210 research outputs found
Somewhere in Hackney
No full textKingsland High Street, Rio Cinema frontage. Rooftops. People crossing road. Silkscreen tuition. VO "Community arts? Oh, I don’t understand anything about community arts." People in street. Making stencil. VO "The whole art game is a joke anyway. I think it’s a waste of money." People in street. Street theatre group. VO "Community arts gives people the confidence to do things they haven’t done before." Street scenes. More street theatre. VO "I don’t get involved in them. I don’t mind watching, them but I don’t get involved in them." Street scenes. Housing estate. Children gathered round a huge circular "mosaic" with members of Freeform; adults watching from a distance. VO talks about Freeform Arts Trust, in Hackney since 1973; the group of artists wants to make their art "accessible to communities", and want people to get involved. Silkscreen printing instruction in playground. Women talk about Freeform as trying to involve people at all levels, though it may take time to bring in some of the adults, offering a structure for people to bring about change and "to have voices". Children drawing murals on concrete wall round derelict site. VO talking about using mural work and landscaping to enable people "to achieve a physical change, to create a physical image for the places they live in". Woman working with girl on a mosaic on the wall of Caribbean House; VO explains how Freeform became involved in helping the owners illustrate its work through the appearance of its building, and adds that the organisation tries to help people "have a voice" and realise that they can make changes. The outside of the building. Festival site near Caribbean House: marquees, painting and erecting stands, etc. VO says that Freeform, as a national organisation based in Hackney, has set up a full-time team for the borough; VO talks about having "a mobile resource unit" which can go to different communities, and facilitate larger-scale projects and develop new ideas for the future. Festival preparations: float going out into the street; VO says their activities are political because they involve asking people to "look at what’s going on around them" which is "challenging".The Lenthall Road Print Workshop. Posters produces by the Workshop for a variety of local groups and activities. Women working. VO explains that the Workshop was set up in 1975 on virtually no money; though they wanted to create a properly staffed community workshop, people who came there weren’t prepared to do more than their own work, and no-one wanted to help run the organisation. The VO describes how men from a group will often take over design or printing while the women are relegated to less interesting jobs and have less control. Posters. Discussing and printing a job for Hackney Women’s Aid. Posters for Hoxton Hall Adult Drama Group. Members of the Group explaining to Workshop workers what they do. Cornwall beach. Members of the Group talk about Hoxton Hall generally, and describe how their dramas contribute to its activities. VO continues over film of Group at outdoor meeting discussing next project, pointing out that this enables all members have input into what happens. Identifying a new project. One member suggests a historical view of Hoxton, one specifies tower blocks; they discuss what format the play should have. Woman explaining what discussions may focus on. Group rehearsing songs and dances and parts of drama. Woman says the group is political only in as much as raising local issues must be so. Exterior Hoxton Hall. Pensioners’ lunch club in the centre: older people eating and dancing. VO explaining activities. On-stage performance in the Hall with audience of young people. VO explaining that their work enables anyone to become involved in theatrical activities, and to claim ownership of what’s being put on.
Centerprise. Children and adults looking through bookshop stock. The café space, food preparation, men playing chess. Woman explains what Centerprise does, offering facilities, information, community resources, space to meet others, the bookshop, etc. She suggests that the set-up of café and bookshop offers a reason for people to go in which they might not do if it was simply seen as an advice centre. Visitor/helper talks about her experiences of the place. Young Asian woman on the need for people to believe they can change things. Her experience of being "black"; she reads a poem, Black Is Not a Skin Colour she wrote in 1976. Men talking about the success of Centerprise’s own publications, the effect this has had on the relationship between author and reader, the ways in which a local press can enable people to express themselves publicly, and how public readings can help people understand political and social issues. In a meeting of the Hackney Writers’ Workshop, one of the men reads a poem he has written, Eighty Two, and a Hearse Punctuates Finality. Woman reads The Sceptred Isle. Man reads "Peter and I sat together on an over-scrubbed bench…" about his experience of being in a police station. Participants in Hackney & Islington Music Workshop. Man singing "It was on the Ball’s Pond Road one morning I did stand" to banjo accompaniment. Woman explains the ethos of the Workshop to the audience. Singer introduces song based on William Morris’s tribute to a dead political demonstrator, set to the tune of Peat Bog Soldiers (Moorsoldaten). Woman talking to the audience about Centerprise’s programme of publication of work by young people. Young Asian woman reads her poem, The Cage. Afro-Caribbean man reads poem (Me Remember) When I Walked the Streets of These Foreign Lands – heard over views of Hackney streets, people, deserted market, church-goers; man and Centerprise audience. Visitors to festival outside Caribbean House, street theatre, stalls etc. VO "There’s always something going on somewhere in Hackney." The cinema. Credits over festival scenes, etc
Somewhere in Hackney - ACE100.5
No full textCenterprise. Children and adults looking through bookshop stock. The café space, food preparation, men playing chess. Woman explains what Centerprise does, offering facilities, information, community resources, space to meet others, the bookshop, etc. She suggests that the set-up of café and bookshop offers a reason for people to go in which they might not do if it was simply seen as an advice centre. Visitor/helper talks about her experiences of the place. Young Asian woman on the need for people to believe they can change things. Her experience of being "black"; she reads a poem, Black Is Not a Skin Colour she wrote in 1976. Men talking about the success of Centerprise’s own publications, the effect this has had on the relationship between author and reader, the ways in which a local press can enable people to express themselves publicly, and how public readings can help people understand political and social issues. In a meeting of the Hackney Writers’ Workshop, one of the men reads a poem he has written, Eighty Two, and a Hearse Punctuates Finality. Woman reads The Sceptred Isle. Man reads "Peter and I sat together on an over-scrubbed bench…" about his experience of being in a police station
DIVER-CITY: Designing for Just Publicness: Inclusive design towards hyper-diversity, Hackney
No full textThe development of a city is always accompanied by the debate of justice. London, a world city, changing towards a hyper-diversity scenario, is even criticized by different groups about their right to live in the city. The injustice show on both social and spatial dimension here and the inequality and injustice in London usually illustrated as limits applied on accessibility and living quality for disadvantaged locals. Hackney as one part of the most deprived area, which is socially and spatially segregated out of the active zone of London, as well as it is under the danger of losing its strong local identity due to the new trend of urban regeneration. A possible path for Hackney is to promote a new type of urban regeneration that focuses on and driven by the local diversities, which could be supported by the inclusive design on the public spaces. However, the current debates about the injustice with segregation caused by it are unlinked with the local context, while it is also missing a bridge to the current inclusive design practices. This thesis aims to define the design approach for cohesive living and inclusive development in Hackney local, which has the potentials to applied at similar towns and local places, cross London. Supporting this aim, on the one hand, a new scope with added values for understanding the diversity and justice in Hackney was established. It helped to assess the current publicness in Hackney as the active and inactive sides on- or back of- the high streets. On the other hand, the observations in this thesis bridged the gap between the debates and the local practices by delivering a series of behavior-space patterns. This thesis is finishing with a set design of spatial interventions with their new public cultures, showing the possible quality in local for developing the identical and inclusive public hotspots in Hackney Central.Architecture, Urbanism and Building Science
Networks of Design
No full textNetworks of Design (NoD) presents a new design studies methodology where responses to actor network theory inform interdisciplinary inquiry and practice. Through over ninety essays the book investigates design theory and applications in writing by authors researching the social sciences, technology, material culture, design history, cultural geography, information technology and systems design. NoD features an important new essay by Professor Bruno Latour, a pioneer of actor network theory and one of the most influential figures in the philosophy and sociology of science and technology, and an essay by Professor Jeremy Myerson, Royal College of Art. The book was jointly edited and introduced by Fiona Hackney, Jonathan Glynne and Viv Monton., NoD was developed from the Design History Society annual conference 2008, which, with 300 delegates and 150 speakers, was the largest international conference held at Falmouth University. Dr Hackney was lead convenor and Caroline Pullee (FU) Co-Convened. Working with colleagues and students at FU, Dr. Hackney curated a major exhibition, ‘Re-Imagining Cornwall’ (Polytechnic Falmouth) exploring past and present design networks in Cornwall to accompany the exhibition. Participating FU staff: Kate Southworth, Dr. Katie Bunnell, Dr. Justin Marshall, Jason Cleverly and Dr. Deborah Sugg-Ryan. External funding: DHS (£1,500) for Latour, Myerson and designer Jan Konings, Oxford University Press (£500), Higher Education Academy (£3,000), FU: (£10,000). Dr. Kjetil Fallan cited the conference in his important book Design History: Understanding Theory and Method (Berg, 2010). Details of speakers, abstracts, selected images, and podcasts of keynotes and other speakers’ talks are available from the conference website
The tailored, project Hackney: Making living in cities attainable again
No full textHousing prices in cities like London, New York, Paris and many others rise to a level which most people can’t afford. Nowadays, it is not just the poor and less advantaged that are being priced out of the city, it is happening to the middle-class as well. Complete communities are stuck in poverty with little chance of upward mobility. In short, there is a social crisis in our cities manifesting itself in the increasing unattainability of living in these cities for most of the population. The central question addressed in this research is: what does the social imbalance in London look like and how can we create opportunities for those communities that are now being left behind? The conclusions and observations made in the research form the framework for the design assignment: creating a community based approach to improve the social balance in a neighbourhood through fashion. The design that follows is located in Hackney, London. It serves as a proof of concept that can be tailored to any currently unattainable city. The project combines manufacturing, education, fashion and reconnecting the community.Architecture, Urbanism and Building Sciences | Architectural Design Crossover
A comparative study on the differentiation of 17-day old blastemata from regenerating fore-limbs of triturus viridescens in vitro and in situ, 1964
No full textThe right fore-limbs of Triturus viridescens were amputated below the wrist and allowed to regenerate in situ for ten days. Some of the blaste-mata were allowed to regenerate for from 14 to 17 days in situ. The other 10-day-old blastemata were grown in vitre at 26 C and room temperature. The culture medium consisted of embryonic chick extract and chicken plasma. The 10-day-old blastemata grown in vitro for from four to seven days (14-days-old) and (17-days-old) respectively at 26 C and room temperature were compared with those grown in situ. Cartilaginous cells were present and well differentiated in the explants grown at 26 C, but were observed only in small areas in those grown at room temperature. Muscle cell differentiation and orientation were pronounced in explants cultured at room temperature. It may be that more complete differentiation did not occur in the blastemata grown in vitre because they were completely isolated from any type of nerve supply
The influence of flow discharge variations on the morphodynamics of a diffluence-confluence unit on a large river
No full textThis is the author accepted manuscript. The final version is freely available from Wiley via the DOI in this record.Bifurcations are key geomorphological nodes in anabranching and braided fluvial channels, controlling local bed morphology, the routing of sediment and water, and ultimately defining the stability of their associated diffluence–confluence unit. Recently, numerical modelling of bifurcations has focused on the relationship between flow conditions and the partitioning of sediment between the bifurcate channels. Herein, we report on field observations spanning September 2013 to July 2014 of the three-dimensional flow structure, bed morphological change and partitioning of both flow discharge and suspended sediment through a large diffluence–confluence unit on the Mekong River, Cambodia, across a range of flow stages (from 13 500 to 27 000 m3 s−1).
Analysis of discharge and sediment load throughout the diffluence–confluence unit reveals that during the highest flows (Q = 27 000 m3 s−1), the downstream island complex is a net sink of sediment (losing 2600 ± 2000 kg s−1 between the diffluence and confluence), whereas during the rising limb (Q = 19 500 m3 s−1) and falling limb flows (Q = 13 500 m3 s−1) the sediment balance is in quasi-equilibrium. We show that the discharge asymmetry of the bifurcation varies with discharge and highlight that the influence of upstream curvature-induced water surface slope and bed morphological change may be first-order controls on bifurcation configuration. Comparison of our field data to existing bifurcation stability diagrams reveals that during lower (rising and falling limb) flow the bifurcation may be classified as unstable, yet transitions to a stable condition at high flows. However, over the long term (1959–2013) aerial imagery reveals the diffluence–confluence unit to be fairly stable. We propose, therefore, that the long-term stability of the bifurcation, as well as the larger channel planform and morphology of the diffluence–confluence unit, may be controlled by the dominant sediment transport regime of the system. © 2017 The Authors. Earth Surface Processes and Landforms published by John Wiley & Sons Ltd.Natural Environment Research Council. Grant Numbers: NE/JO21571/1, NE/JO21881/1, NE/JO21970/
La crisi della città globale: intervento di rigenerazione nel quartiere di Hackney, East London
No full textIl lavoro di tesi è frutto di un’esperienza personale e professionale nella città di Londra.
L’obiettivo è dimostrare la dualità economica e spaziale che caratterizza la capitale britannica e come questa influisce sugli spazi architettonici e sulla vita dei suoi abitanti.
L’analisi preliminare condotta vuole mettere in luce la connessione tra le dinamiche che hanno caratterizzato il cambiamento radicale della città.
Si è scelta Londra perchè città globale, generica e duale: queste definizioni si adattano bene al contesto urbano londinese per quanto riguarda la sfera economica, occupazionale, relazionale e architettonica.
Il quartiere di Hackney, situato nell’East End, è l’emblema della crisi di questo sistema che si esprime nella dualità tra l’adeguamento agli standard della nuova economia globale e la perdita del carattere identitario della città stessa.
Gli attori sociali di questa situazione sono da una parte l’industria creativa, motore economico e culturale del cambiamento, dall’altro lato i fautori di uno sviluppo edilizio sempre più standardizzato e spesso lontano da quelle che sono le reali esigenze del quartiere.
Attraverso l’analisi di questi fenomeni da un punto di vista spaziale ed architettonico, facendo riferimento a quelli che sono alcuni esempi di sviluppo dello spazio destinato all’industria creativa e alcuni esempi di nuovi edifici, si andranno a delineare le linee guida per un diverso approccio alla progettazione.
Nell’intervenire su di uno specifico sito del quartiere si prevede un progetto di rigenerazione il cui scopo tenga conto della necessità di densificare il tessuto dell’abitato e di arricchirlo di nuove funzioni e usi, ma con un occhio di riguardo nei confronti di quello che è il carattere dell’esistente.
Il progetto si configura secondo tre linee di intervento architettonico che, seppur con diversi linguaggi, sono frutto di una strategia progettuale definita e determinata.
Preserve si propone di innestare un nuovo edificio sull’esistente, moltiplicandone gli spazi e modificandone la forma, mantenendone in parte il carattere originario.
Adapte conserva l’attuale uso di uno degli edifici esistenti, modificandolo secondo gli standard qualitativi necessari per la creazione di spazi dedicati a studi di artisti e abitazioni, dove il piano terra si configura come luogo fruibile e attraversabile da tutta la comunità.
Propose prevede la creazione di un segno completamente nuovo sull’area di intervento che si va a definire come torre residenziale, in continuità con lo spazio pubblico all’interno del quale si concentrino i flussi presenti nell’area di intervento
Author interview: Q and A with Dr Noni Stacey on Photography of protest and community: the radical collectives of the 1970s
No full textIn this author interview, we speak to Dr Noni Stacey about her new book Photography of Protest and Community: The Radical Collectives of the 1970s, which examines how London-based photographers formed collectives that engaged with local and international political protest in cities across the UK. The book surveys the radical community photography produced by Hackney Flashers Collective, Exit Photography Group, Half Moon Photography Workshop, the producers of Camerawork magazine and the community darkrooms, North Paddington Community Darkroom and Blackfriars Photography Project
A guide for developing socio-economic measures for Oregon's watershed councils
No full textMichael Hibbard, Heather Gurewitz, and Teresa Roark.This archived document is maintained by the State Library of Oregon as part of the Oregon Documents Depository Program. It is for informational purposes and may not be suitable for legal purposes.Supported by a generous gift from Natalie Poole and Gary Hackney to the University of Oregon School of Architecture and Allied Arts.Mode of access: Internet from the Oregon Government Publications Collection.Text in English
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