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Learning Languages Through Walking Tours with Native Speakers
LEARNING LANGUAGES THROUGH WALKING TOURS WITH NATIVE SPEAKERS www.neweuropetours.eu SANDEMANs NEW Europe is the world’s largest city walking tour provider. With hundreds of thousands of five-star reviews, millions of satisfied guests annually and outstanding service, for a lot of travelers, SANDEMANs tours are an important part of their trip. While many customers choose SANDEMANs to get to know a city with the help of an informed, entertaining and unforgettable expert guide, there is a growing segment of guests who use SANDEMANs to learn a language. With over 600 independent guide partners, native speakers of English and Spanish as well as native speakers of the respective national language are available in all 20 cities in which SANDEMANs is active. With trained English, Spanish and German teachers and a fascinating selection of stories, SANDEMAN tours are an entertaining and interesting way to learn a language. Why SANDEMANs NEW Europe?The SANDEMANs SANDEMANsStory NEW Europe at a glance Qualified language teachers In our multilingual office team Freelance guides from 25 countries Over 600 Freelance guide partners At SANDEMANs NEW Europe, we work with tour guides who specialise in making history, society and culture come alive. These young (and young at heart) guides are experts not only in the cities they call home, but in keeping guests of all ages, nationalities and backgrounds engaged - this is particularly true for school groups. 235,000 Five-star reviews These guides are native English/Spanish and German-speakers from all over the world, giving students the opportunity to hear a range of real-life accents and vocabulary, and to interact with people from different cultures. -
Portof Liverpool
PORT OF LIVERPOOL BUILDING CONTEMPORARY OFFICE SPACE IN LIVERPOOL’S ICONIC WATERFRONT OFFICE BUILDING ENTER > PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION | FLOOR PLANS / SPEC | AMENITIES | GALLERY | LOCATION | CONTACT BUILDING CLASSIC EXTERIOR / MODERN INTERIOR The Port of Liverpool Building is one of A fine example of classic architecture the historic Three Graces occupying a and exceptional craftsmanship, there is prime position along Liverpool’s stunning more to this building than meets the eye. waterfront. It has been extensively remodelled and Designed in an Edwardian Baroque future-proofed to meet the demands style it was constructed between 1904 of today’s office occupiers, providing and 1907. Today it forms part of the exceptional office accommodation in an UNESCO World Heritage Maritime unrivalled environment with exceptional Mercantile City. views of the City and the Mersey Riverscape. PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION | FLOOR PLANS / SPEC | AMENITIES | GALLERY | LOCATION | CONTACT BUILDING The first floor has recently been sympathetic to the original architectural comprehensively refurbished to provide features of the building, some of which contempory, efficient, open plan office have been retained and the space accommodation to meet with modern provides a large open plan office area, occupiers standards. The comprehensive meeting room and a feature board room refurbishment works have been with views across the Strand. 7,038 sq ft (653.9 sq m) PORT OF LIVERPOOL HOME | DESCRIPTION | ACCOMMODATION -
The Value of Distance: Art’S Cultural Identity Amidst Technology’S Transformations of Space
THE VALUE OF DISTANCE: ART’S CULTURAL IDENTITY AMIDST TECHNOLOGY’S TRANSFORMATIONS OF SPACE By David Hadlow Ogle Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Liverpool School of the Arts May 2018 II ABSTRACT THE VALUE OF DISTANCE: ART’S CULTURAL IDENTITY AMIDST TECHNOLOGY’S TRANSFORMATIONS OF SPACE By David Hadlow Ogle This study explores technology’s propensity to transform our comprehensions of space, considering the implications of this for our understandings of the work of art and the value that we ascribe to it. With our encounters increasingly a by-product of technological interface, the central question of this work is posed as follows: In what ways (and to what degree) may we regard the contemporary conditions facing the art object (and the values that these elicit) as a consequence of our prevailing technological landscape and its capacity to re-configure our conceptions of space and place? In confronting this, the study begins by surveying recent public justifications made for the arts and the criteria by which their value is ascertained. A trend is recognised, in the growing prevalence of instrumental qualifiers for art’s worth (its quantifiable impacts as a social utility) and a shift away from intrinsic measures. In response to this, I propose the concept of Accumulative Value, arguing that the totality of an art object’s intellectual considerations and explorations (over historical time) are an intrinsic attribute of the object itself and a qualifier of its objective worth. The notion of value itself (with its varying interpretations) is then explored, followed by a contemporary re-evaluation of Walter Benjamin’s concept of the aura, arguing that in our present circumstances this notion may be used in description of an object’s fixed spatial locality. -
Head's Weekly Newsletter
Head’s Weekly Newsletter Issue 27, 5 April 2019 Mrs Ania Hildrey, Headteacher, [email protected] Dear Students, Families, Colleagues and Friends, Welcome to the last issue of this term’s Head’s Weekly Newsletter. As we end this term, we begin Easter Holidays. Easter, whilst not celebrated as ostentatiously as Christmas, is in fact, the most important festival in Christianity. According to the Bible, Jesus' death was a sacrifice for the sins of others, but his resurrection represents something even more powerful: the potential for rebirth, salvation, and renewal of faith. It is that sense of new beginning that drives the symbolic representation of Easter as celebrated in schools and popular, often non-religious culture: Easter eggs, baby chicks and bunnies symbolise new life, new way forward, new hope for the brighter future. As the world around us continues to present us with challenges, it is good to hold onto such symbols – religious or simply linked to nature and the cycle of life – to normalise change as an integral part of life. Our school has demonstrated just that this week: a bit of reflection, a touch of sadness at the changes associated with the time passing and people leaving our school, made better by and a healthy dose of appreciation for the journey we are on, and the optimism for the future. I thank you all for your hard work this week and this whole term – it has been a short but intensive one! The next one will come in no time at all and it will prove to be brilliant, no doubt. -
Liverpool City Region Visitor Economy Strategy to 2020
LiverpooL City region visitor eConomy strategy to 2020 oCtober 2009 Figures updated February 2011 The independent economic model used for estimating the impact of the visitor economy changed in 2009 due to better information derived about Northwest day visitor spend and numbers. All figures used in this version of the report have been recalibrated to the new 2009 baseline. Other statistics have been updated where available. Minor adjustments to forecasts based on latest economic trends have also been included. All other information is unchanged. VisiON: A suMMAry it is 2020 and the visitor economy is now central World Heritage site, and for its festival spirit. to the regeneration of the Liverpool City region. it is particularly famous for its great sporting the visitor economy supports 55,000 jobs and music events and has a reputation for (up from 41,000 in 2009) and an annual visitor being a stylish and vibrant 24 hour city; popular spend of £4.2 billion (up from £2.8 billion). with couples and singles of all ages. good food, shopping and public transport underpin Liverpool is now well established as one of that offer and the City region is famous for its europe’s top twenty favourite cities to visit (39th friendliness, visitor welcome, its care for the in 2008). What’s more, following the success of environment and its distinctive visitor quarters, its year as european Capital of Culture, the city built around cultural hubs. visitors travel out continued to invest in its culture and heritage to attractions and destinations in other parts of and destination marketing; its decision to use the City region and this has extended the length the visitor economy as a vehicle to address of the short break and therefore increased the wider economic and social issues has paid value and reach of tourism in the City region. -
Welcome Guide to the Walker Art Gallery
Welcome guide 1 Welcome to the Walker Art Gallery Welcome to the Walker Art Gallery This guide will help you find your way around the gallery, if you have any questions please ask a member of staff to help you. • The Gallery ground floor entrance is up the flight of steps shown in the Entrance building pictured above. • You can use a ramp to enter the building which can be found to the right of the steps. • The main entrance takes you straight to the gallery information desk via two sets of automatic glass doors. Ramp entrance Ramp view from the main entrance 2 Getting into the Walker Art Gallery There are two pairs of large doors. Outside doors Automated doors 3 2 1 3 4 15 5 14 13 8 SPECIAL EXHIBITION Stairs 6 GALLERIES 12 Stairs Lift 7 9Staff 10 Staff wear blue shirts and name badges. ENTRANCE Fire alarms 11 TO SPECIAL EXHIBITIONS If the fire alarm sounds please follow staff instructions and ask for assistance if required. Fire alarm tests are planned, if unexpected loud noises are a concern to you please call in advance to check when the next test will take place. Floor plan Member of staff You can see the gallery is made up of lots of small rooms. You can walk a round the rooms in any order. Ground Floor A Big Art for Little Artists B Sculpture Gallery C Craft & Design Gallery Stairs A CAFE Lift SHOP Stairs C B ENTRANCE 4 GROUND FLOOR As you enter you will be faced with the Information Desk. -
Be Your Own Tour Guide
ST JOHN’S GARDENS WORLD MUSEUM CENTRAL LIBRARY WALKER ART GALLERY ST JOHN’S LANE ST GEORGE’S HALL DR COFFEE DUNCANS QUEEN TSO’S GENTING CASINO BUFFALO JACKS PACOBANA ASK CO ST JOHN’S LANE ITALIAN WHITECHAPEL LA TASCA FIVE GUYS MARRIOTT PHASE EIGHT COSTA NANDO’S BURGER KING STANLEY ST ROE ST QUARTER QUEEN SQUARE BUS STATION MOORFIELDS YATES ROYAL P SHOP CO COURT CASTELLSBELLINI AND STATION 13 SIR THOMAS ST QUEEN THEATRE 12 LIVER BEST OF SQUARE ST GEORGE’S PLACE PHASE EIGHT LIME STREET P TRAVEL OOL M&S POUNDL LIME ST COLLECTION CENTRE 10 DAW POINT NEW STATION 15 SO MADE.COM N PAPERCHASE ST LOOK FOOT PATROL HOME (T ICELAND OLIVIA AX DIVINE T M LEWIN IS METQUARTER CAFFE O N BARGAINS MOCOCO 7 NERO L GALLERY Y STANLEY STWALL TO WALL ) REVOLUTION THE COSTA WILKINSON DANIEL LIVERPOOL KOKO ELEANOR FOSSIL FOOTWEAR FOOTBALL PHONE LAB STORM VICTORIA ST 051 JOHNSSHOO TEMPLE COURT ILLAMASQUA BARBERS THE CASA SHAKESPEARE CLUB ST SHOO RIGBY HOTELITALIA PATISSERIE KURT GEIGER LK BENNETTVALERIE SPIELMANNMAX SHU WORLD COFFEE HOUSE CARLUCCIOS MATALAN SAINSBURY’S JO MALONE ROY CASTLE FROCKS THE CROWN LINKS OF SHIRAZ SHOP MOBILITY BU LONDON SUBWAY 129 HOLIDAY INN MQ FLORIST 12 PRONUPTIA VIEW 2 GALLERY 2 VIEW ADAPT BEVERLY HILLS NAIL CO MAC -130 BRIGHT THE SLUG WILLIAMSON ST HOUSE RICHMOND ST INFO CENTRE JOHNS ERIC’S A|X ARMANI AND LETTUCE REISS H & T EXCHANGE SQUARE PLAYPLAYHOUSE HOUSE FILLING THE BEATLES PAWNBROKERS STORM ARGOS STATION GRAPES SHOP BAY GRILLSTOCK TURTLE THEATRE EGO NORTH JOHN ST S TIMPSON ULTIMA MODA MILTONS COOL VIVIENNE WESTWOOD MATHEW ST -
NML Brand Guidelines
National Museums Liverpool Brand Guidelines Contents Visual identity elements 3 Lady Lever Art Gallery 26 National Conservation Centre 44 Walker Art Gallery 62 Colour palette 4 Logo overview 27 Logo overview 45 Logo overview 63 Typeface: Soho Gothic 5 Logo colours 28 Logo colours 46 Logo colours 64 Typeface: Soho 6 National Museums Liverpool National Museums Liverpool National Museums Liverpool Type usage 7 endorsement logo 29 endorsement logo 47 endorsement logo 65 Logo relationship and positioning 30 Logo relationship and positioning 48 Logo relationship and positioning 66 National Museums Liverpool 8 Integrated lock-up 31 Integrated lock-up 49 Integrated lock-up 67 Logo overview 9 Full colour logos 10 Merseyside Maritime Museum 32 Sudley House 50 World Museum Liverpool 68 Greyscale logo 11 Logo overview 33 Logo overview 51 Logo overview 69 Single colour logo 12 Logo colours 34 Logo colours 52 Logo colours 70 Black logo 13 National Museums Liverpool National Museums Liverpool National Museums Liverpool White logo 14 endorsement logo 35 endorsement logo 53 endorsement logo 71 Favicon 15 Logo relationship and positioning 36 Logo relationship and positioning 54 Logo relationship and positioning 72 Business card 16 Integrated lock-up 37 Integrated lock-up 55 Integrated lock-up 73 Letterhead 17 Applications 18 Museum of Liverpool 38 UK Border Agency Logo overview 39 National Museum 56 International Slavery Museum 20 Logo colours 40 Logo overview 57 Logo overview 21 National Museums Liverpool Logo colours 58 Logo colours 22 endorsement logo -
COMMUNITY FOUNDATIONS for LANCASHIRE and MERSEYSIDE FINANCIAL STATEMENTS YEAR ENDED 31 MARCH 2016 Company Number : 3422207 Char
COMMUNITY FOUNDATIONS FOR LANCASHIRE AND MERSEYSIDE FINANCIAL STATEMENTS YEAR ENDED 31 MARCH 2016 Company Number : 3422207 Charity Number : 1068887 CONTENTS Page COMPANY INFORMATION 1 TRUSTEES’ REPORT 2-19 FINANCIAL REVIEW 20 STATEMENT OF TRUSTEES' RESPONSIBILITIES 21-22 INDEPENDENT AUDITORS’ REPORT 23- 24 STATEMENT OF FINANCIAL ACTIVITIES 25 SUMMARY INCOME AND EXPENDITURE ACCOUNT 26 BALANCE SHEET 27 STATEMENT OF CASHFLOWS 28 NOTES TO THE FINANCIAL STATEMENTS 29- 46 COMMUNITY FOUNDATIONS FOR LANCASHIRE AND MERSEYSIDE YEAR ENDED 31 MARCH 2016 COMPANY INFORMATION Registered office: Community Foundations for Lancashire and Merseyside Third Floor Stanley Building 43 Hanover Street Liverpool L1 3DN Bankers: Santander Bridle Road Bootle L30 4GB Solicitors: Brabners LLP Horton House Exchange Flags Liverpool L2 3YL Investment Managers: Rathbones Investment Management Ltd Port of Liverpool Building Pier Head Liverpool L3 1NW Investec Wealth & Investment Ltd The Plaza Old Hall Street Liverpool L3 9AB CCLA Investment Management Ltd 80 Cheapside London EC2V 6DZ Auditors: Beever and Struthers Chartered Accountants Central Buildings Richmond Terrace Blackburn BB1 7AP Financial Advisers: Parker Kelly Financial Services Vincent House 17 Stanley Street Liverpool L1 6AA 1 COMMUNITY FOUNDATIONS FOR LANCASHIRE AND MERSEYSIDE YEAR ENDED 31 MARCH 2016 TRUSTEES REPORT The trustees (who are also directors for the purposes of company law) present their Report and the Financial Statements for the year ended 31 March 2016 for the Community Foundations for Lancashire and Merseyside (formerly known pre April 2014 as Community Foundation for Merseyside and Community Foundation for Lancashire) hereafter referred to as CFLM. REFERENCE AND ADMINISTRATIVE DETAILS The charity, CFLM, is constituted as a company limited by guarantee and not having any share capital. -
Cavern Quarter Williamson Square
Cavern Quarter &Williamson Square STRATEGIC REGENERATION FRAMEWORK JANUARY 2020 Contents 1 INTRODUCTION 5 4 DEVELOPMENT FRAMEWORK PLAN 73 1.1 Introduction 6 4.1 Understanding the Dynamic Context 74 1.2 Study Area and Urban Context 9 4.2 Stage 1 - Quick Wins 76 1.3 Existing Planning Policy Context 10 4.3 Stage 2 - Bigger Picture Thinking 78 1.4 The SRF in Context 13 4.4 Stage 3 - The Final Moves 80 2 UNDERSTANDING THE AREA 15 5 AREA SPECIFIC DESIGN GUIDANCE 83 2.1 Built Heritage 16 5.1 Enhancing the Cavern Quarter 84 2.2 Cultural Heritage 18 5.2 Whitechapel - The Pool of Life 90 2.3 Surrounding Developments 20 5.3 Williamson Square 94 2.4 Access and Movement 21 5.4 Development Opportunity 102 2.5 Arriving in to Williamson Square 22 2.6 Arriving in to Cavern Quarter 23 6 IMPLEMENTATION AND FUNDING 105 2.7 Designated Heritage Assets 24 6.1 Implementation 106 2.8 Myths and Memories 25 6.2 Funding 107 2.9 Character 26 2.10 Existing Building Heights 29 2.11 Ground Floor Land Use 30 2.12 Upper Floors Occupancy 31 2.13 Building Condition 32 2.14 Daytime Activity 34 2.15 Nightime Activity 36 2.16 Key Challenges 38 3 STRATEGIC VISION AND POLICIES 43 3.1 Vision 44 3.2 Objectives 46 3.3 Delivering the Vision - Area Strategic Policies 48 3.4 Diversifying the Daytime and Nightime Economy 50 3.5 Music Strategy 52 3.6 A Rich Programme of Performances and Events 54 3.7 Heritage and Design 56 3.8 A Place-Specific Arts Strategy 60 3.9 Greening Strategy 62 3.10 Regenerating With Light 64 3.11 Maintenance 67 3.12 Accessible Destinations 68 3.13 Perfecting the Tourist Offer 70 3.14 Digital Interaction 71 Introduction 1.1 Introduction This Draft SRF has been prepared in collaboration culture, uses and character; between Liverpool City Council (LCC) and key • References existing local planning stakeholders. -
My-Planet-Liverpool-Online-Issue-April
CELEBRATING 10 YEARS MY PLANET LIVERPOOLISSUE 33 AND BEYOND FREE READ ONLINE www.myplanetliverpool.co.uk NEW CEO AT PROFESSIONAL LIVERPOOL WELCOME TO ANDREW RUFFLER INNOVATING LIVERPOOL LIVERPOOL’S THRIVING DIGITAL, CREATIVE AND TECHNOLOGY SCENE JOHN MCMAHON IAN SEDDON TALKS WITH ONE OF OUR CITY’S POPULAR FOOTBALL COACHES FIRST RESPONDERS LOOKING AFTER PEOPLE IN THE COMMUNITY PLUS: BUSINESS • HOME DESIGN & PROPERTY BEAUTY & FASHION • HEALTH & WELLBEING PEOPLE & CHARITY • LOCAL HISTORY INDIVIDUALLY INSPIRED KITCHENS BY CAPRICORN KITCHENS Capricorn Kitchens is based in Liverpool and was established in 1974. Being a family run business has contributed to the company’s success as they have stayed client focused, remained at the forefront of design, and can control the planning and installation process for each of their clients to ensure complete quality control. “It is important to us that being a business based in Liverpool we employ local people to enhance local economy where and whenever possible.” Over the past three decades the company’s reputation has flourished and, as a result, Capricorn’s client base has progressed from a local level to national and even international, supplying kitchens across UK, Ireland, Dubai and the United States. The company’s experience is paramount to the solution the company provides. A kitchen is much more than a place to cook, work or clean. It is the centre piece of the home. “Your kitchen is installed by one of our fully trained and skilled fitting teams, and as our after sales service is just as important, Capricorn’s customer care team are committed to make certain that each client is 100% satisfied with the end result.” “We employ people from the local Community, which not only creates and keeps wealth within the community but also the workforce has more commitment to making the business work.” Capricorn Kitchens, www.nonamekitchens.com 5 Birchall Street, Liverpool L20 8PD Tel: 0151 933 9633 0151 933 9633 EMAIL: reception@capricornhouse Manufacturing kitchens in Liverpool for over forty years. -
The Merseyside Digital Roadmap Driving a Digital Future - the Merseyside Digital Roadmap Page 3 Contents 1
2016 - 2021 Panoramic 34 is set 300 feet above sea level on the 34th floor of the West Tower in Liverpool City Centre and is one of the UK’s highest restaurants. This celebrated fine dining restaurant is encapsulated by ceiling to floor windows offering breathtaking 360° views of the iconic River Mersey, city and region beyond. Liverpool’s Big Wheel is positioned on the piazza directly outside the ECHO Arena on Liverpool’s historic waterfront. It includes 42 fully enclosed and air-conditioned capsules and offers riders spectacular views of the city including the River Mersey, the Welsh mountains and World Heritage Site waterfront. Liverpool ECHO Arena opened in 2008 as part of the European Capital of Culture and is now one of Liverpool’s premier entertainment venues hosting live music events and international sporting events. Albert Dock is a complex of dock buildings and warehouses in Liverpool. Designed by Jesse Hartley and Philip Hardwick, it was opened in 1846, and was the first structure The River Mersey is the lifeblood in Britain to be built from cast iron, of Liverpool, shaping not just the brick and stone, with no structural waterfront contours but the very soul wood. As a result, it was the first of the city. It stretches for 70 miles non-combustible warehouse system from Stockport to Liverpool Bay and in the world. It is now home to for centuries marked the boundary museums, galleries and a huge between the historic counties of range of venues to eat and drink. Lancashire and Cheshire. It gave its name to Merseybeat, the sound of Liverpool bands in the 1960s, and hit single Ferry Cross the Mersey by Gerry and the Pacemakers.