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4.36: White City Green: Indicative Masterplan Including Wood Lane
White City Opportunity Area Planning Framework Chapter 4 urban design strategy Mayor of London 71 ChapterChapter 0404 Pedestrian & cycle bridge Strategic pedestrian link Pedestrian route Improved existing roads Pedestrian areas Public Park Opening up railway arches Strategic green link Pedestrian crossing Figure 4.35: Precedents for the proposed White City Green Figure: 4.36: White City Green: indicative masterplan including (Source 3D model:Z Mapping) Wood Lane station and Central Line crossing 72 White City Opportunity Area Planning Framework areas, toilet facilities and space for performances Design objective: Local Open Spaces, public or temporary events such as film screenings realm and inclusive environments and specialty market space. Opportunities to incorporate public art and create a setting for hierarchy of quality public and private spaces temporary cultural events, tying in with local comprising formal parks, allotments, urban squares, creative industries could also be pursued. communal open space, private open space and 4.68 The design of the Green must adopt wilderness corridors. These will allow for a range the principles of inclusive design effectively from of recreational and leisure opportunities which will the outset, making spaces accessible, easy and benefit the health and wellbeing of the community. convenient to use for all groups of people, with 4.26 Large scale residential, mixed use and particular attention to thinking about the needs of employment developments will be expected to disabled persons or older people. consider how their proposals can contribute to 4.69 Consideration must be given to the the provision of strategic open space to serve the function that this space would provide late at needs of the wider area, particularly the provision night, with detailed lighting, other secure by design of White City Green. -
Download Brochure
11 A1-A4 Units To Let From 735 sq ft to 1,750 sq ft London Arches — Wood Lane Discover new character retail, restaurant and bar space in West London The White City Area is undergoing a transformation and as part of this Transport for London are regenerating 31 railway arches to create a destination for eating, socialising, shopping and working. These newly regenerated, double frontaged arches open onto both Westfield Square and Berkeley St James’s stunning new 5-acre park. With dome-shaped windows and bricked walls and ceilings the arches create a uniquely quirky space within popular White City, ready to be moulded to your equally unique brand. With the added benefit of potential outdoor seating (subject to separate licences) and generous trading hours, the arches would make a perfect home for cafe, bar, restaurant and leisure concepts. The Neighbourhood White City has transformed completely - creating a vibrant mix of top quality residential, office, retail and public spaces. You will see a range of customers from shoppers and office workers to local residents and students all looking for something a little different. Due to the mixture of crowds the area stays busy throughout the week and into the weekend. Located adjacent to John Lewis and opposite Westfield Shopping Centre, the largest shopping centre in the UK, Wood Lane Arches are also next to Wood Lane Station, only a 3-minute walk from White City Tube Station and only 150m 2 from White City Bus station. 3 London Arches — Wood Lane 5,000 new homes, 2.2m sq ft of offices in the next 10 years A new 5-acre public park borders the arches to the north as part of St James’s White City Living development of 1,800 new luxury homes. -
London Arches Brochure
13 A1-A4 Units To Let From 765 sq ft to 1,800 sq ft London Arches — Wood Lane Discover new character retail, restaurant and bar space in West London The White City Area is undergoing a transformation and as a part of this Transport for London are regenerating 31 railway Soho House arches to create a destination for eating, socialising, shopping and working. Over the next 10 years five major development projects will deliver 2.3m sq ft of retail, 2.2m sq ft of offices and 5,000 new homes to the area. The Wood Lane Arches are nestled right in the middle of this area, next to the new 230,000 sq ft full-line John Lewis and seconds away from Wood Lane tube station. Significant public realm improvements will provide pedestrianised access between Westfield London and White City Living by St James part of the Berkeley Group, as well as a Bluebird Cafe Bluebird better link from Stanhope & Mitsui Television Centre, Imperial College’s 23 acre campus and White City Place to Westfield London and Shepherd’s Bush. The Neighbourhood The Wood Lane Arches are located 150m from Wood Lane and White City Stations. The Arches are surrounded by some of London’s most exciting new developments making it the perfect spot for retailers, cafes, restaurants and bars looking to break the mould. Next to the site is a new John Lewis department store, part of the 750,000 sq ft Westfield extension that boasts a host of new flagship stores including Urban Revivo, H&M and Adidas, as well as a new restaurant and leisure offer centred around Westfield Square that includes All Star Lanes, Puttshack and Maple. -
Darrol Blake Transcript
Interview with Darrol Blake by Dave Welsh on Tuesday the 21st of September 2010 Dave Welsh: Okay, this is an interview with Darrol Blake on Tuesday the 21st of September 2010, for the Britain at Work Project, West London, West Middlesex. Darrol, I wonder if you'd mind starting by saying how you got into this whole business. Darrol Blake: Well, I'd always wanted to be the man who made the shows, be it for theatre or film or whatever, and this I decided about the age of eleven or twelve I suppose, and at that time I happened to win a scholarship to grammar school, in West London, in Hanwell, and formed my own company within the school, I was in school plays and all that sort of thing, so my life revolved around putting on shows. Nobody in my family had ever been to university, so I assumed that when I got to sixteen I was going out to work. I didn't even assume I would go into the sixth form or anything. So when I did get to sixteen I wrote around to all the various places that I thought might employ me. Ealing Studios were going strong at that time, Harrow Coliseum had a rep. The theatre at home in Hayes closed on me. I applied for a job at Windsor Rep, and quite by the way applied to the BBC, and the only people who replied were the BBC, and they said we have vacancies for postroom boys, office messengers, and Radio Times clerks. -
Barrington Pheloung's Cv
BARRINGTON PHELOUNG’S CV 2004/05 FILMS SHOPGIRL Production Company: Hyde Park Entertainment Directed by: Anand Tucker Produced by: Jon Jashni, Ashok Amritraj & Steve Martin Written by: Steve Martin LITTLE FUGITIVE Production Company: Little Fugitive Directed by: Joanna Lipper Produced by: Joanna Lipper, Vince Maggio, Nicholas Paleologos & Fredrick Zollo Written by: Joanna Lipper A PREVIOUS ENGAGEMENT Production Company: Bucaneer Films Directed by: Joan Carr-Wiggin Produced by: Joan Carr-Wiggin , David Gordian & Damita Nikapota Written by: Joan Carr-Wiggin TELEVISION IMAGINE: SMOKING DIARIES Directed by: Margy Kinmonth Production Company: BBC THE WORLD OF NAT KING COLE Produced by: Kari Lia Production Company: Double Jab Productions 2002/03 FILMS TOUCHING WILD HORSES Production Company: Animal Tales Productions Inc. Directed by: Eleanore Lindo Produced by: Lewis B. Chesler, David M. Perlmutter, Frank Huebner, Rob Vaughan Written by: Murray McRae TELEVISION THE STRANGE TALE OF BARRY WHO Directed by: Margy Kinmonth Documentary on Barry Joule Produced by: Margy Kinmonth/Sam Organ Production Company: Darlowsmithson Productions For BBC4. MOVE TO LEARN Directed by: Sheila Liljeqvist Documentary for Video Produced by: Sheila Liljeqvist and Barbara Pheloung Australian documentary, children with learning difficulties. SHORTS ARDEEVAN Short Feature film made in the UK. Directed and Produced by: Jonathan Richardson NIGHT’S NOONTIME Short Feature film made in the Canada. Executive Producers: Richard Clifford & Amar Singh Produced by: Hanna Tower Directed -
Julia Smith Lighting CV.Pages
CV Lighting Designer Julia Smith 1991: BBC camera trainee - Studios, Film & OBs 1992: BBC camera woman 1996: BBC Lighting & vision operator (racks) 1999: BBC Lighting & vision supervisor (console operator) 2002: Freelance Lighting director & console operator Production History Lighting Designer Rob Beckett’s Playing for Rumpus Media Channel 4 Hospital Studios Time The Darkness of John Phil McIntyre TV Not broadcast as yet BBC Radio Theatre Robbins Tim Vine Travels in Time Baby Cow Productions BBC1 Pinewood Studios Citizen Khan BBC Comedy BBC 1 Dock 10 Yes Primeminister BBC Comedy UKTV TVC Lighting Director - original designs by other Lighting designers Harry Hill’s Alien Fun Capsule CPL Productions ITV 1 TLS Live From the BBC Phil McIntyre TV BBC2 BBC Radio Theatre Cats Do Countdown Zeppatron Productions Channel 4 Dock 10 Eggheads 12 Yard Productions BBC1 BBC2 BBC Scotland Perfection 12 Yard Productions BBC1 BBC Scotland Who Dares Wins 12 Yard Productions BBC1 BBC Scotland Russel Howard’s Good News Avalon BBC2 BBC3 Riverside Studios Sheperton, TLS Unspun with Matt Ford Avalon Dave TLS Question of Sport BBC Entertainment BBC1 Dock 10 Insert Name Here 12 Yard Productions BBC2 Pinewood Studios Football on Five Sunset & Vine Channel 5 Sky Studios Various BT Sport Timeline BT Sport Channel International Broadcasting programmes Centre Dog Ate my homework BBC Children’s Glasgow CBBC Pacific Quay !1 of !3 Production History Vision Supervisor or Console Operator Sitcom Upstart Crow BBC Comedy BBC 2 TLS Not Going Out Avalon BBC 1 TVC, Teddington -
Issue 7 Dispatches from Television Centre
Issue 7 Dispatches from Television Centre Media Meet the CEO who just brought a team of 2,000 to White City Food The 16-cover sushi restaurant that has food critics stunned Theatre White City Theatre brings the West End to West London transmission WELCOME WELCOME Live and kicking There’s a moment with major regeneration projects in London when years of planning culminate in a launch. After the dust settles and the food trucks roll out, a new everyday sets in. What’s remarkable one year since 5 Television Centre Television Centre’s public launch, is the 101 Wood Lane London W12 7FW new intellectual capital coming in and how 020 8811 8720 rapidly White City is evolving. Follow us on Twitter On page 16, we meet Publicis Media and Instagram: @thisistvc CEO Sue Frogley who just moved 2,000 #thisistvc staff to 2 Television Centre. We also meet Live at Television Centre televisioncentre.com writer Jonathan Bell to get his take on the Cover image: ongoing evolution of White City, in a new The Bella Freud Apartment photographed by book chronicling the transformation of The Modern House Television Centre. As ever, the story is still transmission is written unfolding – follow @thisistvc on Instagram and produced by dn&co. dnco.com Driver Michael Illustration: and Twitter for the latest. 2 3 ENDO AT THE ROTUNDA ENDO AT THE ROTUNDA The new 16-seat Japanese restaurant atop Television Centre, Endo at the Rotunda, received astonishing reviews and hosted the King of Jordan – all before officially opening its doors. Sushi in the clouds Every evening that Endo at the Rotunda is open, its eponymous chef Endo Kazutoshi gently places pieces of nigiri directly into the mouths of its 16 guests. -
What Is a Lighting Director?
What is a lighting director by Martin Kempton What is a lighting director? Simply put - a lighting director designs the lighting for multi-camera television productions. He or she instructs the crew of electricians in their work in addition to guiding the team of operators who usually sit with the LD in the lighting control room. All this while working closely with the director and the rest of the production team to deliver the best possible pictures. However, there's rather more to it than that, and on this page on the website I explain where LDs work, what kinds of shows LDs work on and give some of the background to what we do. It's important to point out right away that simple 'illumination' is actually a relatively unimportant part of our work. Current TV cameras are capable of operating in very low light levels so it would be quite possible to see what was going on in most studios simply by switching on the houselights. Fortunately, producers and directors realise that the result would look pretty awful. Another thing is also worth making clear – a lighting director is not an electrician. He or she might have been once, but an LD is not another name for a crew chief or gaffer. Most television LDs do not have electrical qualifications, although some may have. In any case, this is not a requirement of the job. The electrical supervisor (gaffer) is in charge of realising the LD’s design in the studio from the rigging and electrical point of view. -
Independent Television Producers in England
Negotiating Dependence: Independent Television Producers in England Karl Rawstrone A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts and Creative Industries, University of the West of England, Bristol November 2020 77,900 words. Abstract The thesis analyses the independent television production sector focusing on the role of the producer. At its centre are four in-depth case studies which investigate the practices and contexts of the independent television producer in four different production cultures. The sample consists of a small self-owned company, a medium- sized family-owned company, a broadcaster-owned company and an independent- corporate partnership. The thesis contextualises these case studies through a history of four critical conjunctures in which the concept of ‘independence’ was debated and shifted in meaning, allowing the term to be operationalised to different ends. It gives particular attention to the birth of Channel 4 in 1982 and the subsequent rapid growth of an independent ‘sector’. Throughout, the thesis explores the tensions between the political, economic and social aims of independent television production and how these impact on the role of the producer. The thesis employs an empirical methodology to investigate the independent television producer’s role. It uses qualitative data, principally original interviews with both employers and employees in the four companies, to provide a nuanced and detailed analysis of the complexities of the producer’s role. Rather than independence, the thesis uses network analysis to argue that a television producer’s role is characterised by sets of negotiated dependencies, through which professional agency is exercised and professional identity constructed and performed. -
CAST BIOS TOM RILEY (Leonardo Da Vinci) Tom Has Been Seen in A
CAST BIOS TOM RILEY (Leonardo da Vinci) Tom has been seen in a variety of TV roles, recently portraying Dr. Laurence Shepherd opposite James Nesbitt and Sarah Parish in ITV1’s critically acclaimed six-part medical drama series “Monroe.” Tom has completed filming the highly anticipated second season which premiered autumn 2012. In 2010, Tom played the role of Gavin Sorensen in the ITV thriller “Bouquet of Barbed Wire,” and was also cast in the role of Mr. Wickham in the ITV four-part series “Lost in Austen,” alongside Hugh Bonneville and Gemma Arterton. Other television appearances include his roles in Agatha Christie’s “Poirot: Appointment with Death” as Raymond Boynton, as Philip Horton in “Inspector Lewis: And the Moonbeams Kiss the Sea” and as Dr. James Walton in an episode of the BBC series “Casualty 1906,” a role that he later reprised in “Casualty 1907.” Among his film credits, Tom played the leading roles of Freddie Butler in the Irish film Happy Ever Afters, and the role of Joe Clarke in Stephen Surjik’s British Comedy, I Want Candy. Tom has also been seen as Romeo in St Trinian’s 2: The Legend of Fritton’s Gold alongside Colin Firth and Rupert Everett and as the lead role in Santiago Amigorena’s A Few Days in September. Tom’s significant theater experiences originate from numerous productions at the Royal Court Theatre, including “Paradise Regained,” “The Vertical Hour,” “Posh,” “Censorship,” “Victory,” “The Entertainer” and “The Woman Before.” Tom has also appeared on stage in the Donmar Warehouse theatre’s production of “A House Not Meant to Stand” and in the Riverside Studios’ 2010 production of “Hurts Given and Received” by Howard Barker, for which Tom received outstanding reviews and a nomination for best performance in the new Off West End Theatre Awards. -
Number 42 Michaelmas 2018
Number 42 Michaelmas 2018 Number 42 Michaelmas Term 2018 Published by the OXFORD DOCTOR WHO SOCIETY [email protected] Contents 4 The Time of Doctor Puppet: interview with Alisa Stern J A 9 At Last, the Universe is Calling G H 11 “I Can Hear the Sound of Empires Toppling’ : Deafness and Doctor Who S S 14 Summer of ‘65 A K 17 The Barbara Wright Stuff S I 19 Tonight, I should liveblog… G H 22 Love Letters to Doctor Who: the 2018 Target novelizations R C 27 Top or Flop? Kill the Moon J A, W S S S 32 Haiku for Kill the Moon W S 33 Limerick for Kill the Moon J A 34 Utopia 2018 reports J A 40 Past and present mixed up: The Time Warrior M K 46 Doctors Assemble: Marvel Comics and Doctor Who J A 50 The Fan Show: Peter Capaldi at LFCC 2018 I B 51 Empty Pockets, Empty Shelves M K 52 Blind drunk at Sainsbury’s: Big Finish’s Exile J A 54 Fiction: A Stone’s Throw, Part Four J S 60 This Mid Curiosity: Time And Relative Dimensions In Shitposting W S Front cover illustration by Matthew Kilburn, based on a shot from The Ghost Monument, with a background from Following Me Home by Chris Chabot, https://flic.kr/p/i6NnZr, (CC BY-NC 2.0) Edited by James Ashworth and Matthew Kilburn Editorial address [email protected] Thanks to Alisa Stern and Sophie Iles This issue was largely typeset in Minion Pro and Myriad Pro by Adobe; members of the Alegreya family, designed by Juan Pablo del Peral; members of the Saira family by Omnibus Type; with Arial Rounded MT Bold, Baskerville, Bauhaus 93, and Gotham Narrow Black. -
Delivering Quality First – Page 2
The newspaper for BBC pensioners – with highlights from Ariel A future plan Delivering Quality First – Page 2 Photo courtesy of Jeff Overs November 2011 • Issue 8 tales of Print edition of Musical televison ariel to close memories Centre Page 2 Page 6 Page 9 NEWS • MEMoriES • ClaSSifiEdS • Your lEttErS • obituariES • CroSPEro 02 uPdatE froM thE bbC commissioning and scheduling will be • More landmark output for Radio 4 (which closely aligned. sees its overall budget hardly changed). Delivering Quality First • Job grading, redundancy terms and • More money for the Proms. unpredictability allowances will be • The further rollout of HD and DAB. Mark Thompson sets out ‘a plan for living within our means’ as ‘modernised’ and reformed. A consultation he reveals job losses, output changes, relocations, structured process on those proposals begins Union response immediately. The National Union of Journalists issued a re-investment in a digital public space, and new content and • Production will be streamlined into a swift response to the announcement, calling programmes on BBC services. single UK production economy. for the licence fee negotiations to be re- • Radio and TV commissioning for Science opened and ‘a proper public debate about Fewer staff, a flatter structure, more jobs • All new daytime programming will be and Music will be brought together. BBC funding’. shifting to Salford and more output from on BBC One. In a statement the NUJ said: ‘The BBC will outside London, these are the conclusions of • BBC Two’s daytime output will focus on Reinvestment not be the same organisation if these cuts go the Delivering Quality First process.