#Landscaping Centre Derby

[aghotel]

Romantic Escape in Derby: Things To Do During Valentine’s Week

Valentine’s Week is just around the corner, and what better way to celebrate love than with a romantic getaway in the charming city of Derby? Nestled in the heart of England, Derby offers a perfect blend of picturesque landscapes, historic charm, and delightful activities for couples seeking a memorable Valentine’s experience. If you are planning a romantic escape in Derby, here’s a guide to help you make the most of your time with your special someone.

Stroll Through the Enchanting Darley Park

Begin your romantic escapade with a leisurely stroll through the enchanting Darley Park. With its winding paths, serene river views, and vibrant gardens, Darley Park provides the perfect setting for a romantic walk hand-in-hand. Pack a picnic and find a secluded spot to enjoy some quality time together amidst nature’s beauty.

Explore the Derby Museum and Art Gallery

For couples with a penchant for history and culture, a visit to the Derby Museum and Art Gallery is a must. Wander through the captivating exhibits, admire the art collections, and learn about the rich heritage of Derby. It’s a delightful way to share meaningful moments and appreciate the beauty of art together.

Indulge in a Spa Day for Two

Treat yourselves to a day of relaxation and rejuvenation at one of Derby’s luxurious spas. Unwind with a couples’ massage, soak in a private hot tub, and let the stresses of everyday life melt away. Some spas may even have special Valentine’s spa packages to make your experience even more intimate and memorable.

Take a Hot Air Balloon Ride Over Derbyshire

For a truly magical experience, consider booking a hot air balloon ride over the picturesque landscapes of Derbyshire. Soar high above the city and countryside, taking in breathtaking views as you create lasting memories together. It’s an adventure that will leave you both exhilarated and in awe of the beauty below.

Romantic Dining at The Stuart Hotel

Indulge your taste buds with a romantic dinner at The Stuart Hotel’s exquisite XS Restaurant. With a special Valentine’s Day dinner curated for the occasion, you and your partner can savour a delectable culinary experience in a cosy and intimate setting. The 4-star hotel in near Derby city centre is offering a delightful 2-course dinner for two with a small glass of wine at just £55.

Derby promises an enchanting Valentine’s Week for couples seeking romance and unforgettable experiences. If you are looking to book a romantic getaway in Derby, indulge in The Stuart Hotel’s exclusive Valentine’s Day packages.

The “Romantic Stay” package at £125 for two includes a bed & breakfast, early check-in, chocolates, petals, a bottle of Prosecco in the room, and a late check-out, with the option to extend your stay at just £85 for an extra night. For a delightful afternoon, opt for the “Afternoon Tea” package at £35 for two, featuring sweet treats and the option to add a glass of Prosecco or a cocktail for just £7. These exclusive packages are valid from 9th to 18th February 2024. Book your romantic escape in Derby by contacting The Stuart Hotel at sales@thestuart.com or calling 01332340633. Love to travel? Discover and book your perfect trip with local insights, travel guides and destination inspiration from AG Hotels Group. Sign up for our newsletters, here.

[buildbasederby]

BUILDBASE DERBY

For all your building materials, timber & DIY needs.

When you trade with Buildbase, you’ll get everything you need in one place. We take pride in serving the local tradespeople and our communities, working with our customers to get the job done, so you can rely on us to give a brilliant service.

Address: Lake House, Parcel Terrace, Derby, Derbyshire DE1 1LQ, United Kingdom

Phone: +44 1332 349083

Website: https://www.buildbase.co.uk/storefinder/store/Derby-1222

[emotoothtiger]

Reopening Queensbury Tunnel

Troglodytes unite. Once closed it can’t be reused

A word about the tunnels in the opening scenes. These are the 6 tunnels of the Monsall trail in the Peak District National Park in Derbyshire from Bakewell ( where the tarts come from ) to Buxton ( where Tim Brooke Taylor and the water comes from ). They are Headstone, Cressbrook, Litton, Chee Tor 1, Chee Tor 2 and Rushmore. Chee Tor 1 without any warning cuts out high on a limestone cliff over the River Wye ( another one ) straight onto a viaduct and into Chee Tor 2 at the other side.

The tunnels are unique because of their unusual construction with angled walls and vaulted roofs. Only one at the western end, Headstone, is of traditional construction. Technically it was a challenging line for the Midland Railway. All the boards say so, but I’ve no idea why. It’s so infuriating that they don’t go into detail. I’ve got a copy of ‘The Midland Railway, its rise and progress’  a reprint from 1870 ish, ( somewhere?! ) so maybe it will say there.

It really is an amazingly beautiful part of England. It’s fantastic what glaciation can do to limestone and post cataclysmal deglaciation can leave behind. There is absolutely nothing like it. It’s all green rolling hills and stunning gorges eroded into the landscape with steep country roads. Sheep, cattle, deer, thousands of tourists and day trippers roam freely as this is the Midlands with the large population centres of Manchester, Sheffield, Nottingham, Derby, Huddersfield etc., all within an hour’s drive. That’s a good few million people in potential, and England does rather do this whole country shutting down on a Bank Holiday trick. So with Brits generally being hardworking:  the Trent Valley makes a profit; it produces more than it consumes, apparently, it gets rather silly and fractious as people Need A Day Off. People with dogs, on bikes, electric and pushed wheelchairs, even abseilers who have their own lane on the numerous viaducts, are all out determined to Have A Good Time Or Else and are generally found to be getting on each other’s tits by mid afternoon. Bakewell is hoaching and there are more cars than population.

At other times it really is tranquil and soporific. It’s just that the English have never mastered good manners on Bank Holidays ( ill tempered politeness doesn’t count for goodwill ) and certainly they never got the hang of staggered days off like Scotland. There the bits that are closed can go to the bits that are open: or anywhere; there’s barely 5 million Scots and they mostly all live between Edinburgh and Glasgow who traditionally have had different holidays. There’s plenty space and enough indigenous population left over with their own holidays to run places like Aberdeen or Perth and points inbetween so there’s always somewhere open.

[dazstormretro]

Ocarina of Time - Dec 1998

It took me a while to get over the anger of my beloved PS1 being stolen, after all when you lend someone an expensive games console you expect to get it back but time heals all wounds so they say.

Now in my second year at university and enjoying my new student house with a good bunch of friends all seemed well in the world. During the final months of 1998 I had been enjoying watching two new television shows, a sitcom called That 70’s Show and the phenomenon which was Buffy the Vampire Slayer. Both shows had come over from the US and were a staple part of our weekly television watching routine.

As far as video games were concerned Goldeneye was still getting plenty of attention on my N64, often dipping in and spending an hour or so shooting up the the Facility level to let off some steam. The only new game which I had purchased around this time was Mission: Impossible which had been released in September of 98. With such great titles available at the time including Mario Kart 64, F Zero X and Lylat Wars 64 I’m not sure why I opted for this particular title, I wasn’t even a big fan of the movie? Whatever the reason for this unusual purchase it helped tide me over until the December of that year when a game which I had been patiently waiting for was finally released.

It was way back in the early 90’s whilst reading an issue of Super Play Magazine that I first discovered Nintendo was working on a new Zelda game. Already a massive fan of the franchise after playing A Link to the Past on my Super Nintendo I could barely contain my excitement when I heard a new adventure was on its way. For years there had been a rumoured sequel set for the SNES but as more details of the fabled N64 console started to emerge it became obvious this would be the new platform for the next Zelda game. Accompanying the article was a small photo of the alleged game featuring a fully rendered Link fighting a silver knight. This image would later turn out to be a tech demo for the Ultra 64 as it was known back then.

If nothing else it was this article which sealed my decision to one day own a Nintendo 64 console solely to play the new Zelda game. Over the next few years Nintendo would slowly leak out information and early screenshots to entice its loyal fans, keeping us on our toes until the game would ultimately be revealed to the world. Finally on December 11th 1998 The Legend of Zelda: Ocarina of Time was released in the UK just in time for Christmas. Gaming magazines at the time had scored it extremely high stating it was one of the best games ever created and praising Nintendo. At last I could finally play the next Zelda instalment.

I remember the day in question very clearly. Knowing full well I would be getting Ocarina of Time that Christmas I had already packed up my N64 console along with suitcase and was waiting for my parents to take me home from university for the Christmas break. Around midday my luggage was in the car and we were ready to travel back home for three weeks of catching up with mates and plenty of festive merriment. On the way home we stopped off at Derby city centre for a spot of lunch but more importantly to pick up my copy of Ocarina of Time from HMV which would be put away until Christmas Day.

The next few weeks were spent celebrating the festive season with friends and family, hanging out at the local night club, dancing to the obligatory cheesy Christmas tunes and eating and drinking way too much. Finally Christmas Day arrived and I would get to enjoy the splendour which was The Legend of Zelda: Ocarina of Time.

Since that initial experience with A Link to the Past my love of both action and JRPG’s had persisted to grow. Some of my past favourites included Final Fantasy 3, Secret of Mana and Breath of Fire but this was the game which had been at the top of my wish list to play.

Once again I found myself in the mystical land of Hyrule but with a big difference. Unlike my previous Zelda encounter this world was completely 3D. Just like they did with Super Mario 64 Nintendo had pushed the boundaries of gaming creating a fully immersive world where the player was free to traverse a rich landscape. Buildings and towns way off in the distance could now be explored either by foot or horseback. Main objectives and side quests could be attempted in multiple orders, so could acquiring certain items throughout the adventure giving the game a real sense of freedom.

I must have spent most of that Christmas Day lost in the world of of Hyrule. Starting off in Kokiri Gillage I soon found myself sneaking into Hyrule Castle for a secret meeting with Princess Zelda before being sent on my quest to gather the three spiritual stones.

To say Ocarina of Time blew my mind was an understatement, this game had it all. From it’s amazing 3D graphics to the beautiful music which accompanied the epic gameplay. The introduction of the Ocarina which allowed players to learn different melodies in order solve puzzles and help your progress was an ingenious touch. So was the moment I first learnt I could travel forward in time and become adult Link which opened up the game just as the Dark World had done in A Link to the Past years earlier.

Over the coming months I would slowly chip away at Ocarina of Time, progressing the main story, completing its side quests and gathering new weapons. Eventually one evening during the February of 1999 I managed to defeat Ganon. As the credits rolled I remember sitting back in the bedroom of my student house sipping a beer and feeling a little sad that this awesome adventure had finally come to a close.

The game would later be traded in for cash at a local video games store without a replay. It’s only now, twenty years later that I’ve gotten around to start a fresh game once again. So with my N64 control pad in hand it’s time to relive those nostalgic Zelda memories, let’s hope it still holds up.

[architectnews]

Ravine House, Chesterfield, Derbyshire

Ravine House Chesterfield, Modern Derbyshire Home, East Midlands Residence, English Property Award

Ravine House, Chesterfield, Derbyshire, UK

29 April 2022

Ravine House, Chesterfield, Derbyshire, England, UK

Thursday 28th of April 2022 – five projects were selected by the expert jury, who visited all of the shortlisted projects.

Design: Chiles Evans + Care Architects

photograph © Dug Wilder

Ravine House, Chesterfield – Derbyshire Property

Jury Report

The decision to keep this 1967 house seems obvious following its restoration and extension, but you have to place yourselves in the clients’ shoes, who, for all its attributes, had been living in a damp and cold structure, seemingly beyond transformation. It is to the architects’ great credit that they saw the wonderful potential in this quirky experimental house and took it on with energy and great sincerity to bring it forward as an exemplar renovation for the 21st century.

photo © Dug Wilder

They have taken their clients on a journey of discovery, tracking construction details back to the direct influence of Frank Lloyd Wright, to the innovations of electric underfloor heating, to an early use of double glazing, and to the mid-century modern furniture and fittings. They have then taken the house off mains gas and water supply using a geothermal borehole, introducing MVHR within an airtight skin and solar panels to reduce electricity consumption.

The jury panel enjoyed the painstaking research into restoring or replacing appropriate door handles and light fittings, carefully restored wardrobes and ceilings in Parana pine, and the discovery of a scrap of original Wilton carpet that was analysed and re-woven for the bedroom wing.

photo © Dug Wilder

Faced with adding a new ‘garden’ room to the tour de force of the original design, the architects have risen to the challenge brilliantly, with one of the most enjoyable spaces in the house, creating a snug set down into the garden that looks over the mature designed landscape all around. This new room sits easily into the copper clad angles and undulating glazed bays of the original design, with a coherence that reflects a deep understanding of the construction and architectural intent of the trailblazing design.

This is a house that integrates sustainable practice with restoration and renewal as an exemplar of how an architect can approach their brief with both respect and invention. The jury are delighted to give this project a regional award.

photograph © Terry Huggett

Ravine House, Chesterfield, Derbyshire – Building Information

Title: Ravine House RIBA region: East Midlands Architect practice: Chiles Evans + Care Architects Ltd Date of completion: Dec 2020 Date of occupation: Aug 2020 Client: Confidential Project city/town: Chesterfield Contract value: Confidential Gross internal area: 410.00 m² Net internal area: 368.00 m² Cost per m²: Confidential Contractor company name: Terry Huggett Developments Ltd

photo © Terry Huggett

Consultants

Structural Engineers: DYSE Quantity Surveyor / Cost Consultant: Overford

Awards

• RIBA Regional Award • Regional Project Architect of the Year • Regional Sustainability award

2022 RIBA East Midlands Award Winners

2022 RIBA East Midlands Award Winners

Ravine House, Chesterfield designed by Chiles Evans + Care Architects

Location: Charlesworth, Derbyshire, England, UK

Ravine House, Chesterfield, Derbyshire images / information from the Royal Institute of British Architects

Location: Chesterfield, Derbyshire, England, UK

Derbyshire Buildings

Derbyshire Architecture Designs – recent selection:

Derwent Valley Villa, Duffield, Derbyshire Design: Blee Halligan photos © Henry Woide Derwent Valley Villa, Duffield, Derbyshire

Charlesworth Passivhaus Design: Studio Tashkeel Architects image courtesy of architecture office Derby Swimming Pool Complex

Ada Belfield Centre and Belper Library, Belper Design: Glancy Nicholls Architects photos © Verity Milligan Ada Belfield Centre and Belper Library

Derby Swimming Pool Complex Design: FaulknerBrowns Architects image from architects practice Derby Swimming Pool Complex

Lilas Pavilion at Chatsworth House, Bakewell image from architects Zaha Hadid Pavilion at Chatsworth House

East Midlands Architecture

Nottingham Southside Property Development image from property developer St. Peter’s Gate HQ

St. Peter’s Gate HQ, Nottingham Interior Design: CPMG Architects image from architects office St. Peter’s Gate HQ

Isover House Contest – Nottingham Architecture Competition Design: Evgeni Leonov Architects Nottingham Architecture Competition

Nottingham Architecture

Nottinghamshire Buildings

Birmingham Architecture Designs – chronological list

Contemporary English Architectural Designs

English Architecture Designs – chronological list

English Architecture

Comments / photos for the Ravine House, Chesterfield, Derbyshire building design by Chiles Evans + Care Architects page welcome

The post Ravine House, Chesterfield, Derbyshire appeared first on e-architect.

[mhvarchive]

An Evening with Ingrid Pollard

Attenborough Centre for the Creative Arts Gardner Centre Road, Brighton BN1 9RA

6 November 2018

8pm

Ingrid Pollard is a photographer, media artist, researcher and a graduate of the London College of Printing and Derby University. Ingrid has developed a social practice concerned with representation, history and landscape with reference to race, difference and the materiality of lens based media. Her work is included in numerous collections including the Arts Council Collection and the Victoria & Albert Museum.

Ingrid will be the inaugural Stuart Hall Fellow in residence at the University of Sussex in Autumn 2018. During her time at Sussex she will further a commission, The Valentines Days, which was part of Making Jamaica at Autograph ABP in London, exploring how a new image of Jamaica was created through photography in the 19th century.

Ingrid will be in conversation with Lubaina Himid (Turner Prize winning artist, curator and Professor at the University of Central Lancashire), and Professor Catherine Hall (historian, trustee of the Stuart Hall Foundation and Emerita Chair, Centre for the Study of the Legacies of British Slave-ownership at University College London).

Tickets - Standard £5 / Concessions £3

More info and book tickets here

[ebenalconstruct]

Plans go in for £48m Derby arena

Developer St James Securities has submitted a full planning application to Derby City Council for a new 3,500 capacity entertainment and events venue at Becketwell.

The £48m venue will be located on the site of the former Pink Coconut nightclub and Laurie House offices at the heart of the wider mixed-use Becketwell development.

The purpose-built venue will be a fully flexible, scalable space capable of staging concerts, stand-up comedy, family shows, musical theatre, conferences, and exhibitions.

The main auditorium will have a maximum capacity of 3,500 and offer a range of different event configurations including a fully seated layout for up to 2,100.

Subject to planning consent being granted at a meeting in October, construction is set to start in early 2022, with handover to the operator in 2024.

The new performance venue will be owned by Derby City Council and run by operator ASM Global.

Oliver Quarmby, managing director of St James Securities, said: “A new large-scale venue is a key component of Derby’s masterplan for the city centre which has been developed collaboratively between the public and private sectors and we are tremendously excited to be working on this ambitious scheme to bring an outstanding, modern performance venue to the city.

“We have created a great scheme which will fill a significant gap in the city’s cultural landscape. This flexible venue will cater for major music and comedy acts as well as theatre content. The conference and events capability will support the growth of the region’s business community.

“The performance venue is set to ‘turbocharge’ the entire Becketwell scheme, allowing us to bring forward a new multi-storey car park and hotel and will be key to the future reinvigoration and repositioning of Derby city centre.”

Work is already underway on the £30m phase one of the scheme, which includes the construction of 259 build to rent apartments by GMI Construction.

Future planned phases of the scheme include up to 25,000 sq. m of new grade A offices and commercial space, a hotel and a multi-storey car park.

from https://www.constructionenquirer.com/2021/07/26/plans-go-in-for-48m-derby-arena/

[oeldacekaj]

Melbourne town

The assignment sheet  

https://studentderbycollegeac-my.sharepoint.com/:w:/r/personal/773893_student_derby-college_ac_uk/_layouts/15/Doc.aspx?sourcedoc=%7B2096BD3A-FF99-4412-B22A-FBD6B6256970%7D&file=Guerrilla%20art-%20Melbourme%20festival.docx&action=default&mobileredirect=true

The last year artwork for the Melbourne festival  

YouTube  

https://www.youtube.com/watch?v=Gy6lmdsOWCo&feature=youtu.be&fbclid=IwAR1o87mvl5RE3CqO6HQqPjvTpqCFur2_cbPq0WWSAd_WfmSASKTGnWChk1w

PowerPoint  

https://studentderbycollegeac-my.sharepoint.com/:p:/r/personal/773893_student_derby-college_ac_uk/_layouts/15/Doc.aspx?sourcedoc=%7B7B259C9C-45A7-4F96-B779-7B72C2FF1EA2%7D&file=Street%20Art%20Presentation2.pptx&action=edit&mobileredirect=true

InSite of the town  

Melbourne is a small, attractive, appealing and historic settlement, with a vibrant and varied social mix and a strong community spirit.  

During the period c1770 – c1890 Melbourne grew from an agricultural village into a small and prosperous manufacturing town.

This Georgian market town is in South Derbyshire on the edge of The National Forest. It is about 8 miles south of Derby and 2 miles from the River Trent.  

This town has maintained its popularity as a lively, thriving village and home to 5000 inhabitants.

Melbourne means 'Mill Stream' so it is appropriate that one of the best known features is the old mill pool known as Melbourne Pool, picturesquely landscaped in 1845 for Lord Melbourne, the former Prime Minister (1779-1848).

It was said that in 1947 ‘there were more thatched cottages in Melbourne than in any village’, although sadly, many have disappeared since then.

The Melbourne festival  

Arts Melbourne Limited, a company limited by guarantee, was set up to run Melbourne Festival On 1 January 2008.

Melbourne is centrally located between Derby, Nottingham and Leicester in the East Midlands. The postcode for Melbourne town centre is DE73 8DS.

Melbourne Festival became a trading name of Arts Melbourne Limited. The principal reason for doing this was that there are arts related activities, such as Open Exhibitions, the Gallery and Workshops which need a different approach and publicity and are outside the September Melbourne Festival period.

Melbourne festival hosts professional artists selling paintings, sculpture, furniture, print making, textiles, ceramics, design craft, drawing etc.  

Melbourne Festival aims to organise and run an annual festival of visual and performing arts in Melbourne and the surrounding district.

Melourn artists are:  

William Dexter, painter, was born there in 1808 and  

Ronald Pope, sculptor and artist.

A quick brief, overview   

Melbourne festival happens every year, although this year they had a dramatic change of plans, the atmosphere will be quiet different and specific measures will be taken because of COVID 19.   

For example:  

Architecture Trail was cancelled  

They are still doing the Melbourne Festival Emerging Artist Award which is going to be exhibited in a gallery space, with art from different people and also from the derby college art and design students who were 2nd years last year. 

The gallery will be open for people to go in, see the art and vote for the best. Melbourne will definitely be taking measures and set rules for health and safety reasons, e.g., keeping distance, sanitizing the hands before and after going in, having a one way system and they might do an online exhibition too. All of this will take place so COVID 19 would not spread further.  

Afterall the good news is that we are still going  ahead with our 1st project, the guerrilla art. Although we need to approach this project and others more cautiously too.  

We need to know that 

Sharon is the customer of Melbourne festival and we will need to fit around whatever thy would ask us to do. 

Whatever idea they chose we would probably need to do it alone and not in pares or groups, so we need to consider the time when choosing an idea. 

We were also informed that not all of the places and buildings will be available to us, only a few properties have chosen to give permission for our wok to be placed at so it is most likely that Sharon will already have some places in mind where our work could be installed. 

Last thing last is that we need to know about the weather forecast and think about the materials we could use. 

We need to do  

We need to come up with a lot of ideas and show them to our costumer as soon as possible. 

Use tumbler to display everything important.  

One of the most liked idea from our costumer is making of different kinds of posters. The hand drawn letter forms arranged in words, statement or phrases that we could express what is in our mind from current affairs, news over the last 12 months; we need to refined those into sentences written with beautiful lettering in a form of a poster, which could be: a painted poster, printed poster, relief 3 dimensional poster etc.  

It also needs to be A1 or A2. 

Make notes in our sketchbook and journals. 

Make action plans. 

We need to deal with the formal elements: lines, shapes, colours etc.  

Answering questions about the projects from one of the sessions that i voice recored

Do we need to talk about our inspirations behind the ideas?  

We are really interested to knowing where the ideas came from, use tumbler, sketchbook, drawings, journal anything that will communicate your ideas, what you would like to put into a space. Really the costumer will be happy enough to see your ideas but it will definitely help you on selling the ideas better if you had a little brief explanation of them. 

Exactly, what is the theme about? 

Originally the theme is about 'commotion in the ocean', although our clients have been really open minded and interested on to seeing any kinds of ideas that will be about the current affairs, especially since a lot has happened and changed throughout this year e.g., the blm movement, corona virus, climate change, global leadership, anything that you would like to express. These ideas and themes can be used for the Derby Well project too. 

What are our limits, when it comes to choosing the place where our posters and artwork will go? 

Melbourne is big and last year several people agreed on us to use their buildings, the outside or/and the inside of the buildings to display our art work. This year because of the global pandemic not many people have offered up these opportunities, however there were some shop owners that offered us their shop fronts and there will be some outdoor spaces around town too. That is why Sharon ended up choosing the poster ideas because of how easily it could be displayed and how powerfully it could communicate a message across to the audience.  

She is the one who knows about the offered places where our art could be displayed at. Sharon is also talking about reducing the amount of locations, where instead of having our work spread across the city, we could bomb a whole window full of posters, and do this for all the available places and shop windows in the city. So overall Sharon would love if the poster ideas would happen and if there is something eye catching from your other ideas that might be perfect when installed in specific locations like the bus stop or hanged from building to building she will definitely inform us. So don’t worry because everyone will have a piece of their work into the festival and on their cv.   

Do they both, the Derby Well and Melbourne festival prefer the typographical poster ideas? 

Yes. There were a handful of you that were sending ideas over the summer and over everything that was send they really liked the ideas of the posters too, so there will be  continuation of posters around Derby as well. 

Tumbler, why are we using it, what do we post? 

Tumblr has been used every year by us, also the UAL really likes it when it comes to assessing your work in the end of the year. I think now days, because of the pandemic, Tumblr and other online platforms are the best when it comes to doing your work as a group of designers and artists, without endangering other people, it also allows us to quickly asses and give feedback and is a grate platform for you to show the world what you do as a designer and/or an artist.  

You do need to be careful not to duplicate what is on your book or on your journal, instead you can use it as a blog, a magazine, or a fanzine. And you should definitely put what your work is about, the context, what the brief is asking you to make, communicate what's on your mind, put some of your ideas and in the end you should definitely share your final outcome with us. You can talk about how its finished , your output as a creative person, write texts and share images, whatever you see fit.    

My response

This project will allow me to understand, regenerate ideas and look more into our ocean and the different species that live there. It will also allow us to show the audience how important these waters are to humanity, how they affect climate change and how we are slowly killing the life in the ocean and soon ourselves.The ocean plays a big role in our lives because it produces over half of the world’s oxygen and absorbs 50 times more carbon dioxide than our atmosphere, it also helps regulate temperatures as the oceans absorbs the sun’s heat, transfers it to the atmosphere and then distributing it around the world, acting like a heater in the winter and an air conditioner in the summer. There are a lot of natural products from marine/ocean plants and animals which we use in medicinal products, including ingredients that help fight cancer, arthritis, Alzheimer’s disease, and heart disease 

After doing some research around the ocean, I came across a large number of endangered species; whether they were nearly getting extinct because people killed them for parts, for food, or killed them with illegal fishing equipment, or some were forced to leave their habitats because of the amount of people invading their spaces, that was simply an alarming information. The disgusting  amount of pollution we are caucusing and the damaging waste we bring to the ocean due to the harmful activities we do, disgusts me, overall, the conclusion is that we are suffocating our oceans and not just them put our whole planet and later on in life all of these activities will kill the human race too. 

The task we were given fits perfectly with the 'commotion in the ocean' theme because guerrilla art is allowing us to make work about the recurring issues that are happening around the world and affecting our oceans, we can make a strong statement, speak up, raise awareness and educate people on this topic.This will also enable us to focus on the changes we can make and how we can encourage people to think about their actions and how they should do something to reduce pollution, global warming, overfishing etc. 

While exploring this topic I will try to remain relevant to the audience, because our art will be installed around the Melbourne town which will be seen by a large and varied audience, including children, families, elderly etc., I need to make it suitable, appropriate and understandable for all ages, I also hope it delivers the same message to everyone and to stay in topic. To make sure that happens I have to focus, make contextual research, evaluate, analyze, have plenty of secondary and primary pictures, experiment, think about the right materials and make sure to plan ahead. This will be helpful for my future projects too. 

 My PowerPoint with ideas for Melbourne festival  

https://studentderbycollegeac-my.sharepoint.com/:p:/r/personal/773893_student_derby-college_ac_uk/Documents/year3/level%203%20year%202/commotion%20in%20the%20ocean%20ideas.pptx?d=wf1530ea629cb451abf669edf6e8e0a87&csf=1&web=1&e=iP1u37

[jeremystrele]

The Winners Of The 2020 National Aboriginal and Torres Strait Islander Art Awards

The Winners Of The 2020 National Aboriginal and Torres Strait Islander Art Awards

Art

by Sally Tabart

Tjala Women’s Collaborative with their artwork Nganampa Ngura 2020. Collaborators: Amy Scotty, Angela Burton, Freda Brady, Glenda Adamson, Iluwanti Ken, Janie Kulyuru, Mary Pan, Naomi Kantjuriny, Nita Williamson, Nyurpaya Kaika Burton, Rachel Lyons, Sharon Adamson, Shirley Adamson, Tanya Brady, Tjimpayi Presley. Photo – courtesy of Tjala Arts.

Shortlisted artworks. Left: Ngayuku ngura – My Country 2020 by Wawiriya Burton. Right: Nganampa Ngura 2020 by Tjala Women’s Collaborative.

Shortlisted artwork. No Respect 2020 by John Prince Siddon.

Shortlisted artists and artworks. Left: Ginger Wikilyiri. Photo – courtesy of Tjungu Palya Arts. Right: Kunamata 2020 by Ginger Wikilyiri.

Shortlisted artists and artworks. Left: Ngangkari Ngura (Healing Country) 2020 by Betty Muffler. Right: Betty Muffler. Photo – Courtesy of the Artist and Iwantja Arts.

Left: Wanampi Tjukurpa (Piltati) 2020 by Leah Brady. Right: Antara 2020 by Betty Kuntiwa Pumani and Marina Pumani Brown.

On Friday the country’s most prestigious awards for Aboriginal and Torres Strait Islander artists were held, under slightly different circumstances than usual. Gamilaroi woman and host of The Today Show Brooke Boney presented the first-ever live online broadcast for NATSIAA, a dynamic and exciting celebration of the seven category winners chosen from 65 shortlisted entries.

The biggest win of the night went to Ngarralja Tommy May, a Wangkajunga and Walmajarri artist who took out the Telstra Art Award for his work Wirrkanja depicting his family’s Country, with a prize of $50,000. The six other category winners – Adrian Jangala Robertson, Iluwanti Ken, Marrnyula Munyngurr, Siena Mayutu Wurmarri Stubbs, Jenna Lee and Cecilia Umbagai – each took home $5,000 for their achievements.

There was a wide variety of mediums represented in the winning artists. Multidisciplinary artist and graphic designer Jenna Lee, who won the Wandjuk Marika Memorial 3D Award for her work HIStory vessels, used the cover and pages of the Ladybird History Book ‘The Story Of Captain Cook’ to create a series of sculptures based on ancestral vessels. ‘For me, it was never about winning. I love the community that’s formed around the NATSIAA – all the artists follow each other and get to know each other’, says Jenna. ‘It’s so nice that industry experts agree that what I’m trying to say, and make, and the stories I’m trying to tell are important.’

There’s still one major award to be decided – The People’s Choice Award. Take a tour of the NATSIAA virtual gallery to see all the incredible shortlisted projects and cast your vote!

Left: Wirrkanja 2020 by Ngarralja Tommy May. Right: Ngarralja Tommy May, winner of the 2020 Telstra art Award. Photo – Damian Kelly.

Telstra Art Award – Ngarralja Tommy May 

Ngarralja Tommy May is a Wangkajunga and Walmajarri man born in Yarrkurnja in the Great Sandy Desert, and currently living in Fitzroy Crossing. He is a founding member of the Karrayili Adult Education centre where he learnt to read and write his own language and English.

Using etching on metal and enamel paint as his medium, Wirrkanja tells the story of Tommy May’s Country.

‘This is about my Country. There is a claypan, near to Kurtal it’s also called Helena Springs, a well on the Canning Stock Route’, explains Tommy May. ‘My brother was born here. There’s living water (jila) at Kurtal, when it rains it fills up and makes a spring. It runs out this way, flows around the rocks and caves.’

‘Thank you mob in Darwin for this business. Thank you. At last. I feel proud. I’ve been trying all my life, all the time second, fourth, last, sometimes nothing. But I got it now, today. My days, my time this year, I’m the winner. At last.’

Left: Artist Jenna Lee, winner of the Wandjuk Marika Memorial 3D Award. Photo – Rhett Hammerton. Right: HIStory Vessels 2020 by Jenna Lee.

Left: Muṉguymirri 2020 by Marrnyula Munuŋgur. Right: Marrnyula Munuŋgur, winner of the Telstra Bark Painting Award. Photo – courtesy of NATSIAA.

Left: Walawulu ngunytju kukaku ananyi (Mother eagles going hunting) by Iluwanti Ken. Right: Iluwanti Ken, winner of the Telstra Works On Paper Award.

Wandjuk Marika Memorial 3D Award – Jenna Lee

Jenna Lee is an artist and graphic designer living in Melbourne (Naarm), whose highly symbolic work seeks to reclaim agency over the historic representation of Aboriginal people in Australia. Created in response to the 250-year anniversary of Lieutenant James Cook’s arrival, HIStory vessels work with the pages and cover board of the Ladybird History Book ‘The Story Of Captain Cook’, stripping back the pages and breaking them down using steam and heat to form modern-day coolamon (ancestral vessels), literally reclaiming history. 

Telstra Bark Painting Award – Marrnyula Munyngurr

On a single piece of bark Marrynula has created a series of smaller works. In Muṉguymirri (which means ‘in small pieces’), Marrnyula uses the cross-hatching grid pattern which is the sacred design for the freshwaters of the Djapu clan at their homeland.

‘Sitting down and doing like on the small bark first, I changed my work like to do like bigger square ones, those big bark. But it’s about same story – about freshwater, but different way, style. I love painting because I learnt with family and with my dad.’

Telstra Works On Paper Award – Iluwanti Ken

Originally from Watarru, Illuwanti is an artist with Tjala Arts in Amata on APY lands in South Australia, where she has lived with her family since 2003.

Walawulu ngunytju kukaku ananyi (Mother eagles going hunting) tells the story of mother eagles bringing food back to their babies, a subject matter Illuwanti is known for painting. She makes the connection between the eagles and Anangu mothers, and how they can teach women important lessons about survival, protection and shelter.

Left: Yoogu 2020 by Cecilia Umbagai. Right: Cecilia Umbagai, winner of the Telstra Emerging Artist Award. Photo – courtesy of NATSIAA.

Left: Adrian Jangala Robertson, winner of the Telstra General Painting Award. Right: Yalpirakinu 2020 by Adrian Jangala Robertson.

Left: Still from Shinkansen 2019 by Sienna Mayutu Wurmarri Stubb. Right: Sienna Mayutu Wurmarri Stubb, winner of the Telstra Multimedia Award.

Telstra Emerging Artist Award – Cecilia Umbagai

‘I’m a young Worrorra woman and live in Mowanjum community 10km outside of Derby in the West Kimberley of Western Australia’, says Cecilia. ‘The three tribes who live in Mowanjum: Worrorra, Ngarinyin, and Wunumbal share their belief of the Wandjina who are sacred ancestral spiritual beings and created the land and control the elements, the flora and fauna, and the humans. We are custodians of Wandjina Wunggund law. I’ve been painting all my life, learning from the elders, sitting with them while they worked, listening’.

Telstra General Painting Award – Adrian Jangala Robertson

Adrian is a landscape painter based in Mparntwe (Alice Springs) who works with a restricted palette. His work refers to the desert mountains, ridges and trees that are part of his mother’s country, Yalpirakinu.

His winning work, Yalpirakinu, captures the drama, energy and memories of this important place.

Telstra Multimedia Award – Siena Mayutu Wurmarri Stubbs

At just 18 years old, Yolŋu girl Sienna Mayutu Wurmarri Stubbs was the youngest finalist and now winner in this year’s NATSIAA. Her practice is focused on capturing moments and memories realised through the medium of film. Her winning work, Shinkansen, was captured on the bullet train from Nagoya to Kyoto.

‘This artwork was created when I went overseas to Japan. I actually left home three days after my grandma died – and it was a shock. So I guess this video was a response and how I was feeling in this moment, sitting on that bullet train in Japan’, says Siena.

Take a virtual tour of the amazing 2020 NATSIAA finalists exhibition here! 

National Aboriginal And Torres Strait Islander Awards Exhibition MAGNT Darwin 19 Conacher Street The Gardens, Darwin NT

[dailyoffens]

First term September 2019

On Our Very First Lesson-

We were introduced to our opening brief which would also be our first encounter with completing a job for a external workforce as a incentive towards our work experience which is a key part of our course and enables us to work on our first brief which isn’t a scenario chosen by the college. This meant we had to work to a certain level of expectations in order to truly succeed.

THE DESIGN BRIEF-

We were given the task to design a piece of street art/Guerilla art for Melbourne festival the aim was to create a bold structure as a form of decoration into the festival for different audiences to engage and enjoy the art piece.

The design could be as playful and creative as we wanted or it could be bold and illustrative in order to provide a strong view point and message to the viewers.

The focus was on our creativity and functional skills and our mental capabilities were due to be tested. 

The design brief required not only imagination but a sense of reasoning as the design had to be able to withstand the test of British weather for 2 days and nights and also we faced the challenge of our design being a reasonable size as it had to be able to fit inside the minibus belonging to Derby College which would provide the transportation link between Derby College and Melbourne Village.

The structural piece of art work would be displayed on the trail which is a annual platform put out for aspiring artists or established artists to display their work and also to buy and sell art pieces 

The festival is attended by all age groups and not only by art fans but by anyone who has a slight interest in creativity. It is held annually and attended by hundreds of people.

This year the college was assigned with the opportunity to create several art pieces to be displayed within the festival 

THE INITIAL APPROACH-

In order to fully understand the brief and have a good attempt at it we carried out our INITIAL RESEARCH this was in the form of secondary research we were required to find 30 images of Guerilla street art and analyse them after this task I understood the concept of street art a lot better and realised that it is more than just graffiti and can feature 3D sculptures and paintings and they can be placed virtually anywhere from trees to roads

In the morning we started in ceramics and looked over our deformed pots which we chucked last week and left to air dry they had not been fettled and sponged yet so had rough edges along it and also the joining line from the mould was still visible, we lined these up and created a shadow over them with a torch to show silhouettes and shadows created by the unordinary shapes. We left the pots and moved swiftly onto our lesson objective which was to deconstruct and reconstruct using moulds to make our object which would undergo the process. We got the same moulds we used last week and repeated the same process as last time by adding the slip into the mould after tying it then pouring it back out and letting the mould set off.

Whilst I was waiting for the pot to set off I started my caigrighy plate, I first traced my design onto the plate then tried to remove the plate from within the letters however this didn't work at first and i struggled heavily but then Phil suggested cutting around the edge deeply and this allowed the plate to come out alot easier

In order to develop our understanding of perspective further Pete went through some key points with the class and also gave us a demonstration after which we had our own attempt at perspective drawings for some of us this was our first ever attempt and we had a solid go at it.

The lesson started with a brief explanation on Perspective. Pete explained that perspective is utilised by designers to show something and to clarify the amount of ‘space’ you have or that is surrounding an object, perspective also helps us to visualise our world by drawing what we can see onto paper but at the same proportion as what is visible to the eye so what’s seen at a distance will be portrayed as distant this helps designers to create true, real life representations of their ideas. Perspective represents depth in an drawing creating a 3D landscape. Pete emphasised the importance of the Horizon lines which are a representation of where the human eye level is and also mentioned the vanishing point which is where the objects origin lies.One point perspective drawings work at 90 degrees whereas a 2 point perspective drawing works at 45 degrees or more.

Pete then moved onto demonstrating a one point perspective drawing he was looking towards a cabinet and the door and his eye level was equivalent to the mannequins on top of the cabinet so he started by drawing the horizon line and placed his vanishing point off centre and slightly towards the left side he did this as he wanted his key object to be the cabinet and so on the right hand side he started by marking the door in the door doesn't have perspective and is flat and he then drew the cabinet and chair and table in perspective and roughly sketched the mannequin in.

After the demo we moved onto doing our own I was placed in the corridor and drew the corridor in perspective utilising a square and a pencil the drawing was completed standing up on an easel and I found drawing the door was relatively straight forward as long as the different section were in proportion however i found placing the walls slightly difficult but with the assistance of Pete we managed to place the walls in scale and then moved onto the borders and door frames after which I placed the pillar in alongside the ceiling and floor which once I understood the scale I found the task enjoyable.

We then commenced onto the two point perspective drawing which was initiated by a talk from Pete he drew 3 drawings in single perspective and then transformed them into 2 point perspective.

A key note was if the vanishing points are really close it gives an extreme perspective however, if the vanishing points are further apart the perspective is much more realistic. And with 2 point perspective it is necessary to always make the scale much smaller and focus the drawing into the middle.

I enjoyed the two point perspective drawing and it was focused on a corner of the room featuring a pillar, notice board, edges and the TV, I found it quite difficult initially but Pete helped me get started by helping with the placement of the pilar after which I continued to add features however, I stumbled upon an obstacle when I attempted to draw the wall as one ws ahead of the other overshadowing it and I struggled to represent the overlap with which Phil helped me and recommended starting another line to signify the end of one wall and beginning of the other, It was then a smooth journey to the end however the ceiling had yet to be done as it added depth to the drawing and the ceiling had a weight of its own and created a heaviness over the floor which is very plain and light as it has no pattern whereas the ceiling has a tiled pattern which contradicts heavily to the remainder of the room which is plain white with no decoration.

Collagraph plates

As I had finished designing my Collagraph plate and cut out the design I could now colour it to darken or lighten certain areas to create tones on to my plate. I achieved this by peeling away certain areas by cutting around them and then edging them up I could also add glue to certain areas to make them lighter than others or add a powder after applying glue by shaking it on and then dusting off excess this process would make areas darker or i could just leave areas peeled this would give a medium tone after adding the different techniques I was ready to print but we left the plates to dry for a day and then printed them the next day with oil based paints. The process was quite long but worth it we had to scrape on paint and layer it on to the plate and then wipe it away with a cloth in a circular motion leaving some paint on after which we wet a piece of paper and then placed it among two fabric pieces leaving it damp then placed it inside the print machine and turned the wheel twice and then it was printed we did this twice to allow the print to show through properly

[xavierdesousaofficial]

POST Tour 2017 - 2019

The hit tour of Xavier de Sousa’s acclaimed theatre event POST comes to a town near you for the first time.

Recommended by The Guardian, The Stage, The Tung and BN1 Magazine

This is a production of consummate ease and huge sensitivity. (A Younger Theatre)

What the fuck is a national identity? And what exactly constitutes a ‘nation’? And why the hell are so many ready to die for it?

We live in an ever-shifting political and geographical landscape. Some believe we are heading towards a world without borders, without countries or nations. At the same time, many others vouch for protectionism and more borders.

POST is a new theatre show by Xavier de Sousa inviting you to join us at the table, eat yummy Portuguese food, drink potent Cachaça, get merry, make new friends and challenge what exactly makes a ‘nation’.

POST is a commission by Ovalhouse and supported by Attenborough Centre for the Creative Arts, developed with Bikeshed Theatre, Marlborough Theatre and Tempting Failure Festival. This Tour is supported by Marlborough Theatre, Toynbee Studios and with additional funding by Arts Council England

POST Trailer 2019 from Foreign Actions on Vimeo. 

DATES:

2019

18th - 22nd March, 7.30pm - Battersea Arts Centre, London, UK (TICKETS)

27th April 2019, 7.30pm - The Lighthouse, Poole (TICKETS)

Date & Ticket info TBC - Project Arts Centre, Dublin, Ireland 2018

2018

8th December, 7.30pm - Live Art Bistro, Leeds

18th November 2018, 6pm - mac Birmingham, SHOUT Festival

16th November 2018, 7.30pm - Platform, Glasgow (SOLD OUT)

23rd October 2018, 7.30pm - HOME, Manchester

3rd October 2018, 7.30pm - Norwich Arts Centre, Norwich

12th September 2018, 7.30pm - The Junction, Cambridge

PREVIOUS DATES:

Lighthouse Theatre, Poole - 12th July 2018 

Marlborough Theatre, Brighton - 1st June 2018

Marlborough Theatre, Brighton - 31st May 2018

Marlborough Theatre, Brighton - 20th May 2018 (Sold Out)

Derby Theatre, Derby - 16th March 2018

Onassis Culture Centre, Athens - 1st March 2018

Marlborough Theatre, Brighton - 24th November 2017 (Sold Out)

Toynbee Studios, London - 11th & 12th November 2017 (Sold Out)

Bikeshed Theatre, Exeter - 13th & 14th June 2017

Ovalhouse Theatre (premiere), London - 30th November - 4th December 2016

Tempting Failure Festival 2017 - 29th July 2016 (work in progress)

Bikeshed Theatre - 19th June 2016 (work in progress)

Camden People’s Theatre - 18th June (work in progress)

[dazstormretro]

Final Fantasy VII with Soup? - Nov 1997

As I’ve mentioned in previous blogs I have many video gaming related memories from my childhood but there are particular ones which standout more than others. One of these standout memories was purchasing Final Fantasy VII back in the November of 1997.

Since first playing Final Fantasy 2 on my Super Nintendo back in 1993 I had fallen in love with the series. The epic storyline, the fascinating character developments and the addictive gameplay all added to the charm of this title. Then once again during the Christmas of 1994 I was lucky enough to receive a copy of Final Fantasy 3 which took the franchise to the next level incorporating amazing graphics and an orchestral musical score which still sounds fantastic today. Unfortunately with both titles my game progress was mysteriously deleted so I was never able to see either game through to completion.

A few years later after learning Square were going to part ways with Nintendo thus no more Final Fantasy titles I purchased my PlayStation solely on the promise of a new game. Finally in the November of 1997 this game was released in the UK and I was at the front of the queue.

That day in question I was working on a student film at my university. Studying theatre my class was often asked to take part in short films which the Media students would create as part of their coursework. Giving up a whole morning to go do a bit of acting wasn’t everyone’s idea of fun but the £40 payment which they were offering defiantly made the experience worthwhile. After filming a coupe of scenes I was finished for the day so jumping on a bus I headed to Derby city centre with my payment in hand.

This would be my first PlayStation purchase in months due to the fact I was a poor student living off my grant so any extra cash would normally go on food or beer. This time however it was different. I’d been waiting for this game for ages so armed with my £40 I headed to the local Game Station store.

This game had been hyped to death and received rave reviews across the board. Being the first Final Fantasy title to break into the mainstream in the West advertising was rife. Television adverts, posters plastered on the sides of buses and billboards featuring a massive Cloud Strife holding his mighty Buster Sword could be found everywhere. This game was defiantly a big deal and any PlayStation owner at the time seemed to want to own a copy. Interesting fact, it was also one of the biggest returned games ever due to the fact many people who purchased Final Fantasy VII didn’t realise it was a JRPG and were disappointed when they learnt it wasn’t an action adventure similar to Zelda: A Link to the Past.

Having purchased my game I headed to the local super market to grab some lunch before I settled in for the day to play video games. Money was tight so I remember buying a tin of pea and ham soup, a pack of crumpets and a four pack of cheap larger, this was going to be an epic afternoon. Turns out the crumpet and soup combo would become somewhat of a tradition for me. Whenever a new Final Fantasy title goes on sale I always make sure I stock up on these essential items for the release day. The last time I ate this meal was for the long awaited release of Final Fantasy XV on the PS4.

Once back at my student dorm I heated up the soup, buttered a couple of crumpets and cracked open a beer before sitting down in front of my PlayStation and watching the opening cinematic. To say my mind was blown was an understatement. With no access to the internet back in 97 this was the first time I had watched these full motion visuals in action and they were beautiful. From the second Aerith stepped out onto the busy street of Midgar and the camera panned back through the hustle and bustle of the city to reveal the Final Fantasy logo I was in ore. In one continuous motion the camera then followed a freewheeling train on its journey before pulling into a station as the main protagonist, Cloud appeared. Unlike previous Final Fantasy adventures there was no time to wander around a small village learning the games basic mechanics, this time you were thrust straight into the action given the mission to destroy the Shinra Mako reactor before escaping with your life.

This was by far the most cinematic experience within a video game I had encountered up until this point. The pace of the action was electric, the music moved you along with a sense of urgency causing my heart rate to increase. I was soon given the chance to create my charters name, as usual Daz was inputted. Next I was introduced to Barrett (one of my favourite FF characters) and as is tradition with any RPG I play his name was soon changed to Ben.

For the rest of that day I sat on my dorm room floor drinking beer and playing Final Fantasy VII and it was awesome. Over the coming weeks any free time I had was spent progressing the story, levelling up my charters and collecting Materia. I remember finally escaping Midgar after many hours and venturing to the world above only to be met with a vast landscape to explore, this game truly was huge! Spread over three disks the first disk alone took me over five hours of solid play to beat. It was whilst playing disk two that I ran into trouble and would become stuck. I remember traveling to the next location on the map. To get there I had to use a submarine to explore the waters. Here I ran into a boss battle which I could not beat. I tried over and over for a week but still no luck. Admitting defeat I decided to put the game down and returned to it a few weeks later but once agin I could not for the life of me beat him.

This boss was of course Emerald Weapon, a large and very difficult robot boss which uses a timer forcing the player to beat him within twenty minutes. I remember pulling my hair out trying to defeat this boss, every time getting my arse handed to me on a plate or simply running out of time. In the end I simply gave up and retired the game back to my gaming shelf. The annoying thing is years later I would discover the Emerald Weapon was actually an optional boss placed in the game to challenge more experienced players and could be completely avoided, SON OFF A B#@CH!

Unfortunately as with both FF2 and 3 I would never see the ending of this amazing game due to my copy along with my PS1 being stolen, but that’s a story for a future blog. Final Fantasy VII is certainly one of the standout titles from my gaming past and having now added it back to my retro gaming collection and with the new PS4 reboot hopefully on the horizon I hope to finally beat this masterpiece and end my Final Fantasy curse once and for all.

NOTE

As of 21/08/19 I finally beat Final Fantasy 7 after 22 long years. What an amazing experience to see this quest through to the end and finally put this game to rest (well, until the remake gets released on the PS4 that is!)

[architectnews]

Derwent Valley Villa, Duffield, Derbyshire

Derwent Valley Villa Duffield, Derbyshire, East Midlands Building News, English Architecture Award

Derwent Valley Villa, Duffield Building

29 April 2022

Derwent Valley Villa, Duffield, Derbyshire, England, UK

Thursday 28th of April 2022 – five projects were selected by the expert jury, who visited all of the shortlisted projects.

Design: Blee Halligan

Photos © Henry Woide

Derwent Valley Villa, Duffield, Derbyshire, UK

Jury Report

The first quality that strikes you on arriving at Derwent Valley Villa is the relaxed modesty and straightforward approach to materials and entry. The surprises and delights are held back for your experience in walking through the house. The plan is orchestrated as a series of axial routes that always end in framed views of the landscape beyond.

The house has been deliberately pulled apart, pinning the entry court and guest wing in the southeast corner, while pushing the main living spaces to the northwest. This sets up a promenade from entry all the way to a spectacular willow seen beyond the main living room, passing through garden courts on either side of the glazed link that separates the wings.

On reaching the living room a new route crosses your path connecting kitchen dining on your left to a snug and playroom on the right, reached beyond a stair slotted between brick walls rising to access the bedrooms above. In moving around the house, you pass through a sequence of discrete garden courts that create their own sequence of outdoor rooms, to be enjoyed at different times of day – each with their own character and purpose. Windows are well placed to maintain a constant connection between inside and outside, so that the whole plot is brought into the service of the internal rooms, and vice versa. It is a house full of circuits, with options that clearly delight the young family.

The house is constructed with a directness and simplicity that allows the courtyards to be viewed externally as walled gardens, while from the inside immaculately set out lignacite block work and timber joists give the interiors a sense of calm composure.

The design of house and garden has risen to the opportunities of the immediate landscape in a relaxed and assured manner, offering a frame for living that is full of variety, and the jury panel were delighted to give the team an RIBA regional award.

Derwent Valley Villa, Duffield, Derbyshire – Building Information

Title: Derwent Valley Villa RIBA region: East Midlands Architect practice: Blee Halligan Date of completion: Jul 2020 Date of occupation: Jul 2020 Client: Confidential Project city/town: Belper Contract value: Confidential Gross internal area: 407.00 m² Net internal area: 391.00 m² Cost per m²: Confidential Contractor company name: Derwent Valley Construction Ltd

Consultants

Structural Engineers: Hayne Tillet Steel Landscape Architects: J+L Gibbons Environmental Economics: SAP Calculations Building Control: Approved Building Control Ltd Quantity Surveyor / Cost Consultant: Appleyard and Trew

Awards

• RIBA Regional Award • Regional Client of the Year

2022 RIBA East Midlands Award Winners

2022 RIBA East Midlands Award Winners

Derwent Valley Villa, Derbyshire designed by Blee Halligan

Derwent Valley Villa, Duffield, Derbyshire building images / information from the Royal Institute of British Architects

Location: Duffield, Derbyshire, England, UK

Derbyshire Buildings

Derbyshire Architecture Designs – recent selection:

Ravine House, Chesterfield, Derbyshire Design: Chiles Evans + Care Architects photos © Dug Wilder Ravine House, Chesterfield, Derbyshire

Ada Belfield Centre and Belper Library, Belper Design: Glancy Nicholls Architects photos © Verity Milligan Ada Belfield Centre and Belper Library

Charlesworth Passivhaus Design: Studio Tashkeel Architects image courtesy of architecture office Derby Swimming Pool Complex

Derby Swimming Pool Complex Design: FaulknerBrowns Architects image from architects practice Derby Swimming Pool Complex

Lilas Pavilion at Chatsworth House, Bakewell image from architects Zaha Hadid Pavilion at Chatsworth House

East Midlands Architecture

Nottingham Southside Property Development image from property developer St. Peter’s Gate HQ

St. Peter’s Gate HQ, Nottingham Interior Design: CPMG Architects image from architects office St. Peter’s Gate HQ

Isover House Contest – Nottingham Architecture Competition Design: Evgeni Leonov Architects Nottingham Architecture Competition

Nottingham Architecture

Nottinghamshire Buildings

Birmingham Architecture Designs – chronological list

Contemporary English Architectural Designs

English Architecture Designs – chronological list

English Architecture

Comments / photos for the Derwent Valley Villa, Duffield, Derbyshire property design by Blee Halligan architects page welcome

The post Derwent Valley Villa, Duffield, Derbyshire appeared first on e-architect.

[dry-valleys]

“Yes, it’s as if it’s been here forever. There’s nothing polished about it; it’s very rustic and feels as if it’s a natural part of the landscape.” Shirley Rhodes, ranger.

Approaching from the High Peak Trail, and looking through a reed bed, I fully agree with this view of Carsington Water, a place I’ve been visiting since 2001 (3,6,7,9,10 from March 2018).

But it must be remembered that this is a wholly man-made structure, as much so as the railways and mills of the area, and is fed by the River Derwent whose banks I was so recently walking. The idea of a reservoir was first proposed in the 1960s and work began in earnest in 1979, interrupted by tragedy when  four workers died construction of the dam in 1981 ; they have a memorial at (9).

In 1984, a partial collapse of the dam took place, so the structure had to be removed, to be replaced by the present structure (5,6) in 1989, with the reservoir finally opening in 1992, the ninth largest in England.

The place became a magnet for artists who have worked so subtly that it’s hard to tell, for instance, that is actually from 1991 (designed by Lewis Knight) and though it seems centuries old, is much younger than (10)  the RAF Quadrant Tower, installed in the 1940s.

More recently, (8) is part of an installation by Andrew Frost, who has put up various wooden sculptures in the area, which is not only a workplace and supplier of water to Nottingham, Derby, and Leicester, but a beauty spot for those cities and further afield, whether doing the full 8-mile circuit as I did or enjoying the scenery by the visitor centre.

[imysphotography6]

FURTHER STUDY RESEARCH

BIRMINGHAM CITY UNIVERSITY

This is a 3 year course and the start date will be the 21st September, 2020.

COURSE DETAILS

You will explore contemporary photographic practice. This includes documentary, moving image, landscape, portrait and fine art photography. The course will show you how creative, documentary and arts-based photographers can become successful in diverse careers from galleries and publishing to advertising campaigns.

For the first year, you will develop creative and technical photography skills. In year two, you will do more contemporary practice. This involves live projects, industry links and competitions. As for the third year, you will focus on you area of specialism, so working in smaller groups. You will explore fields such as networking, freelance practice, entrepreneurship, self-promotion and introductory media. You will also develop a sustained portfolio.

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WHAT’S COVERED IN THE COURSE?

You will learn through practice, by developing confidence as a contemporary photographer. You will develop a deeper understanding of current photographic practice, from commercial briefs to publishing, exhibiting, editorial and photojournalism. There is also a technical support team and facilities situated within the City Centre Campus. These include industry-standard photographic studios, darkrooms, television studios, editing suites, a giant green screen studio and an extensive hires and loans department. They will help you to collaborate both within the University as well as externally, with live briefs for real clients. You will also have the opportunity to study abroad for part of the course, or go on trips to destinations such as New York, Berlin and Paris. They will nurture your talent and help you to develop into an employable and creative photographer.

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HOW TO APPLY

You can apply with UCAS, with A levels or equivalent.

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ENTRY REQUIREMENTS

UCAS Tariff

A level

Pearson BTEC 

Access to HE Diploma

Scottish Higher

AS

Extended Project

HNC / HND

You will also need a portfolio to show them your work, and there will be guidance of how to present and put your work together.

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OPEN DAYS

29th June 2019

28th September 2019

19th October 2019

24th November 2019

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APPLICATION CODES

Course code - W640

Institution code - B25

Campus name - Parkside Building Campus

Campus code - C

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UNIVERSITY OF BRIGHTON

It is a 3 year course and it starts on the 23rd September, 2019.

COURSE DETAILS

Their course is on the creative exploration of photography as a contemporary art practice. This enables you to develop your own creative practice within the technical, creative and analytical skills. 

It will be based in the Edward Street Media centre with high-spec facilities, working in an experimental and critical environment. You’ll be working with an expert course team, learning from visiting lectures from practitioners.

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WHAT’S COVERED IN THE COURSE?

You will explore analogue processes and digital technology. I will be experiencing a range of photographic methods and technologies. They’ll help you to build a strong, creative practice through theoretical understanding and experimentation, to develop your own personal style.

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HOW TO APPLY

You can apply with UCAS, with A levels or equivalent.

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ENTRY REQUIREMENTS

UCAS Tariff

A level

Pearson BTEC 

Access to HE Diploma

GCSE/ National 4/ National 5

International Baccalaureate Diploma Programme

Leaving Certificate - higher level

Additional entry requirements include an interview and a showing of your portfolio.

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OPEN DAYS

22nd June 2019

6th July 2019

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APPLICATION CODES

Course code - W640

Institution code - B72

Campus name - Brighton

Campus code - B

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UNIVERSITY OF DERBY

This is a 3 year course and it begins in September 2019.

COURSE DETAILS

You will have access to facilities, including high-spec cameras, photographic studios, darkrooms, film processing facilities and dedicated digital suites.

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WHAT’S COVERED IN THE COURSE?

You’ll learn through a combination of technical workshops, lectures, seminars, group discussions, group critiques and individual tutorials. You will have presentations from high-profile visiting professors, and go on regular gallery visits. You’ll have opportunities to do work for clients, and go on placements or study visits to organisations, like the ‘Association of Photographers’, ‘The Observer newspaper’, ‘Derby Museum and Art Gallery’, ‘MAC Birmingham’ and ‘Print Space’.  Students have the chance to have their work presented at FORMAT, the international festival of photography and related media. The course develops analytical, writing, oral communication, teamwork and problem-solving skills. Past students have become artists, academics, teachers, curators, critics, commercial photographers, picture editors, and news and sports photographers.

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HOW TO APPLY

You can apply with UCAS, with A levels or equivalent.

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ENTRY REQUIREMENTS

UCAS Tariff

A level

Pearson BTEC

Access to HE Diploma

GCSE/ National 4/ National 5

Additional entry requirements include an interview and a showing of your portfolio.

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OPEN DAYS

13th July 2019

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APPLICATION CODES

Course code - W650

Institution code - D39

Campus name - Main Site

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NOTTINGHAM COLLEGE - FOUNDATION ART & DESIGN

Through art and design, you’ll learn a range of skills and experience working through a series of exploratory workshops and projects, in areas such as:

Fine art

Graphic design

Fashion

Textiles

Photography

3D design

Illustration

Within the course, you’ll have the opportunity to specialise in the area that you are most interested in. You will develop skills and produce a portfolio of work, to take with you to degree interviews. There will be a chance to go on a variety of field trips and gallery visits, which will help build your understanding of the art and design world, and help to develop your own creative language. Your work will also be presented at the annual studio-based, end of year show.

I want to progress onto year 2 because I want to further my knowledge of photography and the techniques involved. This will also help me progress my education, and make me have a clearer understanding of what I need to do for my future.

[jeremystrele]

Our First Exhibition Of 2020, ‘I Been Born There’ By Maggie Green

Our First Exhibition Of 2020, ‘I Been Born There’ By Maggie Green

TDF Collect

by Lucy Feagins, Editor

We are so excited for Pilbara-based artist Maggie Green of Spinifex Hill Studio to debut her first solo show, I Been Born There, at TDF Collect later this month! Photo – Bobbi Lockyer.

Left: Myroodah Station 14, 71 x 61cm. $1089. Right: Myroodah Station 6, 71 x 45.5cm. $880.

Maggie Green working on her art at Spinifex Hill Studio. Photo – Bobbi Lockyer.

Right: Myroodah Station 1, 71 x 71cm. $1320.

Mryoodah Station 11, 71 x 101.5cm. $1980.

Maryoodah Station 2, 91.5 x 91.5cm. $2750.

Maryoodah Station 4, 101.5 x 101.5cm. $3080.

Maggie begins by sketching out the same thing on every canvas, two lines drawn down the center in chalk representing the road at Myroodah Station where she grew up. Photo – Bobbi Lockyer.

Left: Myroodah Station 9, 76 x 91.5cm. $1980. Right: Myroodah Station 8, 101.5 x 101.5cm. $3080.

‘We like doing painting. I feel good when we doing painting’, says Maggie Green. Photo – Bobbi Lockyer.

Myroodah Station 10, 91.5cm x 91.5cm. $2750.

Myroodah Station 12, 71 x 61cm. $1089.

I am SO thrilled to announce our upcoming TDF Collect show with Pilbara-based artist Maggie Green, I Been Born There. It’s an exhibition of many firsts. Not only is it our first art exhibition of 2020, but it’s also Maggie’s debut solo show, and our first solo exhibition with an Indigenous artist. And we could not be more excited to share her work with you all!

Maggie Green is a Mangala woman based in Pilbara, a remote region in the North of Western Australia, represented by Spinifex Hill Studio. Maggie’s artwork tells the stories of her childhood at Myroodah Station, a sheep and cattle station in the West Kimberley Region. ‘[I was] born on station, Myroodah Station, Derby side. My mother and father, granddad, grandmother, uncles, aunties, we all been grew up there. I been going to school there,’ she reflects.

It’s also where Maggie first started painting, learning her distinctive dot painting style from her mother and grandmother. ‘We start doing painting on Myroodah Station’, Maggie explains. ‘My mum and my grandmother teaching us doing painting for us. That’s how we were learning dot paint.’ Maggie’s mother is often referred to in the stories associated with her artwork, as is Myroondah Station’s then-manager Mick, and teacher Mary. She also fondly remembers the friends she grew up with on the station, with whom she would ‘run amok’.

Created from densely-layered fields of coloured dot work, Maggie’s canvases are semi-abstract renderings of landscape. The works translate the memories of her childhood into geometric compositions of glowing pastel colour.

Maggie spends extraordinary amounts of time on one work, painting in two layers of gridded dots. She begins by sketching out the same thing on every canvas, two lines drawn down the center in chalk representing the road at Myroodah Station where she grew up. She then draws two squares on either side of the road; the school and the toilet block. But as you can see, she never sticks to these chalk lines and paints over them entirely in seemingly random shapes. But underneath every painting is the same design. The road and two buildings where she grew up.

‘That’s the road,’ Maggie explains, directing her finger to the centre of the canvas. ‘This is the house,’ she says, pointing to a section of the painting adjacent to the road, mapping out the area she once called home.

Huge thanks must go to the manager of Spinifex Hill Studio, Maddie Sharrock, for introducing us to Maggie’s spectacular work, and helping us every step of the way in bringing this show to life. Spinifex Hill Studio is a relatively new Urban Aboriginal Art Centre in Port Hedland, Western Australia, who represent around 40 core artists and facilitate another 200 or so who use the space. These guys are doing some seriously amazing work!

Maddie and Maggie will be joining us for the opening of I Been Born There on Saturday, March 21st. It’s a big deal for Maggie to travel all that way. ‘I never seen Melbourne before. This the first time. I don’t know that place’, she says. The show will be opened by a Welcome to Country from a Wurundjeri elder at 2pm, with refreshments until 5pm.

We hope you love Maggie’s work as much as we do!

Presales for I Been Born There are open NOW! To view all fifteen works, visit tdfcollect.com. Email art@thedesignfiles.net for purchases and inquiries. First in, best dressed!