Uk London) American woman, experimental film maker and animator. Attending the Florida university for the MFA in film, video, and new media at the school of art institute of chicago and teaches at Dartmouth College.

I choose her for my research because of her in-depth abstract experimental animated films. I love to play and push boundaries and so does she.

Most importantly her creative chaos comes from her exploration of pattern, place and life. I will say however I was not able to recreate a similar experiment. However, it has helped frame what experimental can be.

Hayao Miyazaki & Studio Ghibli

Created from three men, Hayao Miyazaki, Isao Takahata, Toshio Suzuki. ( there was a fourth guy Yasuyoshi Tokuma, executive producer owning the parent organisation to studio ghibli. but he has passed away, and it was only recently that Isao passed. He wasn’t very prominently seen, but a close friend to Hayao)

The studio was founded June 15th 1985, tokyo, by themselves. Including there music composer Joe Hisaishi.

They’ve created so many films, even Hayao’s son was involved directing a few movies. (And i have watched nearly all of them apart from the ones in the museum that are stricted). The one movire that signified to the western world and Disney was Spirited away, winning an Academy Award for best Animated Feature at the 75th Academy awards. Making it the first of its kind as a foreign film. Surpassing Titianic worldwide grossing.

In 2016 it was voted the fourth best film of the 21st century picked by 177 film critics around the world. It has continued to recieve appraise.

The Studios Net income is 1.426 billon yen (2011) and has around 150 employees.

Hayao has truly been the centre of the operation and has masterful talent. Not to say that Isao is his equivalent but suited to different audiences that have made his movies stay hidden from mainstream television in the west. Hayao just won’t retire because it’s his reason to live, to show the small joys in life. His pacifist views are the core of his work dealing with this through each film from Nausicaa to Howls Moving Castle and his new upcoming film Boru the caterpillar. He reflects on what he learns and the struggle of being in the very medium that is a part of most of the problems he dislikes capitalism, pollution and war.

His films also touch on some of the positive nature of humans as well and in this way, he gives vigour to us imperfect beings. Yet leaving it up to us, introducing positive things that his characters do such as cleaning and cooking etc.

He is an inspiration since he started me on this journey towards animation, as well as giving me the courage to show what I believe and nothing less. People may not like your work however you will find your way. As well as to use yourself within your work, as that's what sets you apart. His activism is what he can do, and that's something I believe should be the core of any topic such as this. Further his way of being empathic to the environment as though it was a character is something I wish to bring into my work.

[scapegrace74-blog]

Ginger Snap, Chapter 3

A/N  And just like that, here’s another chapter of Ginger Snap.  This one has no Chef!Jamie (at least not in person, but he is the invisible third presence in the room) but read it anyway!  He’ll be back in the next chapter, I promise.

Previous chapters are best enjoyed on my Ao3 page, because I have a bad habit of going back and editing them after they’ve been posted.

I appraised my reflection in a plate glass window.  Today was my thirtieth birthday.  I’d spent most of the day at a fancy salon having assorted hairs waxed, plucked and uncoiled.   Twenty minutes in the capricious October wind, and my sleek hairstyle was on the verge mutiny.  I smoothed it down as best I could with my palms, mentally shrugged my shoulders, then entered the upscale restaurant.

“Happy birthday, darling.”  Frank left a dry kiss on my cheek, careful to not mar my make-up, as he greeted me.  “You look very beautiful with your hair straight like that.”

It was clear why Frank had chosen the Witchery for my birthday celebration.  Nestled against Edinburgh Castle, it radiated history with its dark woods, tapestry-covered walls, burgundy banquettes and faux Tudor painted ceiling.  Everywhere crystal and silverware reflected the bountiful candlelight.  I pictured Jamie’s thick-soled work boots striding across the antique Persian carpets towards the kitchen and had to suppress a giggle.

Frank stood respectfully while the maître d’ pulled out my chair.  He played the part of the genteel academic to a tee.  Ten years’ my senior, he sported thick-framed glasses, a full head of dark hair and a trim figure that spoke more to abstemious habits than vigorous exercise.  Still, he was wearing his best tailored suit and the tie I’d bought him for Christmas.  I reminded myself that I was lucky to be in a relationship with a decent, courteous and dependable man who offered me the stability my tumultuous childhood had been sadly lacking.

We conversed quietly as we each perused the leather-bound menus, the noise of other diners a discrete background hum.  Frank told me all about the history of the sixteenth century oak panels that lined the room, and I listened politely.

“It’s so refreshing to see an establishment buck the trend of those horrendous open-style kitchens,” he pronounced with a dramatic shudder.

“Oh, I don’t know.  I rather enjoy watching the orchestrated chaos that goes into making my meal.  It’s like dinner theatre,” I contradicted.

“Some things are better appreciated unseen, darling.  It’s like that gaudy museum we visited in Paris.  Ductwork and elevator shafts on display along with the art.  It’s tremendously distracting, and not at all the point.”

He was referring to our visit to the Pompidou Centre the previous summer.  I had found the juxtaposition of modern art and naked architecture fascinating.   Frank much preferred the Louvre.

I was saved from having to defend my opinion by the arrival of our waiter.  Using a well-manicured fingernail to indicate his choices, Frank ordered for us both.

“The lady will have your Grand Cru Mambourg.  I’ll start with a Lagavullin 16, and proceed to the Chambolle-Musigny with my main course,” he said with conviction.

“Very good, sir.”  The waiter collected the enormous wine menu and decamped, having failed to even look me in the eye.  A little ember of resentment glowed in my belly.

“How did you know what wine to order when I haven’t told you what I’ve chosen as my main course?” I challenged once the waiter was out of earshot.

Frank looked perplexed, as though we were acting in a play and I’d suddenly said the wrong lines after countless perfect dress rehearsals.

“It’s your birthday, darling.  You always get lobster for your birthday.”

I thought about this.  He wasn’t wrong.   I liked lobster.  The first time we celebrated together in Boston, on my twenty-fifth birthday, it had felt like a sophisticated, grown-up choice.  But I never intended for it to become my only option.

The rest of the meal passed without event.  Frank was more animated than usual, reaching across the table to caress my hand twice and joking that his Angus steak tartare appetizer made him feel like a veritable red-blooded carnivore.

Once our plates were cleared Frank cleared his throat and squared his shoulders in a way that reminded me of the day he announced that we would be moving to Edinburgh.  Now what? I wondered.

“Claire.  Darling.  I think you know how happy you make me, and how delighted I am that we’re building this new life together back in the UK.  Your thirtieth birthday is such a special occasion, and I think it’s fitting that we mark it with something momentous.”

He reached across the table and took my left hand in his right.  His skin was cool and dry against my oddly numb palm.  I considered whether I might be going into cardiac arrest.  My heart felt untethered in my chest, leaping towards my throat and then plunging into my gut.  I concentrated on taking short, sipping breaths so that I didn’t regurgitate lobster all over the pristine white table linens.

Frank continued, unaware of my turmoil.  “I’d like us to be married within the year.  That way, our children will be born before you enter the high-risk years.  A late-spring wedding sounds lovely, don’t you think?”

He looked at me expectantly, so it must be my turn to speak.  The problem was I couldn’t think of a single thing to say.

“I’m sorry, are you asking me to marry you?” I managed to ask around my stomach, which had joined my heart in my throat.

Frank chuckled.  “Of course I am, darling.  Isn’t this what we always planned?”

Strictly speaking, it was what Frank had always planned.  He’d certainly never made any secret of the fact that matrimony and a family were what he saw in our future.  So why was I blind-sided?  It felt as though I had been driving a practical four-door sedan with an excellent crash test rating at highway speed, only to suddenly realize that nothing happened when I pumped the brakes.

I said the next thing that came into my malfunctioning brain.

“What about my licensing exams?”

“There really won’t be time, darling.  Planning a wedding is a full-time job in itself, from what I hear.   We need to get moving if we’re to have two children.  You aren’t getting any younger, you know.”

I nodded weakly as though this made some kind of sense.  Frank took the gesture as silent acceptance of his hyper-practical proposal, clapping his hands together in delight in a way that made me jump.

“Marvelous.  Now, I know that you’re very particular about jewelry, so I thought it best that we shop for a ring together.  But I wouldn’t dream of celebrating your special day without giving you something tangible.  Happy birthday, Claire.”

He pulled an envelope from his inside jacket pocket and slid it across the table.  My fingers trembled and twitched as I tried to open the seal.  Inside was a certificate printed with a familiar logo.   I looked at Frank in shock.  How did he know?

“I know how much you want to learn to cook.  This place has an excellent reputation, despite their ridiculous name.  They offer group lessons, but only at their location in Leith.  I suppose the rent is cheaper there, but clearly that was out of the question.  Fortunately, I was able to arrange something more suitable with the owner, so you’ll be learning at home from a private chef!”

At that moment our waiter reappeared carrying a bowl of dark, rich-looking pudding.  As he placed it on the table in front of me, the spicy vapours of whisky assaulted my nose.  With a flourish, the waiter extracted a long-handled lighter and ignited the liquor.  Through the ensuing burst of purple flame, Frank’s familiar features transformed into something far more sinister.

[sapphireheavensbeloved]

Whats sia?

Im not completely sure which/what sia they mean but they could be referring to the singer that goes by the name “Sia” or they could be referring to these... And please dont read all of this this will give u brain damage 😭

Acronym Definition SIASecurity Industry Association SIASemiconductor Industry Association SIASecurities Industry Association (merged into Securities Industry & Financial Markets Association) SIASecurity Industry Authority (UK) SIASistemi Informativi Aziendali (Italian: Business Information Systems, Ltd.) SIASmithsonian Institution Archives (est. 1846) SIAServices to Improve Access (Ministry of Health; New Zealand) SIASubaru of Indiana Automotive, Inc. (Lafayette, IN) SIAStable Isotope Analysis (biology) SIASenior Internal Auditor (accounting; various companies) SIASustainability Impact Assessment (trade) SIASociété des Ingénieurs de l'Automobile (French: Society of Automotive Engineers) SIASeoul Institute of the Arts (Seoul, South Korea) SIASalon International de l'Agriculture (French: International Exhibition of Agriculture) SIASocial Impact Assessment SIAServicios de Información y Asesoría (Spanish: Information and Advisory Services; Guatemala) SIAScaffold Industry Association SIASocial Insurance Agency (various locations) SIASchweizerischer Ingenieur- und Architektenverein SIASingapore Institute of Architects SIASubaru Isuzu Automotive SIASymantec Intruder Alert SIAStarting Instruction Address SIASubaru of Indiana Automotive SIAScsi Industry Association SIASemiconductor Industries Association SIAShenyang Institute of Automation (est. 1958; China) SIASpinal Injury Association (various locations) SIASafety Institute of Australia SIASystem Impact Assessment SIASatellite Industry Association SIASociété Suisse des Ingénieurs et des Architectes SIASociety for Industrial Archeology SIASam I Am (band) SIASecurity Integration Architecture SIASOCO International Plc (UK) SIASurvivors of Incest Anonymous SIASocieta Italiana di Andrologia (Italian) SIASummit International Awards (marketing communications industry) SIAService de l'Information Aéronautique (French: Aeronautical Information Service; General Directorate of Civil Aviation; France) SIAProfessional Ski Instructors Association of Japan SIAStuck in Active (Refers to DUAL-3-SIA error message of EIGRP) SIASecurities Institute of America SIASolutions for Intelligence Analysis (various organizations) SIASingapore International Airlines (ICAO code) SIAServizio Informazioni Aeronautiche (Italian: Air Intelligence Service) SIASubject Information Access SIASorry in Advance SIASpokane International Airport SIASocietà Interbancaria per l'automazione (Interbank Association for Automation) SIAShareware Industry Awards SIASport Industry Awards (UK) SIASequential Injection Analysis SIASaitama International Association (Japan) SIAStatistical Image Analysis (mathematics) SIAStaffing Industry Analysts, Inc. (Los Altos, California) SIASupplementary Immunization Activities SIASchools Insurance Authority (Sacramento, CA) SIAStudents in Action SIASwiss Insurance Association SIASimplex Investment Advisors (Japan) SIASocietà Italiana di Artroscopia SIASpecial Interest Alien SIASorry I Asked (chat) SIASugar Industry Authority (Jamaica) SIASki Industries America SIASocietà Italiana di Arboricoltura SIAService in Information & Analysis Limited (London, UK) SIASpaceweek International Association SIASolvents Industry Association (London, UK) SIASabiedriba ar Ierobezotu Atbildibu (Latvian: Limited Liability Company) SIASerial Interface Adaptor SIASafety Institute of America (Lexington, SC) SIASyrian Investment Agency SIASingapore International Airport SIAStructural Inventory & Appraisal (engineering; various locations) SIASession Initiation Application SIAStable Implementation Agreements (Bellcore) SIASistema de Información Aduanero (Spanish: Customs Information System) SIAStandard Instrument Approach SIASocially Intelligent Agent SIASudden Ionospheric Absorption (astrophysics) SIAShareware Industry Association SIASoldiers in Arms (gaming clan) SIAStarfleet Intelligence Agency (Star Trek) SIASystem Interface Agreement SIAState Implementing Agency (India) SIASalary Increase Authorization SIAStatistical Implicative Analysis SIAStorage Instantaneous Audimeter SIASciences et Initiatives pour l'Afrique (French: Science and Initiatives for Africa) SIASwap-In Arrears SIAScalable Interconnect Architecture SIAStation Interface Adapter SIASistema de Informação Aduaneiro (Portuguese: Customs Information System) SIASwiss Industrial Abrasive SIAScanner Interface Assembly SIAScreen Imagination Agency SIAStudent Initiated Assignment SIASociedad Argentina de Inmunologia SIASystem Interface Assembly SIASentral Sykehuset I Akershus SIASpecial Interface Adapter SIASelf Initiated Activity SIAShuttle Induced Atmosphere (US NASA) SIAServices Internetworking Architecture (Sedona) SIASignal Indicated Alarm SIASyra Intergalactic Arms (gaming) SIASoroptimists International of the Americas SIAStructured Improvement Activity SIAStartegic Issues Analysis SIASpecial Intelligence Australia SIASpecialized Individual Assistance SIASudanese Institute of Architects SIAStrategic Internet Alliance SIASupervision, Inspection and Administration (US Army) SIAStandardized IDRS/CFOL Access SIAStrategic Integral Approach

[architectnews]

Dogger Bank Wind Farm O&M Base, Newcastle

Dogger Bank Wind Farm Port of Tyne, England, UK Architecture

Dogger Bank Wind Farm O&M Base

25 Mar 2021

Dogger Bank Wind Farm Building

Design: Ryder Architecture

Location: Port of Tyne, east of Newcastle, North East England, UK

Dogger Bank Wind Farm Unveils Design for Operations and Maintenance Base at the Port of Tyne

25th of March 2021 – The developers of the Dogger Bank Wind Farm have revealed the design for the multi million pound Operations and Maintenance (O&M) Base, that will serve the world’s biggest offshore wind farm.

Subject to planning approval, the base will be constructed in the Port of Tyne. It will serve as the main hub for operating the wind farm which when complete will be capable of powering 6m homes. The design is by Ryder Architecture.

SSE Renewables is leading on construction of the wind farm and Equinor will operate the wind farm for its lifetime of up to 35 years, creating over 200 direct jobs in the north east of England.

Some roles will be based onshore, such as planners, engineers and management, whilst other roles such as wind turbine technicians will be based offshore at the wind farm itself, living for two weeks at a time on a vessel over 130km out to sea. The main recruitment activity is expected from 2022.

Working with international design practice Ryder Architecture, headquartered in Newcastle, Equinor has designed the O&M Base to be built using environmentally friendly materials. EV chargers, solar panels and efficient heating systems have been included to ensure the facility has a low carbon impact.

As well as offices for those based onshore and a warehouse to store spare parts for the wind farm, the design includes development of a new quay suitable for the state of the art Service Operations Vessels (SOVs) that provide accommodation, and transport for technicians to and from the wind farm. The vessels will come to the port approximately twice a month for resupply and crew change.

Halfdan Brustad, vice president for Dogger Bank at Equinor, said: “Dogger Bank is set to have a huge impact in the North East of England. On top of the hundreds of direct jobs the project creates, opportunities from the project will reach many others in the region from industry suppliers to catering companies.

“Over the last month investment for a new manufacturing facility in Teesside has been announced, set to provide the 107m turbine blades to Dogger Bank, and the contract for our three operations vessels has been awarded to a Scottish company, creating further jobs in Scotland and the North East.

“We specifically chose a local firm, Ryder, to work closely with in designing this flagship facility, and have ensured it is both environmentally sustainable and future fit in order to attract the best local talents to join our team. We share the final designs with pride, and can’t wait to get started!”

Francesca Harrison, project architect at Ryder, said, “The design proposals reflect Dogger Bank’s drive for a more sustainable future. They have been designed to achieve net zero carbon and provide one of the best workspaces in the north east helping Dogger Bank to attract the best talent.”

Steve Wilson, project director for Dogger Bank Wind Farm, said: “This locally designed and sustainable Operation & Maintenance Base will become the heart of Dogger Bank operations, in a region that will also reap the economic benefits of Dogger Bank Wind Farm in its construction phase. It’s another important milestone for our project, but also for a region that is becoming a powerhouse for innovation and decarbonisation.”

Matt Beeton, chief executive officer of the Port of Tyne, said: “The site is well underway at the Port of Tyne with ground and quayside improvements taking place. The Port and the region are excited to see the start of Equinor’s new facility which will not only provide much needed jobs but also start our journey to supporting the biggest offshore wind farm in the world.”

The plans for the O&M facility have been submitted to South Tyneside Council for a planning application. The construction contractor will be appointed in the coming months.

Dogger Bank is being built in three equal phases of 1.2 gigawatts (GW) each. The first two phases, Dogger Bank A and B, are a joint venture between Equinor (40%) SSE Renewables (40%) and Eni (20%). The third phase, Dogger Bank C, is being developed on a different timescale and is owned by Equinor (50%) and SSE Renewables (50%).

About Ryder Architecture

Ryder was established in Newcastle in 1953, and now has a team of over 200 passionate people across the UK, Hong Kong, Vancouver and Amsterdam. We deliver pioneering architectural services across a diverse portfolio of sectors, collaborating globally with Ryder Alliance partners.

Our goal is simple – to improve the quality of the world around us and, in doing so, improve people’s lives.

https://ift.tt/1QZvajF #Everythingarchitecture

About SSE Renewables

SSE Renewables is a leading developer, owner and operator of renewable energy across the UK and Ireland, with a portfolio of around 4GW of onshore wind, offshore wind and hydro. Part of the FTSE listed SSE plc, its strategy is to drive the transition to a net zero future through the world class development, construction and operation of renewable energy assets.

SSE Renewables owns nearly 2GW of operational onshore wind capacity t. Its 1,459MW hydro portfolio includes 300MW of pumped storage and 750MW of flexible hydro. Its operational offshore wind portfolio consists of 487MW across two offshore joint venture sites, Beatrice and Greater Gabbard, both of which it operates on behalf of its asset partners.

SSE Renewables is aiming to treble its renewable energy output by 2030. In addition to Dogger Bank Wind Farm, SSE Renewables is currently leading the construction of the Seagreen 1 offshore wind farm (1,075MW, SSE Renewables share: 49%) and is developing the Berwick Bank and Marr Bank offshore wind farms (up to 4,150MW) in Scotland, North Falls (up to 504MW, SSE Renewables share: 50%) in England, and Arklow Bank Wind Park Phase 2 (520MW) in Ireland. Onshore it is constructing the Viking wind farm (443MW) in Shetland and Gordonbush Extension (38MW) and has a further 1GW of onshore wind in development.

SSE Renewables is a Principal Partner to the UK Government for COP26 UN climate summit taking place in Glasgow in November 2021.

About Equinor in the UK

Equinor has been operating in the UK for over 35 years. Headquartered in Norway, the company employs 22,000 people globally, and over 650 in the UK. As a broad energy company, Equinor is committed to long term value creation in a low carbon future, and targeting carbon neutral operations globally by 2030.

Equinor is the UK’s leading energy provider and supports the UK economy by investing billions in crucial energy infrastructure, working with over 700 suppliers across the country. Its energy supplies from Norway meet more than one quarter of the UK’s demand for natural gas and around one fifth of its demand for oil, both produced with one of the lowest carbon footprints in the industry. It operates the Mariner oil field, one of the largest and most digitally advanced offshore investments in the UK over the last decade, and is progressing Rosebank, the largest undeveloped field in the UK. Both projects support hundreds of jobs and economic activity in Scotland.

Equinor also operates two offshore wind farms off the East Coast of England, Dudgeon and Sheringham Shoal. It is developing plans to extend the capacity of both wind farms, doubling its offshore wind production in Norfolk.

Equinor is a pioneer in floating wind technology with Hywind Scotland, the world’s first floating wind farm off the coast of Peterhead, which is partnered with Batwind, the world’s first battery for offshore wind. Hywind Scotland has reached record breaking capacity factors, taking the title for the UK’s best performing wind farm three years in a row.

With its partners SSE Renewables, and Eni, Equinor is building the largest offshore wind farm in the world, Dogger Bank, off the North East coast of England. It is also a leader in both carbon capture utilisation and storage (CCUS) and hydrogen, and is developing a number of projects in Europe, including in the Humber and Teesside regions of North East England.

About Eni

Eni is an energy company operating in 66 countries worldwide and employing around 32,000 people. The company operates in oil and gas exploration, development and production, refining and marketing, trading and shipping, chemical, renewable energies and innovative solutions in circular economy. Eni’s mission is inspired by the UN 2030 Agenda and these values are reflected in its business model, itself based on three pillars of long term carbon neutrality, operational excellence and the creation of alliances for local development.

The new Eni is based on efficiency, integration and the deployment of new technologies.

Decarbonisation is structurally embedded in our overall strategy and ambitions and in Sustainalytics’ last update as of September 2020, Eni has achieved an ESG Risk Rating score of 25.7, ranking in the top 3% amongst its peers in the Energy Sector.

Eni has set the next intermediate target for renewables in 2035, when the company will generate 25 GW of installed capacity from renewable sources.

Eni is active in the UK as operator of the Liverpool Bay Area project in NW England, for which it was recently awarded a CO2 appraisal and storage licence by the Oil and Gas Authority.

Eni, together with BP, Equinor, National Grid, Shell and Total, has formed the Northern Endurance Partnership (NEP), with BP as operator. The partnership aims to develop offshore CO2 transport and storage infrastructure that will serve the two decarbonisation projects of the industrial clusters of NE England: Net Zero Teesside (of Which Eni is partner), and Zero Carbon Humber.

The two projects plan the combined capture and storage of climate-changing emissions from industrial sites and power plants, and the development of market for low emission hydrogen production (blue hydrogen).

UK authority consider this kind of project vital to support the Country’s effort to cut by 50% industrial emissions by 2030, while at the same time providing new jobs for the local communities.

Ryder Architecture

Dogger Bank Wind Farm at Port of Tyne in Newcastle images / information received 250321

Location: Port of TyneNewcastle upon Tyne, North East England, UK

Architecture in Newcastle

Newcastle Architecture

Newcastle Architecture Designs – chronological list

Newcastle Architecture News

Verde Student Accommodation Architects: SimpsonHaugh and Partners photo © Daniel Hopkinson Verde Student Accommodation

Sage Gateshead building for Gateshead Council Design: Foster + Partners Sage Gateshead

Byker Wall Estate Upgrade photo © Adrian Welch Byker Wall Housing

Eskdale Terrace Housing, Jesmond Design: FaulknerBrowns Architects image from architecture office Terrace Housing Jesmond

Newcastle Architecture – Selection

Woodhorn Colliery, Ashington, Northumberland Design: RMJM Architects Woodhorn Colliery

Sixth Form Academy Design: RMJM Architects Newcastle Sixth Form Academy

Dance City Newcastle Design: Malcolm Fraser Architects Dance City Newcastle

Newcastle Architect Offices

Newcastle City Library

Comments / photos for the Dogger Bank Wind Farm Port of Tyne in Newcastle page welcome

The post Dogger Bank Wind Farm O&M Base, Newcastle appeared first on e-architect.

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[darkdisrepair]

the first step (is always the hardest)

alright guys fun fact someone asked about the origin of the queens living together but i wasn’t sure how to answer the ask while also having a title so here we are! hopefully whoever asked sees this.

in this, i’m thinking parr is around 20 (which would be about her second/third year of university in the united states, idk about the uk) which makes anne around 21-22

~

“I think I found our place,” Anne declared with a wide grin on her face. Parr looked up from her worn copy of Sense and Sensibility, eyebrows raised.

“Really?”

“Yeah.”

“Tell me about it, then,” Parr said, closing the book and turning her her full attention toward the brunette. 

“It’s on Upper Park Road. The website says we’d have housemates. They’re looking for two women to help them pay rent, but they don’t really care how old. There’d be a meeting first, so that the other people living in the house could meet us.”

“Upper Park Road is a really nice area,” Parr said skeptically. “Do you really think we could even realistically afford that?!”

“Honestly, it doesn’t look like they’re asking for much. I’m pretty sure whoever owns the house isn’t too worried about making a profit, necessarily.”

“Does it say what they’d expect us to pay? Let’s not forget that we both have university fees still.”

Anne rolled her eyes. “Would I be bringing this up to you if I didn’t think we could do it? They didn’t mention a price estimate. They just want whoever’s interested to set up a meeting and then they said that we’ll talk money there. If it doesn’t work out, fine, we’ll keep looking.”

“I don’t know, Annie, this seems way too far out of our wheelhouse. Houses on Upper Park Road go for millions of pounds, and I, for one, know that that’s definitely out of my price range.”

“Just give it a chance, okay? It’s a beautiful house, and it’s in a pretty decent location. We could get where we needed to go without having to deal with the tourists all the time.”

Parr still looked skeptical, with her arms crossed over her chest. “Anne...”

“It’s just one meeting. And then we can go for ice cream afterward, and I’ll pay.”

“That’s a dirty move.”

“But I know you’ll say yes.”

Even though she tried not to hide it, Anne was incredibly nervous for this first meeting with the homeowner. She and Parr had been looking for somewhere to stay for quite some time now, and this was one of, if not the only promising prospect they had.

It was either this, or find some run down old place on the outskirts of London, in some sketchy neighborhood. Which Anne would rather not do. They tried another place a few months prior, but their landlord had been less than pleasant, always lurking around the building, following Anne to the store one day, trying to bargain a kiss from Parr another...

She just prayed that whoever it was wasn’t going to ask them for much, rent-wise. She made a solid amount performing, but it wasn’t a lot, and Parr was in her final year of university. They certainly couldn’t afford a house on Upper Park Road by themselves.

Anne had dressed as nicely as she could, in one of her favorite olive green sweaters, dark jeans, and a pair of nice boots. Parr wore a white button down shirt, a blue blazer, and maroon pants. 

“Ready?” Anne asked, hand on the doorbell.

“As I’ll ever be.”

The doorbell rang once, twice, before the door swung open to reveal a very professional looking woman, with blonde hair that was nearly white. “You must be Anne and Catherine.”

“Yes, that would be us,” Parr said a bit awkwardly. “And you must be Ms. Seymour.”

“That would be correct, but do call me Jane. Come in. I was thinking we’d get to know each other a bit before we talk business, if that works for the two of you. Are you in much of a rush this morning?” Jane asked as she led them down the entrance hall.

“No, we have nothing planned.”

“Lovely.”

They’d reached the living room now, which was brightly lit by a large window on one side. 

“These two women are Catherine Aragon and Anna Cleves,” Jane said, motioning toward the two women who were seated on the couch. “They are also staying here at the present time. Catherine, Anna, meet, well, Catherine and Anne.”

“It looks like your Catherine and Anna quotas are already filled,” Anne quipped as she sat down in one of the armchairs. “Don’t need much more of those around the house.”

“All we need is another Jane,” Cleves added, smirking. “Then it would be even teams.”

“How about you tell us a little about yourselves? What do you do for a living? How long have you been in London?” Jane asked, looking at the two of them in a manner that made Anne feel like she was a piece of art to be appraised in a museum. 

“We both went to university here, and I’m currently auditioning on the West End,” Anne said. “I studied musical theatre.”

“And I’m planning on becoming a writer after I graduate,” Parr added. “But I still have a little ways to go.”

“What sort of writing?” Catherine Aragon asked, at the same time Cleves asked about what shows Anne was going for.

“Um, well, I like writing about social issues. Women’s rights, how people interact with others, problematic trends. But I also enjoy fiction quite a bit, so maybe I’ll write some novels on the side while I work as a journalist the rest of the time.”

“I’ll really go for any role they want me,” Anne explained. “But I love dancing, and I love playing the quirky characters. The love interest doesn’t really suit me- I prefer the witty ones, the ones with the good one-liners.”

~

The conversation continued like that for about thirty more minutes. To Anne, it felt more like a job interview than a get-to-know-you session, but when something as intimate as sharing a house was on the line, she couldn’t blame any of them for wanting to know as much as possible.

“I have one more question before we make our decision. What brought you here?” Jane asked.

“We had a bad experience at the last place we visited,” Parr said after a heavy silence. “Our landlord was very... pushy. He followed Anne around all the time, flirting with her, trying to get her to go on a date with him... I forgot the keys one time and he tried to get me to sleep with him in order for him to let me in. It just wasn’t where we wanted to be anymore.”

Anne couldn’t bring herself to look at the other women.

“Thank you for telling us that,” Aragon said, but Anne couldn’t tell if her tone of voice had changed because she disliked the two of them or because she disapproved of their old landlord. 

Jane, Aragon, and Cleves left the room for a few minutes to discuss, leaving Anne and Parr alone in the living room.

“They seemed nice, if not intense,” Parr commented. “They seem so put together.”

“They are older than us. They’ve had time to find out what they want to do with their lives, where as we’re just... skating through.”

“Do you really think they’re even considering letting us stay with them? We’re so different from each other. They’re successful, well-off women, and we’re practically kids,” Parr wondered out loud.

“I don’t know. I can see it going either way.”

Anne definitely couldn’t see Jane Seymour appreciating the late-night lifestyle of a theatre actress, or Anne’s passion for wearing wheeled sneakers indoors, but she didn’t tell that to Parr.

The three women came back.

“We’ve made our decision. We’d be happy to have the two of you stay with us, if you would like,” Jane said with little fanfare. “You seem like you have promising futures ahead of you, we’d love to be a part of that. I know the value of a healthy living environment, and while I don’t have much experience acting as a landlady, I’m more than happy to open my home to bright young women such as yourselves.”

“And we need some new life in this house,” Aragon added.

“I’m sure we don’t be without our disagreements. Those are inherent when you put five women in the same house for long periods of time. But as long as you’re willing to adapt, compromise, and try it out, I’m willing to give it a shot,” Jane continued.

Anne held her breath.

“I’m not going to charge you an exorbitant amount. I’m the CEO of a company- I don’t plan on taking your hard-earned money away from you. I consider this less of a business transaction and more as a foray into the human experience. I refuse to let the two of you go through another housing experience like your past one. So, we’ll settle on some kind of monthly payment that fits your financial abilities, such as a few hundred pounds a month. You’ll contribute to groceries, and such, but I am certainly not depending your money in order to keep this house. That was never the issue.”

Both girls were stunned. Anne couldn’t even process what the blonde woman was telling them, she was so shocked. “Is this a dream?” she asked, rubbing her eyes.

“No, it’s not a dream,” Jane said warmly. “Is this a yes?”

Anne and Parr barely needed to look at each other to confirm before they nodded their assent.

“Welcome home, then, Anne and Catherine.”

[lawrencefineart]

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