Building Access Details
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Partial List of Institutional Clients
Lord Cultural Resources has completed over 2500 museum planning projects in 57+ countries on 6 continents. North America Austria Turkey Israel Canada Belgium Ukraine Japan Mexico Czech Republic United Kingdom Jordan USA Estonia Korea Africa France Kuwait Egypt Central America Germany Lebanon Morocco Belize Hungary Malaysia Namibia Costa Rica Iceland Philippines Nigeria Guatemala Ireland Qatar South Africa Italy Saudi Arabia The Caribbean Tunisia Aruba Latvia Singapore Bermuda Liechtenstein Asia Taiwan Trinidad & Tobago Luxembourg Azerbaijan Thailand Poland Bahrain United Arab Emirates South America Russia Bangladesh Oceania Brazil Spain Brunei Australia Sweden China Europe New Zealand Andorra Switzerland India CLIENT LIST Delta Museum and Archives, Ladner North America The Haisla Nation, Kitamaat Village Council Kamloops Art Gallery Canada Kitimat Centennial Museum Association Maritime Museum of British Columbia, Victoria Alberta Museum at Campbell River Alberta Culture and Multiculturalism Museum of Northern British Columbia, Alberta College of Art and Design (ACAD), Calgary Prince Rupert Alberta Tourism Nanaimo Centennial Museum and Archives Alberta Foundation for the Arts North Vancouver Museum Art Gallery of Alberta, Edmonton Port Alberni Valley Museum Barr Colony Heritage Cultural Centre, Lloydminster Prince George Art Gallery Boreal Centre for Bird Conservation, Slave Lake National Historic Site, Port Alberni Canada West Military Museums, Calgary R.B. McLean Lumber Co. Canadian Pacific Railway, Calgary Richmond Olympic Experience -
Social Institutions in Kent 1480-1660
Archaeologia Cantiana Vol. 75 1961 SOCIAL INSTITUTIONS IN KENT 1480-1660 III. THE STRUCTURE OF ASPIRATIONS A. The poor THE persistent and the principal concern of Kentish donors, if our whole long period may be taken in view, was the care of the poor. The immense sum of £102,519 7s., amounting to 40-72 per cent, of the total of the charitable funds of this rich county, was poured into one or another of the several forms of poor relief. The largest amount was provided for the relief of the poor in their own homes, a total of £52,242 7s. having been given for this purpose, constituting more than one-fifth (20'75 per cent.) of all charities and considerably more than that given for any other specific charitable use. As we have already noted, a heavy proportion (90-05 per cent.) of this total was vested in the form of permanent endowments, thereby establishing institutional mechanisms for the alleviation of what may be regarded as the most pressing of the social problems of the age. Another great sum, £44,614 3s., was provided for almshouse establishments in all parts of the county, this being the second largest amount given for any one charitable use and amounting to 17-72 per cent, of the whole of the charitable re- sources of Kent.1 In addition, the sum of £5,067 17s., of which about 97 per cent. (96-60 per cent.) was capital, was designated for general charitable uses, which in Kent as elsewhere almost invariably meant that the income was employed for some form of poor relief. -
Mark Neville (B
Cristea Roberts Gallery Artist Biography 43 Pall Mall, London SW1Y 5JG +44 (0)20 7439 1866 [email protected] www.cristearoberts.com Mark Neville (b. 1966) Mark Neville works at the intersection of art and documentary. Brugge Centraal, Arentshuis, Belgium His socially driven practice includes, film, photography and 2009 Running Time: Artists Film in Scotland, Dean Gallery, targeted book dissemination. He often refers to his work as Edinburgh, UK collaborative and he consistently looks to subvert the traditional 2008 Fancy Pictures, Mount Stuart, Isle of Bute, UK role of social documentary practice, seeking to find new ways Parrworld (touring exhibition), Haus Der Kunst, Munich, to empower the position of its subject over that of the author. In Germany 2011 Neville was commissioned as an official war artist by the Intermezzo, Kunstmuseum, Bern, Switzerland Imperial War Museum, and spent time with the 16 Air Assault 2006 Port Glasgow Book Project (travelling exhibition), Brigade in Helmand Province. The photos and films from this Holden Gallery, Manchester, UK project were shown at the Imperial War Museum in 2014. Neville Animal Architecture, Hunterian Museum, Glasgow, has also been commissioned by the New York Times Magazine UK to document the stark differences in London society and The Jump Films Installation, Street Level Gallery, subcultures. This broadened into a project that looked at income Glasgow, UK inequality throughout the UK and US. The Moth and the Lamp, Kuntshalle, Bern, Switzerland Local Stories, Modern Art Oxford, -
Document.Pdf
LONDON IS EVOLVING A CITY OF COLLIDING FORCES A CULTURAL CITY A CITY FOR CHALLENGERS AND EXPLORERS A CITY TO MOVE FORWARD WELCOME TO GRESHAM ST PAUL’S MOVE FORWARD THIS IS S T PA U L' S B WOW FACTOR Gresham St Paul’s has something a little different — unparalleled proximity to the global icon that is St Paul’s Cathedral. The building has a privileged location between some of London’s most prominent cultural landmarks, vibrant amenity and a global financial centre. An unofficial logo, St Paul’s Cathedral is our compass point for central London, marking the meeting point of cultural and commercial life in the city. Gresham St Paul’s enjoys A GLOBAL exceptional proximity to this icon. ICON A busy streetscape 340 St Paul’s receives over 1.5m visitors each year years as London’s most recognisable centrepiece 3 minute walk from Gresham St Paul’s View of the Cathedral from the 8th floor of Gresham St Paul’s 4 5 Barbican Centre GRESHAM ST PAUL'S Bank of England St Paul's Cathedral Liverpool St / Moorgate St Paul’s CUTTING EDGE Tate Modern The world’s most popular art museum is connected to St Paul’s by the Millennium Bridge CULTURE 8 Some of London’s leading cultural institutions are just a lunch break away. And there is more to come. A number of high-profile new cultural projects are set to open in 8 the immediate area, including the new Museum of London world-class cultural venues form the opening at West Smithfield Market in the coming years Culture Mile, all within and new concert hall for the London Symphony Orchestra. -
Finsbury Square, the City Finsbury Square
2016 FINSBURY SQUARE, THE CITY Welcome The first and still the best, at Smart we pride ourselves on creating that magic atmosphere that your guests will remember long after they leave. We offer the ultimate combination of spectacular themes, mesmerising entertainment, exquisite food and exceptional service. So bring your colleagues and friends, come dressed to impress and get ready for an avalanche of unforgettable experiences at ‘Après’. Greg Lawson CEO, Smart Group Contents STEP INSIDE APRÈS 6 TIMINGS, AVAILABILITY, WHAT’S INCLUDED 17 MENUS 19 DRINKS 20 PARTY LIKE A ROCKSTAR 22 WHAT MAKES A SMART CHRISTMAS PARTY? 24 BOOKING YOUR PARTY 29 NEXT STEPS 30 FIND US 32 ABOUT SMART 34 ‘APRÈS’ AT FINSBURY SQUARE - 5 6 - WWW.SMARTCHRISTMASPARTIES.CO.UK - 020 7836 1033 Step into an electrifying Après ski party in the heart of the City. This year Finsbury Square will be transformed into an ice cool Alpine wonderland. Make your way into the blizzard of snow and through the forest of magnificent fir trees before you find yourself in a clearing overlooking a bustling Alpine square. You are welcomed in from the cold where you shake off the fresh snow and dispose of your coats and bags. Gather round a roaring log fire and recline on the fur-lined seats as friendly staff serve you glasses of frosted fizz and exquisite canapés. ‘APRÈS’ AT FINSBURY SQUARE - 7 “The staff were blown away by the venue and event, it was great to see them enjoying themselves.” Axis Group UK 8 - WWW.SMARTCHRISTMASPARTIES.CO.UK - 020 7836 1033 Individual log cabins draped in festoon lighting and dappled with moon light are broken up by towering fir laden trees, forming the heart of Après. -
With the London Pass Entry Fee Entry Fee TOP ATTRACTIONS Tower of London + Fast Track Entrance £22.00 £10.00 Westminster Abbey £20.00 £9.00
London Pass Prices correct at 01.04.15 Attraction Entrance Prices FREE ENTRY to the following attractions Normal Adult Normal Child with the London Pass Entry fee Entry fee TOP ATTRACTIONS Tower of London + Fast track entrance £22.00 £10.00 Westminster Abbey £20.00 £9.00 NEW 1 Day Hop on Hop off Bus tour (From 1st October 2015) £22.00 £10.00 Windsor Castle + Fast track entrance £19.20 £11.30 Kensington Palace and The Orangery + Fast track entrance £15.90 FREE Hampton Court Palace + Fast track entrance £17.50 £8.75 17.10 ZSL London Zoo + Fast track entrance £24.30 Under 3 FREE Shakespeare's Globe Theatre Tour & Exhibition £13.50 £8.00 Churchill War Rooms £16.35 £8.15 London Bridge Experience and London Tombs + Fast track entrance £24.00 £18.00 Thames River Cruise £18.00 £9.00 HISTORIC BUILDINGS Tower Bridge Exhibition £9.00 £3.90 Royal Mews £9.00 £5.40 Royal Albert Hall - guided tour £12.25 £5.25 Royal Observatory £7.70 £3.60 Monument £4.00 £2.00 Banqueting House £6.00 FREE Jewel Tower £4.20 £2.50 Wellington Arch £4.30 £2.60 Apsley House £8.30 £5.00 Benjamin Franklin House £7.00 FREE Eltham Palace £13.00 £7.80 The Wernher Collection at Ranger's house £7.20 £4.30 MUSEUMS Imperial War Museum £5.00 £5.00 The London Transport Museum £16.00 FREE Household Cavalry Museum £7.00 £5.00 Charles Dickens Museum £8.00 £4.00 London Motor Museum £30.00 £20.00 Guards Museum £6.00 FREE Cartoon Museum £7.00 FREE Foundling Museum £7.50 FREE Science Museum - IMAX Theatre £11.00 £9.00 Handel House Museum £6.50 £2.00 London Canal Museum £4.00 £2.00 Royal Air -
'Ladies of Quality and Distinction', Foundling Museum, 21 September
‘Ladies of Quality and Distinction’, Foundling Museum, 21 September 2018–20 January 2019 Reviewed by Maria Alambritis (Birkbeck, University of London, and National Gallery, UK) The absence of a single man in a gallery hung with portraits of influential historic figures is an enlivening, if slightly surreal, experience. While the lives and painted likenesses of history’s ‘great men’ still dominate the narratives of many of London’s public and cultural institutions, the Foundling Museum presents an exemplary demonstration of how much we have yet to uncover. Following a successful campaign by Art Happens, the Art Fund’s crowdfunding platform, this exhibition brings to light for the first time the women who were intrinsic to the establishment and running of the Foundling Hospital, illuminating the stories and contributions of women who operated at every level of society to ensure the Hospital’s success. Hung in the place of the male governors who are usually to be found in the Foundling Museum’s Picture Gallery are now twenty-one portraits of women, all of whom were crucial to the establishment of the Foundling Hospital. In a re-examination of their 300-year history, the museum has brought to light the influential role of women such as Charlotte Seymour, Duchess of Somerset (1693—1773), and Dorothy Boyle, Countess of Burlington (1699—1758), who signed Thomas Coram’s (c. 1668— 1751) first petition calling for the founding of a hospital for the care of London’s orphaned and destitute infants. Coram, a seaman, was horrified at the number of children left destitute and abandoned on London’s streets, exceeding 1000 infants a year. -
A MUSICAL EXPLORATION in LONDON Instructor: Sharon J
SYLLABUS FROM HANDEL TO HENDRIX: A MUSICAL EXPLORATION IN LONDON Instructor: Sharon J. Paul Language of Instruction: English UO Credits: 6 Contact Hours: 60 Total Hours of Student Engagement (THSE) in all course activities: 180 LONDON, ENGLAND COURSE DESCRIPTION London’s vibrant cultural life and history provide the setting for an immersive three-week course exploring music performed throughout this world capitol. From the serenity of Evensong to the raucousness of a West End musical, students will engage with a wide variety of musical genres throughout the course. Students will learn to listen critically and analytically to music originating from a wide variety of historical eras and born from diverse circumstances. An interdisciplinary approach will encourage students to consider music in relation to the art and culture surrounding its creation. Designed to challenge music majors and non-majors, students will attend concerts, visit historically significant venues, and participate in highly interactive class sessions. COURSE OBJECTIVES Students who successfully complete this course will: • Be able to listen analytically and critically to a wide variety of music genres • Be able to evaluate the context around which musical works were created • Have gained a deeper appreciation for music from less familiar times or traditions • Understand the important role music has played in London’s cultural history • Be able to compare and contrast musical styles from varied historical periods • Have increased familiarity with significant musical repertoire from the 16th century to the current day INSTRUCTIONAL METHODOLOGY • Lecture • Discussions • Student presentations • Concert Reports • Journal Writing • Sample Readings o Burrow, Donald. Handel. Oxford: Oxford University Press, 2012. -
Dance & Museums Working Together Symposium Report
Dance & Museums Working Together Symposium Symposium Report - Content, Analysis & Recommendations January 2015 Author: Emma McFarland, Consultant, eMc arts E: [email protected] arts eMc TRINITY LABAN CONSERVATOIRE OF MUSIC & DANCE Contents Section 1 : About the Symposium 4 Introduction 4 1. Overview 5 Section 2 : Symposium Content 7 2. Presentations & Case Studies 7 3. Feedback from Discussion Groups 14 4. Enquiry Groups 4.1 Topic 1 – Schools & the Curriculum 14 4.2 Topic 2 – Responding Creatively to Objects 16 4.3 Topic 3 – Audience Engagement and Response 20 4.4 Topic 4 – Dance as Object – Live Curation and Archiving 23 5. Panel Q & A 25 Section 3 : Rationale for Dance and Museums Working Together 28 6. Opportunities and Benefits of Museum – Dance Collaboration 6.1 New and innovative ways of interpreting objects / artefacts, collections 28 and exhibitions 6.2 Developing new audiences / visitors 28 6.3 Collaboration as a way of informing the development of dance performance 29 6.4 Providing rich, new artistic stimuli 29 6.5 Encouraging reflections on dance’s own history 30 6.6 Offers new approaches to museum learning and participatory work 30 6.7 Organisational benefits 30 Section 4 : Considerations around Museums – Dance Collaboration 31 7. Potential Issues and Challenges of Museums – Dance Collaboration 7.1 Need for deeply rooted partnerships 31 7.2 The need for trust....and risk 31 7.3 The role of the artist 32 7.4 Purpose, priorities and planning 33 7.5 Audiences and visitors 33 7.6 Practical considerations 34 7.7 Evaluation of ‘pop-up’ dance activity in museums 34 Section 5 : Where Next? 36 8. -
Download an Application Form
THE FOUNDLING MUSEUM Patrons foundlingmuseum.org.uk/patrons PATRON Single membership, for Patron only: n Free and unlimited entry to the Museum and exhibitions n 25% discount in the Museum Shop* n Invitation to each exhibition private view n Programme of dedicated and exclusive Patrons events n Patrons newsletters n Tailored invitations and news according to your personal interests n Acknowledgement on the Museum’s website, donor board and elsewhere as appropriate * with the exception of some special offers If you are under 35, you can receive the above benefits under our Young Patron scheme. PATRON PLUS All benefits of Patron membership plus a guest. Perfect for couples or friends who would like to make a saving while supporting the Museum. To find out more please call the Development team on +44 (0)20 7841 3608 “A seaman, a composer and a painter, and the moving story of the charity they started 270 years ago. It is a recipe of art and care, which still looks after kids today. Coram, Handel, Hogarth, what’s not to love?” Grayson Perry RA, artist and 2010 Hogarth Fellow HOW TO PAY Cheque (enclosed, made payable to ‘The Foundling Museum’) Credit/Debit Card Visa Mastercard Maestro Solo Other Card Number: Start Date: Expiry Date: Issue Number: Security Code: If you would prefer to pay by telephone please call +44 (0)20 7841 3608 Standing Order Instruction to your bank or building society to pay by standing order Name(s) of Account Holder: Bank/Building Society Account Number: Address of Bank/Building Society: Postcode: Branch Sort Code: Please pay The Foundling Museum on: / / and annually until further notice, the sum of £ (amount in words): Signature: Date: Beneficiary Details Bank: CAF Bank Bank Address: Kings Hill Avenue, Kings Hill, West Malling, Kent ME19 4TA Sort Code: 40-52-40 / Account: The Foundling Museum / Account Number: 00006710 Membership/Reference Number (office use only): GIFT AID Whilst the Museum is unable to claim Gift Aid on membership, it is able to on any additional donations made. -
1 Finsbury Circus
0 1 Finsbury Circus Local Amenities Guide CONTENTS INTRODUCTION 3 MISSION & VISION STATEMENT 4 THE MANAGEMENT TEAM 5 OPERATIONAL HOURS 6 FACILITIES & SERVICES 7 FIRE EVACUATION PROCEDURES 8 YOUR LOCATION 9 TRANSPORTATION 10 LOCAL AMENITIES 13 2 NEED TO KNOW 33 INTRODUCTION The Local Amenities Guide has been produced for the benefit of the occupiers at 1 Finsbury Circus. It’s a brief overview about the procedures and policies in the building and the services provided by the Landlord. GOOD TO KNOW We have a beautiful listed Boardroom that is located at Basement level and can be booked by our occupiers subject to availability and at no cost. The room consists of a large round table, 15 chairs and a piano. To check for availability, please contact our Front of House Team on 0207 448 7070 or [email protected] The property is managed by CBRE on behalf of the Landlord with a fantastic team of outsourced specialist supplier partners for cleaning, maintenance, security and front of house who pride themselves on service excellence. BUILDING HISTORY Sir Edwin Lutyens designed the original building of 1 Finsbury Circus, it has the honour of being listed as a Grade ΙΙ* building. 1 Finsbury Circus opened in 1925 as Britannic House and served the Anglo-Persian Oil Company up until 1967, which was then renamed The British Petroleum Company (BP) in 1954. At the approach of war in 1939, City engineers visited Britannic House to make air raid precaution recommendations, classifying it as “a veritable fortress”. Greycoat PLC purchased the building in 1986, one of Britain’s leading commercial developers. -
Finsbury Circus Conservation Area Character Summary and Management Strategy
Public Document Pack Planning and Transportation Committee Date: TUESDAY, 17 MARCH 2015 Time: 10.30 am Venue: LIVERY HALL - GUILDHALL AGENDA ITEM 8 Appendices - Finsbury Circus Conservation Area Character Summary and Management Strategy John Barradell Town Clerk and Chief Executive This page is intentionally left blank City of London Finsbury Circus Conservation Area Draft Character Summary and Management Strategy SPD Finsbury Circus Draft Character Summary and Management Strategy SPD – Feb 2015 1 Page 1 Introduction 4 Character Summary 5 1. Location and context 5 2. Designation history 6 3. Summary of character 6 4. Historical development 7 Early history 7 Medieval 7 Seventeenth and eighteenth centuries 8 Nineteenth century 10 Twentieth and twenty-first centuries 10 5. Spatial analysis 12 Layout and plan form 12 Building plots 12 Building heights 12 Views and vistas 13 6. Character analysis 14 Finsbury Circus 14 Circus Place 16 London Wall 16 Blomfield Street 17 Eldon Street 18 South Place 19 Moorgate 20 7. Land uses and related activity 21 8. Architectural character 21 Architects, styles and influences 22 Building ages 22 9. Local details 22 10. Building materials 23 11. Open spaces and trees 23 12. Public realm 25 Management Strategy 26 14. Planning Policy 26 National policy 26 London-wide policy 26 City of London Corporation policy 26 Protected views 27 Sustainability and climate change 27 15. Access and an Inclusive Environment 28 16. Environmental Enhancement 29 17. Transport 29 18. Management of Open Spaces and Trees 30 19. Archaeology