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Bankside Power Station: Planning, Politics and Pollution
BANKSIDE POWER STATION: PLANNING, POLITICS AND POLLUTION Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester by Stephen Andrew Murray Centre for Urban History University of Leicester 2014 Bankside Power Station ii Bankside Power Station: Planning, Politics and Pollution Stephen Andrew Murray Abstract Electricity has been a feature of the British urban landscape since the 1890s. Yet there are few accounts of urban electricity undertakings or their generating stations. This history of Bankside power station uses government and company records to analyse the supply, development and use of electricity in the City of London, and the political, economic and social contexts in which the power station was planned, designed and operated. The close-focus adopted reveals issues that are not identified in, or are qualifying or counter-examples to, the existing macro-scale accounts of the wider electricity industry. Contrary to the perceived backwardness of the industry in the inter-war period this study demonstrates that Bankside was part of an efficient and profitable private company which was increasingly subject to bureaucratic centralised control. Significant decision-making processes are examined including post-war urban planning by local and central government and technological decision-making in the electricity industry. The study contributes to the history of technology and the environment through an analysis of the technologies that were proposed or deployed at the post-war power station, including those intended to mitigate its impact, together with an examination of their long-term effectiveness. Bankside made a valuable contribution to electricity supplies in London until the 1973 Middle East oil crisis compromised its economic viability. -
London Electricity Companies Had Already Supply Co
printed LONDON AREA POWER SUPPLY A Survey of London’s Electric Lighting and Powerbe Stations By M.A.C. Horne to - not Copyright M.A.C. Horne © 2012 (V3.0) London’s Power Supplies LONDON AREA POWER SUPPLY Background to break up streets and to raise money for electric lighting schemes. Ignoring a small number of experimental schemes that did not Alternatively the Board of Trade could authorise private companies to provide supplies to which the public might subscribe, the first station implement schemes and benefit from wayleave rights. They could that made electricity publicly available was the plant at the Grosvenor either do this by means of 7-year licences, with the support of the Art Gallery in New Bond Street early in 1883. The initial plant was local authority, or by means of a provisional order which required no temporary, provided from a large wooden hut next door, though a local authority consent. In either case the local authority had the right supply was soon made available to local shopkeepers. Demand soon to purchase the company concerned after 21 years (or at 7-year precipitated the building of permanent plant that was complete by intervals thereafter) and to regulate maximum prices. There was no December 1884. The boiler house was on the south side of the power to supply beyond local authority areas or to interconnect intervening passage called Bloomfield Street and was connected with systems. It is importantprinted to note that the act did not prevent the generating plant in the Gallery’s basement by means of an creation of supply companies which could generate and distribute underground passage. -
KCW (March 2019)
LONDON NEWS, GLOBAL VIEWS KCWKENSINGTON, CHELSEA & WESTMINSTER, HAMMERSMITH & FULHAM, WANDSWORTH to ay AND SELECT LONDON BOROUGHS ISSUE 81 MARCH 2019 FREE "SO MANY BOOKS, SO LITTLE TIME" FRANK ZAPPA NEWS • BUSINESS & FINANCE • EDUCATION • HEALTH • DINING OUT MOTORING • ARTS & CULTURE • LIFESTYLE • LITERATURE • ASTRONOMY OPINION & COMMENT • SPORT • CROSSWORD • BRIDGE • CHESS 2 March 2019 Kensington, Chelsea & Westminster Today www.KCWToday.co.uk 020 7738 2348 March 2019 Kensington, Chelsea & Westminster Today 3 Contents & Offices News online: www.KCWToday.co.uk Kensington, Chelsea LONDON NEWS, GLOBAL VIEWS & Westminster Today Contents Plans to transform KCWKENSINGTON, CHELSEA & WESTMINSTER, HAMMERSMITH & FULHAM, WANDSWORTH to ay AND SELECT LONDON BOROUGHS ISSUE 80 FEBRUARY 2019 FREE 80-100 Gwynne Road, London, Oxford Street approved © Publica Photograph Image © Zaha 02 Image SW11 3UW by Westminster council Tel: 020 7738 2348 E-mail: [email protected] Website: News www.kcwtoday.co.uk 3 Advertisement enquiries: Statue & Blue Plaque new piazza is one of several new plans for [email protected] 6 Oxford Street which have been approved by Subscriptions: Westminster City Council. [email protected] 2019 • THE YEAR OF THE PIG Architecture The public space would be created on Oxford Circus NEWS • BUSINESS & FINANCE • FESTIVE EVENTS • EDUCATION • HEALTH DINING OUT • MOTORING • ARTS & CULTURE • LIFESTYLE • LITERATURE • 8 Publishers: ASTRONOMY • OPINION & COMMENT • CROSSWORD & BRIDGE • CHESS A with buses re-routed on either side of Regent Street. Kensington & Chelsea Today Limited During the busiest times of the day several other streets News would be closed to cars and buses, with many of the 9 pavements along the famous shopping area widened. The speed limit would be brought down from Appeal from Editor in Chief 30mph to 20mph and all vehicles without zero- 10 emissions would be banned. -
Oscar Wilde's Aesthetics in the Making: the Reviews of The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archive Ouverte en Sciences de l'Information et de la Communication Oscar Wilde’s Aesthetics in the Making: The Reviews of the Grosvenor Gallery exhibitions of 1877 and 1879 Anne-Florence Gillard-Estrada To cite this version: Anne-Florence Gillard-Estrada. Oscar Wilde’s Aesthetics in the Making: The Reviews of the Grosvenor Gallery exhibitions of 1877 and 1879. Etudes Anglaises, Klincksieck, 2016, 69, pp.36-48. hal-02092904 HAL Id: hal-02092904 https://hal-normandie-univ.archives-ouvertes.fr/hal-02092904 Submitted on 8 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Anne-Florence GILLARD-ESTRADA Oscar Wilde’s Aesthetics in the Making: The Reviews of the Grosvenor Gallery exhibitions of 1877 and 1879) This paper explores the first two texts Wilde published in 1877 and 1879 in Irish periodicals, which are reviews of the first and third exhibitions of the Grosvenor Gallery in 1877 and 1879. Wilde commented on the developments that had been affecting British painting for the past fifteen years or so. -
James Mcneill Whistler (1834-1903) ‘I Am Bored to Death After a Certain Time Away from Piccadilly! – I Pine for Pall Mall and I Long for a Hansom! -
James McNeill Whistler (1834-1903) ‘I am bored to death after a certain time away from Piccadilly! – I pine for Pall Mall and I long for a hansom! - ... I begin rather to wish myself back in my own lovely London fogs! They are lovely those fogs - and I am their painter!’ (Whistler, 1880) American born, French-trained, London-based, and fascinated with the art of both East and West, James McNeill Whistler occupies a pivotal position between cultures and artistic traditions. He was an artist of a cosmopolitan background; born in Lowell, Massachusetts, he grew up in America, England and Russia. He studied briefly at the United States Military Academy at West Point, learnt to etch at the U.S. Coast and Geodetic Survey in Washington DC and left Americain 1855 to study art in Paris. As a child he visited his half-sister Deborah and the physician-etcher Francis Seymour Haden at 62 Sloane Street. In 1859 he settled in London, painting, etching, exhibiting his work and acquiring patrons among the city merchants and shipping magnates. He worked on site down by the docks and painted the Thames bridges, old and new. He depicted the workers and whores, sailors and foreshore men, the decaying wharves, the ferries and wherries, clippers and cutters. He documented the industrial waterway in a realistic manner and recorded the commercial centre of the greatest port in Europe in all its dirty, crowded, bustling activity. But over the years his subject matter, techniques and compositions evolved with his sites. He sought the essence of the river, the life-blood of the city, ebbing and flowing before his perceptive eyes and caught by his skilful brush. -
Aesthetic Movement to Degeneration
• The Aesthetic Movement in England was related to other movements such as Symbolism or Decadence in France and Decadentismo in Italy. • British decadent writers were influenced by Walter Pater who argued that life should be lived intensely with an ideal of beauty. • It was related to the Arts and Crafts movement but this will be traced back to the influence of British decorative design, the Government Schools of Design and Christopher Dresser. • In France, Russia and Belgium Symbolism began with the works of Charles Baudelaire who was influenced by Edgar Allan Poe. • It is related to the Gothic element of Romanticism and artists include Fernand Khnopff, Gustave Moreau, Gustav Klimt, Odilon Redon, Pierre Puvis de Chavannes, Henri Fantin-Latour, and Edvard Munch. These artists used mythology and dream imagery based on obscure, personal symbolism. It influenced Art Nouveau and Les Nabis (such as Édouard Vuillard, Pierre Bonnard and Maurice Denis). • In Italy, Gabriele D’Annunzio (1863-1938) promoted irrationality against scientific rationalism. 1 Simeon Solomon (1840-1905), Walter Pater, 1872, pencil on paper, Peter Nahum Ltd, Leicester Galleries Walter Pater (1839-1894) • Essayist, literary and art critic and fiction writer. His father was a physician but died when he was young and he was tutored by his headmaster. His mother died when he was 14 and he gained a scholarship to Queen’s College, Oxford in 1858. • He read Flaubert, Gautier, Baudelaire and Swinburne and learnt German and read Hegel. He did not pursue ordination despite an early interest. He stayed in Oxford and was offered a job at Brasenose teaching modern German philosophy. -
Establishing Tate Modern: Vision and Patronage
Establishing Tate Modern: Vision and Patronage The London School of Economics and Political Science Establishing Tate Modern: Vision and Patronage Caroline Donnellan A thesis submitted to the Department of Sociology at the London School of Economics for the degree of Doctor of Philosophy, London, July 2013 1 Establishing Tate Modern: Vision and Patronage Declaration I certify that the thesis I have presented for examination for the Ph.D. degree of the London School of Economics and Political Science is solely my own work, other than where I have clearly indicated that it is the work of others, in which case the extent of any work carried out jointly by me and any other person is clearly identified in it. The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without the prior written consent of the author. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. 2 Establishing Tate Modern: Vision and Patronage Abstract Tate Modern has attracted significant academic interest aimed at analysing its cultural and urban regeneration impact. Yet there exists no research which provides an in-depth and contextual framework examining how Tate Modern was established, nor is there a study which assesses critically the development of Tate’s collection of international modern and contemporary art. Why is this important? It is relevant because a historic conflict of interests developed within the Tate’s founding organisation which was reluctant to host it. -
Asian Art in London 3 - 12 November 2016 Contents
Asian Art in London 3 - 12 November 2016 Contents Events 3 Introduction 4 Open Evenings 5 Champagne Reception 7 Symposium 8 Art Tours 9 Calendar of Events Related Events 22 In London 24 Outside London Participants 28 Participant Specialities 30 Dealers 54 Auction Houses 62 Auction Dates 64 App Registered Office Asian Collections, Societies, etc Asian Art in London 66 Asian Collections 180 Piccadilly 68 Asian Societies and Cultural Centres London W1J 9HF 70 Other Asian Collections +44 (0)20 7830 9788 Art Services [email protected] 72 Conservator, Recruitment & Designer www.asianartinlondon.com 74 Sponsors, Partners and Advertising The contents of this guide are believed to be correct at the time of printing. Nevertheless, the authors, publishers and Directors of Asian Art in London shall not be liable for loss or 106 Maps harm of any kind which may arise or result from any errors, inaccuracies or omissions. 2 Introduction 3 Asian Art in London is an annual event which unites leading Asian art dealers, major auction houses and societies in a series of gallery selling exhibitions, auctions, receptions, lectures and seminars. These are complemented by exhibitions at the leading museums. Asian Art in London 是一個 會集了知名的亞洲藝術經濟 商、主要拍賣行及學會的 年度盛會. 主要活動包涵一 系列的銷售展、拍賣、招待 會、講座及研討會. 各大博 物館同時舉辦相關展覽. Further information on gallery openings, receptions and exhibitions is available from individual participants. Asian Art in London +44 (0)20 7830 9788 [email protected] www.asianartinlondon.com Free app at asianartinlondon.com (see page 64) 4 OpenEvents Evenings | Events | Champagne Reception 5 Open Evenings Champagne Reception The participating galleries and auction To celebrate the nineteenth year of houses invite you to a series of evening Asian Art in London, a champagne receptions being held throughout reception will be held at the China London. -
THE PEACOCK and the PRODIGY Whistler's Celebrated Lawsuit Against Ruskin Turned on Money and Madness
1 THE PEACOCK AND THE PRODIGY Whistler's Celebrated Lawsuit Against Ruskin Turned on Money and Madness by Lincoln Caplan, Civilization, Jan/Feb, 1995 In London, in November of 1878, the case of James McNeill Whistler v. John Ruskin opened in the Old Royal Courts of Justice. The artist was suing the critic for libel. Whistler had been invited to exhibit eight pictures the year before at the city's Grosvenor Gallery, including Nocturne in Black and Gold (it was later subtitled The Falling Rocket). The oil painting evoked fireworks over a riverside at night. Whistler was trying to sell the picture for 200 guineas (a guinea was worth 5 percent more than a pound). Ruskin despised the nocturne. In a monthly journal he edited, cryptically called Fors Clavigera ("club- wielding force"), Ruskin declared, "For Mr. Whistler's own sake, no less than for the protection of the purchaser, Sir Courts Lindsay [the gallery's proprietor] ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture. I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public's face." Whistler, c. 1888 Whistler, picking up the glove, launched what one scholar calls "the most celebrated lawsuit in the history of art." As in contemporary show trials, the hoopla distracted attention from whether Ruskin should be held accountable for his offense. At times, it wasn't even clear who was suing whom. -
Annual Monitoring Report 10, 2012-13
LONDON PLAN ANNUAL MONITORING REPORT 10, 2012-13 MARCH 2014 LONDON PLAN 2011 IMPLEMENTATION FRAMEWORK ANNUAL MONITORING REPORT 10 COPYRIGHT GREATER LONDON AUTHORITY March 2014 Published by Greater London Authority City Hall The Queen’s Walk More London London SE1 2AA www.london.gov.uk enquiries 020 7983 4100 minicom 020 7983 4458 Crown Copyright All rights reserved. GLA 10032216 (2014) Front cover photo: Eleanor Ward/GLA Copies of this document are available from http://www.london.gov.uk/priorities/planning /research- reports/monitoring-london-plan Updated July 2014 to reflect revised long term empty homes returning to use figures. Amendments have been made to the following pages: 2, 4, 21-22, 60-63 and 88-89. LONDON PLAN ANNUAL MONITORING REPORT 10, 2012-13 MARCH 2014 ANNUAL MONITORING REPORT 10 CONTENTS EXECUTIVE SUMMARY 1 CHAPTER ONE INTRODUCTION 7 Scope and purpose of the AMR 8 The London Development Database 9 The London Plan and its Implementation 10 Further Alterations to the London Plan 10 CHAPTER TWO PERFORMANCE AGAINST KPI TARGETS 13 KPI 1 Maximise the proportion of development taking place on previously developed land 14 KPI 2 Optimise the density of residential development 17 KPI 3 Minimise the loss of open space 19 KPI 4 Increase the supply of new homes 21 KPI 5 An increased supply of affordable homes 23 KPI 6 Reducing health inequalities 27 KPI 7 Sustaining economic activity 28 KPI 8 Ensure that there is sufficient development capacity in the office market 29 KPI 9 Ensure that there is sufficient employment land available -
British Electricity Supply Industry: Part One
British Electricity Supply Industry: Part one The growth of the UK Electricity Grid (Leading to the establishment of Area control centres and National control) In 1882, Edison’s Electric Light Company set up Holborn Viaduct power station (Direct Current generation). The world’s first public steam-driven coal power station, it was colloquially known as the ‘Edison Electric Light Station’. Its location was chosen so as to utilise the gas ducts and sewer. The wires crossed underneath the viaduct and ran up to Newgate Street, as Edison didn’t have a licence to dig up the streets. There is a story that as the ducts couldn’t cross St Martins le Grand, he ran cables up the side of a pub (the Holborn Tavern) that ran overhead across the square to the HQ of the General Post Office. With all the flammable paper, the GPO was keen to use electric light rather than gas or candles! However, the head of the GPO and Edison had a professional animosity which had to be resolved first. Edison went back to New York and opened Pearl Street Generating station in September 1882 followed by other DC stations dotted across the Big Apple. He also started the New York Steam Company to use the excess heat. Holborn Viaduct power station closed in 1884 due to limited expansion because they couldn't dig up the streets. New York went to Alternating Current generation (AC) for long distance in- feed (Niagara - Westinghouse and Tesla) from 1890. Big rectifiers at the city end were installed, however their last public DC supply was 'spiked' in 1981. -
An Initial Exploration of Aestheticism and Its Impact on the Operettas of Gilbert & Sullivan
Veronica Isaac «POPPIES, LILIES, POETS AND POTATOES»: AN INITIAL EXPLORATION OF AESTHETICISM AND ITS IMPACT ON THE OPERETTAS OF GILBERT & SULLIVAN This study proffers an initial exploration of the impact that the Aesthetic movement had upon the music, lyrics and costumes which featured in the operas created by Sir William Schwenk Gilbert (1836-1911) and Sir Arthur Seymour Sullivan (1842-1900). It will focus specifically on the production of Patience during its initial staging at the Opera Comique in London, in April 1881, and subsequent transfer to the Savoy Theatre in October of the same year. Particular attention will be paid to the costumes worn by the leading performers and the relationship between these theatrical garments and the clothing worn by, and associated with, followers of the movement. ‘Aesthetes’ as they were known, were united by the proclamation «Art for Art’s Sake» (translated from the French «L’Art pour L’Art»). This motto, generally credited to the French writer and critic Théophile Gautier (1811–1872), expressed the philosophy that «art should exist for no reason, other than to be beautiful».1 Although the origins of the Aesthetic movement have been traced back to the late 1860s, the peak of its influence was during the 1870s and 1880s. The impact of Aestheticism can be seen not simply in the artwork produced during this decade, but across all art forms, including literature and, as this chapter will discuss, theatrical productions. The most committed adherents to the movement also sought to design their homes and their clothing in accordance with this search for beauty, and these distinctive styles marked out the Aesthetes from their contemporaries.2 Patience was written when Aestheticism was at its height and many of the individuals who featured in the operetta would have been immediately recognizable as caricatures of some of the more famous promoters of the principles and attire associated with the Aesthetic movement.