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'Allied Craftsmen Today' at Mingei
Artist Arline Fisch in her Mission Hills studio. Photo: Crissy Pascual / Infinite Media Works
Exhibit shows art collaborative still vital after more than a half century
By James Chute
Artists in 'Allied Craftsmen Today'
Jennifer Anderson, Warren Bakley, Charlotte Bird, Richard Burkett, Ron Carlson, Levi Casias, Nan Coffin, David Cuzick, Arline Fisch, David Fobes, Erik Gronborg, Kathy Grudzas, Alexandra Hart, Joanne Hayakawa, Matthew Hebert, Paul Henry, Josh Herman, Jeff Irwin, Ashley Kim, Yoonchung Kim, Dot Kimura, Linda Litteral, Viviana Lombrozo, Lisa Maher, Kathy Miller, Cheryl Nickel, Joe Nyiri, Todd Partridge, Sasha Koozel Reibstein, Eric Rempe, Susan Ronan, Gail Schneider, Sondra Sherman, Helen Shirk, Julie Thompson, Lana Wilson, Minako Yamane-Lee
A detail of one of Arline Fisch's creations. Photo: Crissy Pascual / Infinite Media Works
It's a trick question: Where do you draw the line between craft and art?
But Arline Fisch, who has plied her trade in San Diego for more than a half-century, wasn't buying it.
"I don't draw that line," Fisch said.
"I've always looked at the decorative arts collections in museums more specifically than the painting collections, and I just feel I'm part of that continuum."
Like many of the artists in "San Diego's Craft Revolution — From Post-War Modern to California Design" at the Mingei International Museum in 2011, Fisch was a member of the San Diego artists' collective known as the Allied Craftsmen. As that illuminating exhibition demonstrated, their forward-looking, influential work made distinctions between art and craft largely irrelevant.
Fisch continues to be an active member of the group, whose work is brought up to date in "Allied Craftsmen Today" at the Mingei in Balboa Park through Jan. 15.
"We wanted to be able to reawaken that same kind of awe and wonder that I think a lot of people felt with 'San Diego's Craft Revolution,' " said Christine Knoke, the Mingei's director of exhibitions and chief curator.
"People were like, 'Wow, look at all these wonderful San Diego-based artists.' That kind of enthusiasm was very palpable."
"Allied Craftsmen Today" showcases 37 (including Fisch) of the Allied Craftsmen's 62 current members.
Among them are numerous artists who sustain themselves by teaching at local colleges, community colleges and high schools. They were all invited to submit proposals, and Knoke and Mingei director Rob Sidner visited many of their studios. The only criteria the museum set (outside of skill and imagination) was that the work had to be recent (within the last three years) and it had to be unexhibited.
"We thought this was a fitting way to honor and celebrate their art and their contributions," Knoke said. "But something else that's important to us is also recognizing the tradition.
"Maybe 60 years isn't that long for an organization to be around, but in another way, it is pretty impressive. The fact it's still going strong, still continuing to add members, is a big feather in San Diego's cap."
Finding her place
Fisch's involvement with Allied Craftsmen dates back to 1961, when she arrived in San Diego to teach art and jewelry design at San Diego State University. She had never seen the city (she interviewed for the job in New York), and she had exactly one acquaintance. Understandably, she felt a bit disoriented.
"Everyone did everything outside," she said. "I had lived in New York, where everything is done inside. And everybody walked slower. Nobody went for bicycle rides that didn't travel 100 miles. I rode my bike around the neighborhood. I thought the idea was to get to the store. So it was all very strange to me."
But on the recommendation of several colleagues, and after her work was seen by the organization's membership committee, she was admitted to the Allied Craftsmen and found it an effective way to meet people.
"It was a very congenial group in the '60s and '70s," Fisch said. "People worked together and we met monthly. It was a very enriching thing for me."
She also was active in the American Crafts Council (as a trustee), the Society of North American Goldsmiths (founding member) and the World Crafts Council (vice president for North America), which enlarged her perspective beyond San Diego, or even New York.
"I decided as long as I had enough money to fly, I could stay in San Diego," Fisch said, "because it's a very easy place to be and a very pleasant place to work. With my involvement in national and international organizations (and frequent guest-teaching assignments), I felt less isolated."
With her work represented in collections ranging from the Yale University Art Gallery to Japan's National Museum of Modern Art, and given her dedication to teaching, she became a revered presence at SDSU during her 39 years there. Her international reputation is largely based on works that use metal in a way that resembles fabric, and she literally wrote the book on that way of working: "Textile Techniques in Metal."
"I did not like working with clay," Fisch said. "But there was just something about working with metal that I liked because it doesn't change unless you do something to it. It doesn't do things on its own, and I liked that idea."
It's evident from "Allied Craftsmen Today" that the artists have a unique relationship with their materials. As sculptor William Bakley notes (in the explanation mounted by his ceramic pieces), "I do what I do. The clay does what it does. Ours is a peaceful relationship."
Like "San Diego's Craft Revolution," the "Allied Craftsmen Today" includes a range of materials and techniques, some of them tending toward the experimental, an element that's important in gaining membership to the group.
"It's always about whether the work is contemporary and pushing the envelope of the craft medium of their choice," said Levi Casias, the group's president. "And it's always about the craftsman or artist who is willing to push their content ideas in a new direction."
If that element has stayed constant, the nature of the organization, which was founded in 1947, is changing.
When Fisch joined, the Allied Artists had at least two yearly exhibitions, and one of those was at the San Diego Museum of Art.
That era has long passed. With more opportunities in the community opening up for local artists in the '80s, and the Allied Craftsmen offering fewer formal chances to exhibit, the nature of the now loose-knit organization has changed, even as the word "craft" is assuming a different meaning.
Fisch points out that museums are increasingly incorporating elements of their decorative arts collections into the their painting galleries.
"I mean, if you go back to antiquity, artists did all kinds of things and were not segregated because they worked in clay or they worked in marble," she said. "It's a fairly recent concept.
"I just refuse to buy into the idea that craft is something over there and we don't want to call it that. If someone asks me what I do, I'm an artist. That's my answer. Because that's what I do."
'Allied Craftsmen Today'
Where: Mingei International Museum, Balboa Park
When: Through Jan. 15
Online: mingei.org
James Chute
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El edificio Yue Hwa (en chino: 裕华大厦; pinyin: Yùhuá dàshà) está ubicado en el cruce de las calles Eu Tong Sen y Upper Cross en Chinatown, Singapur, junto a la estación de MRT de Chinatown. Fue construido por el estudio de arquitectura Swan & Maclaren en 1927 y fue en el momento de su inauguración el más alto de Chinatown. Era conocido como Nam Tin () y pertenecía a Lum Chang Holdings. Albergaba el Great Southern Hotel de seis pisos (el primer hotel chino con ascensor), junto con algunas tiendas y cabarets. En 1993, Lum Chang Holdings se lo vendió al empresario de Hong Kong Yu Kwok Chun, quien un año después lo convirtió en la primera tienda por departamentos de productos chinos Yue Hwa en Singapur. El proceso de renovación, que conservó el exterior al tiempo que agregó características como un atrio y una cascada al interior, le valió al edificio el Premio al Patrimonio Arquitectónico otorgado por la Autoridad de Reurbanización Urbana en 1997.

Historia

Great Southern Hotel
También conocido como Nam Tin Hotel, el Great Southern Hotel en el barrio chino de Singapur fue construido por Swan & Maclaren en 1927. Comenzó como un hotel boutique y cuando se completó era el edificio más alto de Chinatown. También fue el primer hotel chino en Singapur que contaba con un ascensor. Debido a su altura fue el escenario de muchos intentos de suicidios, hasta que se construyeron los pisos altos de la Singapore Improvement Trust en la calle Upper Pickering.

Propiedad de Lum Chang Holdings, el edificio que alberga el Great Southern Hotel se llamaba Nam Tin en cantonés, que significa "cielo del sur". Esta elección de nombre es curiosa porque el descubrimiento por parte de los chinos del cielo alrededor del hemisferio celeste sur era relativamente reciente, cuando Xu Guangqi interpretó los mapas estelares europeos. Por tanto, es posible que este edificio en Singapur, un puerto colonial, tenga un nombre en homenaje a este giro de los acontecimientos.

Además del hotel, Lum Chang Holdings también arrendó el edificio a varios inquilinos que operaban tiendas y otros negocios. La planta baja en forma de L se dividió en ocho locales comerciales. El edificio Nam Tin se convirtió en un importante centro comercial para los clientes que solían frecuentar las tiendas, los outlets y los cabarets. Otra atracción ocasional eran las óperas chinas. El Cabaret del Sur, con sede en el Diamond Dragon Dance Palace en el quinto piso, fue de particular extravagancia, como lo describe este artículo en The Straits Times:"Columnas de dragones tachonadas con vidrio tallado... construido bajo la supervisión de la señorita Leong Sai Chan, ex estrella de cine de Shanghái, el cabaret es una imitación del famoso palacio de Pekín de China. Tallados de pájaros y animales de la mitología china de hermosos colores decoran las paredes del cabaret ".Operado por cantoneses, el Great Southern Hotel atendió más a los viajeros chinos, incluidas celebridades de Hong Kong y China. Esto era diferente a los hoteles de lujo como Raffles Hotel, Goodwood Park Hotel y Adelphi Hotel, que en ese momento alojaban principalmente a visitantes europeos y de habla inglesa. Como hotel boutique con tiendas y lugares de entretenimiento para inmigrantes chinos ricos, el Great Southern Hotel fue considerado como el "Hotel Raffles de Chinatown". Cada habitación tenía su propio baño con ducha e inodoro, techo de 4 m de altura y ventanas abatibles de hierro fundido. Este último dejaba entrar mucha más luz que las ventanas de madera que se encuentran comúnmente en los comercios en el ahora Área de Conservación Kreta Ayer, que eran en gran parte de los estilos transitional y art déco.

Celebridades, artistas y comerciantes disfrutaron de buena comida, opio y licor en el Great Southern Hotel, que tenía placeres occidentales novedosos, como una bola de discoteca especialmente importada de Estados Unidos. El encanto de los productos y tradiciones occidentales se extendió incluso a las bodas celebradas en el hotel. Una prolífica escritora china, Wu Sijing, celebró su banquete de bodas de 17 mesas allí en 1952, y fue fotografiada con un vestido de novia blanco, junto con su esposo de traje blanco y pajarita. Esta elección de vestimenta habría sido más inusual entre los chinos continentales debido a la influencia nacionalista de la China de la era Mao destacando la confluencia de Singapur entre las culturas oriental y occidental, de las cuales el hotel estaba a la vanguardia. Tanto en decoración como en actividades.

El edificio y sus inquilinos eran una presencia tan importante en el área que la calle Eu Tong Sen se conocía coloquialmente como 南 天 前, o "Frente a Nam Tin".

La preeminencia del Great Southern Hotel como destino de entretenimiento no duró. En 1956, la Organización Cathay compró el adyacente Majestic Theatre y lo transformó en una atracción que atrajo a estrellas de cine de Hong Kong. Los cambios de gusto, una economía deprimida y el malestar sociopolítico también contribuyeron al declive de la ópera y los bailes chinos en el hotel. La popularidad de la ópera china disminuyó a lo largo de las décadas de 1950 y 1960, y en 1959, incluso los famosos teatros wayang a solo una cuadra de la calle, como Heng Seng Peng y Heng Wai Sun, estaban cerrados (el People's Park Complex se construyó sobre ese lugar). Los "bailarines de taxi", llamados así porque se paseaban por cabarets como taxis esperando, también estaban pasando de moda con la introducción del rock 'n' roll en los clubes de baile, un género de música que se estaba convirtiendo en cada vez más popular entre los jóvenes. En los años 1960, estos bailes eran la forma de entretenimiento más popular para los jóvenes de Singapur, y el cabaret del hotel pasó a un segundo plano.

La fachada de Nam Tin reflejó este declive. Durante las décadas de 1960 y 1980, la gran señalización roja de "Cabaret del Sur" que adornaba el lado del edificio que da a la calle Eu Tong Sen se eliminó, y la marca del edificio se volvió más anodina. La señalización roja del hotel en el arco de la esquina de la planta baja también se desvaneció; con la falta de mantenimiento, apenas eran visibles en 1988. Las tiendas de la planta baja también cambiaron con la clientela. Si bien las compras allí alguna vez se consideraban de moda, los puestos de venta de electrodomésticos comunes ahora ocupaban la mayor parte de la fachada de la planta baja. El balcón de la azotea y la logia cayeron visiblemente en desuso, con pancartas medio derrumbadas que anunciaban eventos que habían pasado hace un año.

Productos chinos Yue Hwa

En 1993, Lum Chang Holdings vendió el edificio a un precio de 25 millones de dólares de Singapur a Yu Kwok Chun, que era el jefe de una sede en Hong Kong corporación multinacional con su insignia almacenes, Yue Hwa chino Productos Emporium. Creada por el padre de Yu en 1959, esta es una corporación global de 35 compañías involucradas en inversiones, viajes y comercio en general. Los tres grandes almacenes de Yue Hwa en Hong Kong son populares entre los habitantes de Hong Kong y los turistas. Además de productos agrícolas de varias provincias de China, las tiendas también venden tallas de jade, artesanías, antigüedades y productos médicos como ginseng, astas etc.

En febrero de 1994, el Great Southern Hotel finalizó sus operaciones desde el edificio ya que el hotel se enfrentaba a una competencia cada vez mayor. En el momento de su cierre, solo operaba 40 habitaciones equipadas con una cama doble y un ventilador de techo, destinadas a viajeros de bajo presupuesto de Malasia e Indonesia. Los otros siete inquilinos existentes del edificio abandonaron sus negocios tras la venta y el pago de una compensación.

Como el edificio es objeto de un derecho de superficie a 999 publicado oficialmente por la Autoridad de Reurbanización Urbana (URA) para la conservación arquitectónica, se le pidió al nuevo propietario que preservara la fachada. Sin embargo, no hubo restricciones similares en sus interiores. Se llevaron a cabo obras de renovación en el edificio de 1994 a 1995. El edificio Nam Tin se convirtió así en los grandes almacenes Yue Hwa Chinese Products, y pasó a llamarse Edificio Yue Hwa. La tienda por departamentos se inauguró el 9 de octubre de 1996 y vende una variedad de productos tradicionales chinos, como hierbas, medicinas, porcelana, muebles, artesanías, prendas de vestir y textiles.

Arquitectura

Diseño original
Siendo uno de los edificios más altos de Singapur a principios del siglo XX, el Great Southern Hotel fue un hito importante de Chinatown. Fue diseñado por Swan y Maclaren en estilo moderno con énfasis en la funcionalidad. La fachada gris del Great Southern Hotel parecía consistir solo en lo esencial, con diseños ordinarios como fuertes líneas horizontales con arcos angulares y cornisas simples. Sus ventanas tenían marco de acero, con rejas de metal, que se consideraron de moda en los años 1930. La logia en el piso superior era de un color un poco más claro con balaustradas y soportes de hierro fundido, y hubo un uso extensivo de vidrio verde. El edificio fue uno de los primeros en Singapur en construirse como una estructura integral de losa y viga de hormigón armado con pared de ladrillo de relleno.

Con seis pisos, el Great Southern Hotel fue el primer hotel chino en tener un ascensor. El diseño original albergaba oficinas en el primer piso, el hotel en el segundo y tercer piso, un restaurante en el quinto piso y una casa de té en la azotea, así como un cabaret. El restaurante del cuarto piso se convirtió posteriormente en la oficina del propietario. Todo el quinto piso estaba ocupado por un conocido cabaret, el Southern Cabaret. En la planta baja se ubicaron tiendas y lugares de entretenimiento, incluido un kopitiam de Hainan.

Restauración
La firma de arquitectos contratada para el proyecto de restauración de 25 millones de dólares de Singapur fue OD Architects de Bukit Pasoh Road. De acuerdo con las pautas de conservación de URA para Nam Tin Building, los arquitectos preservaron la azotea ajardinada y los balcones que dan a la calle Eu Tong Sen.

El interior se renovó con un diseño abierto, por lo que se derribaron muros interiores no estructurales. Se creó un nuevo atrio mediante la construcción de un muro en el segundo piso, que podría usarse como sala de exposiciones. Se construyó una cascada de cuatro pisos en la parte trasera del edificio, que tiene una nueva extensión de tres pisos. Se utilizó un tragaluz de vidrieras como interfaz para unir las partes antiguas y nuevas del edificio. Se agregaron nuevas escaleras mecánicas y ascensores para dar servicio a los seis pisos del edificio. Como resultado, el espacio total de piso se incrementó de 3700 a 4600 m², con 4650 m² de espacio comercial creado para uso de la tienda.

Junto con la adquisición del edificio Nam Tin en 1993, Yue Hwa Chinese Products invirtió un total de 100 millones de dólares de Singapur para establecer su primera tienda de venta de productos chinos en Singapur. Por su trabajo de conservación y restauración, el edificio Yue Hwa ganó el premio al patrimonio arquitectónico de la URA en 1997.

Referencias

Bibliografía adicional

Enlaces externos

 Productos chinos Yue Hwa

Wikipedia:Artículos con texto en chino simplificado
Wikipedia:Artículos con coordenadas en Wikidata
Edificios y estructuras de Singapur
Wikipedia:Páginas con traducciones sin revisar
Arquitectura art déco
Edificios y estructuras terminadas en 1927
Singapur en 1927

redpajama_set_name: RedPajamaWikipedia


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Aussie MotoGP Round to feature RAAF F/A-18A Hornet display
The Australian Defence Force returns to the Phillip Island Grand Prix Circuit with a Royal Australian Air Force F/A-18A Hornet and Roulettes aerobatic flying displays that will thrill high adrenalin motoring enthusiasts.
For the first time at this year's Michelin Australian Motorcycle Grand Prix 2017, the impressive Royal Australian Air Force C-17A Globemaster III will dazzle fans with a low-level flypast along Gardner Straight, before the main race commences on Sunday 22 October.
Always a crowd-pleaser, an F/A-18A Hornet is primed to excite with an aerial display showcasing its capabilities. Some of the Air Force's fleet of high-tech aircraft can reach speeds of more than 1000km/h, and weekend attendees will see it fly on practice days and before the main race.
The passion, determination and skill of the RAAF pilots can be compared with the same qualities possessed by the MotoGP riders.
Australian Grand Prix Corporation CEO, Andrew Westacott, is delighted to partner once again with the RAAF and align in their passion for speed, performance and innovation.
MotoGP at Phillip Island
"It's a sensational, breathtaking experience for fans, and like them, I can't wait to see the highly skilled RAAF pilots showcase high-precision manoeuvres such as loops and barrel rolls, and low-level precision flying across the stunning Phillip Island coastal backdrop," said Westacott.
"We are very proud and grateful for the unique partnership that the Australian Grand Prix Corporation enjoys with the Royal Australian Air Force and we look forward to providing an unforgettable experience for our fans," continued Westacott.
A single F/A-18A jet from Number 2 Operational Conversion Unit at RAAF Base Williamtown will be conducting a practice flypast on Friday 20 October from 5.25pm, then a flying display at 1.20pm on Saturday 21 October and at 3.25pm on Sunday 22 October. These flypasts will include several low passes conducted at approximately 200 feet and at a maximum speed of 1000km/h.
Noise management and environment impact are vital considerations in the planning and conduct of military flying. The Royal Australian Air Force appreciates the support it receives from the Phillip Island community during this flying activity.
For tickets and more information on the Michelin® Australian Motorcycle Grand Prix 2017 please visit: www.motogp.com.au
For career opportunities within the RAAF, please visit: www.defencejobs.gov.au/airforce
The Michelin Australian Motorcycle Grand Prix 2017 – Phillip Island – 20-22 October 2017
For bookings and more information visit www.motogp.com.au or call 1800 100 030.
MotoGP 2017 Phillip Island GP


You are visiting the placeholder page for Ann Bullock. This page is here because someone used our placeholder utility to look for Ann Bullock. We created this page automatically in hopes Ann Bullock would find it. If you are not Ann Bullock, but are an alumni of Sumner High School St Louis, MO, register on this site for free now.


The Electoral Commission has finally gazetted Mr Kassiano Wadri as the Arua Municipality Member of Parliament, more than 10 days after he was elected.
Mr Wadri polled 6,528 votes, beating NRM's Nusura Tiperu who came second (4,763 votes) followed by Independent candidate Robert Ejiku in the August 15 ballot. Forum for Democratic Change party's Bruce Musema came fourth with 1,372 votes.
The EC communicated the development to Clerk to the Parliament in an August 23 letter, clearing the way for Mr Wadri's swearing-in if court in Gulu grants him bail today.
Mr Wadri was voted MP in absentia after security forces arrested him and more than 33 others following chaos in Arua on the last day of campaigns.


In the cut-throat manufacturing industry, complex supply chains must be carefully managed to ensure supply meets demand, and quality meets expectations. The goal? Respond faster to change, reduce excess inventory, and cut costs. The method? Cloud-based ERP. The result? Improved productivity, both in the office and on the shop floor.
According to a study conducted by Nucleus Research: "Today, manufacturing competitiveness depends much more on how quickly and flexibly manufacturers can meet the demands of customers rather than what or where they deliver their products. Although manufacturers have made great strides in modernising systems within their facilities, often their aging planning, supply chain and financial applications are a hindrance to visibility for decision-making and overall efficiency and productivity."
During the study, analysts Rebecca Wettemann and Seth Lippincott found there are four compelling reasons why manufacturing should move to the cloud. These are: financial, cloud applications deliver 1.7 times the return on investment of on-premise ones; security, while only 38% of on-premises data centres scored an "A" grade for security, cloud solutions scored much higher; flexibility, to upgrade, change, expand, relocate, or contract cloud applications with relatively limited cost and disruption; and accessibility, access data at any location, at any time, from almost any device.
"Digital disruption in manufacturing is here, it is happening, and those who aren't adopting a cloud strategy are being left behind," confirms Jane Thomson, Managing Director at EOH Infor Services (formerly Softworx), Infor's Master Partner in Africa (operating as a Gold Partner). "This disruption is driving the co-ordination of manufacturing in the cloud. Running in the cloud means that organisations are always operating on the latest, most secure version of its manufacturing enterprise resource planning (ERP) software."
The question now arises, how will South African manufacturers respond? "Will they become trailblazers, as early adopters of disruptive concepts embracing emerging technology? Or will they err on the side of caution, waiting for best practices to be tested and refined (and possibly lose out on the competitive advantage gained by being at the front of the pack)?" concludes Thomson.


MMP10 involved in several pathways and played different roles in them. We selected most pathways MMP10 participated on our site, such as Activation of Matrix Metalloproteinases, Collagen degradation, Degradation of the extracellular matrix, which may be useful for your reference. Also, other proteins which involved in the same pathway with MMP10 were listed below. Creative BioMart supplied nearly all the proteins listed, you can search them on our site.
MMP10 has several biochemical functions, for example, calcium ion binding, metalloendopeptidase activity, zinc ion binding. Some of the functions are cooperated with other proteins, some of the functions could acted by MMP10 itself. We selected most functions MMP10 had, and list some proteins which have the same functions with MMP10. You can find most of the proteins on our site.
Yeo, ASL; Azhar, NA; et al. Lack of Clinical Manifestations in Asymptomatic Dengue Infection Is Attributed to Broad Down-Regulation and Selective Up-Regulation of Host Defence Response Genes. PLOS ONE 9:-(2014).
Bernal-Lopez, MR; Garrido-Sanchez, L; et al. Antioxidized LDL Antibodies Are Associated With Different Metabolic Pathways in Patients With Atherosclerotic Plaque and Type 2 Diabetes. DIABETES CARE 36:1006-1011(2013).


Marc & Irina Klionsky got together with Bruce Katz, Beverly Tannenhaus and Sylvia Klionsky Reichman for a summertime family reunion luncheon at 11 Madison Park, a Manhattan restaurant.
Marc & Irina Klionsky got together with Daniel Klionsky and his family for the first time gettogether at Marc's apartment/art studio in SOHO district of Manhattan.
Gershon, brother of ZMK - Zalman Mordecai Klionsky (1840s?-1890s?); father of Mendel Klionsky (1872-1925) of Borisov, grocery and bakery owner; great grandfather of Marc Klionsky, the artist at NYC.


It is a happy and extraordinary world. I am a happy kid and I like playing baseball and basketball and hockey. In the summer time I would walk to Pleasure Beach to swim. I would watch the tide rolling in, the sand, seagulls and small rocks in the water. I would explore the bridge made of larger stones that was a mile long. As I got older I made some wrong choices about not going to school, not sleeping and trying beer and wine. I did not listen to my parents and I did not do what I was told to do.
After getting into trouble with the law, I felt that was enough for me. I wanted to work to earn money. I just want healthy or strong enough and I did not have enough education or work skills. I needed help and I tried AA. From there I went to the mental health hospital. Three months of going to mental health counseling I noticed my problems started to change. I am feeling better than ever. The counselor made an appointment at Bridge House for me. At Bridge House I could have other medical help such as dental and physical health. I also received help with my finances and I could also socialize and make friends. I learned I could finish my high school and even go to a technical school. Maybe I could even play on the softball team at Bridge House. Music is important to me and I like to learn the chords so I can then try to play the songs. I practice my music thirty minutes every day.
I used to have problems talking with other people. Sometimes I would focus on the subject of the conversation and could not think about what the conversation meant. I do have problems with being social. Even though I like being around other people there are times when I feel strange in a crowd. Most of the time I am by myself thinking and trying to relax. Mostly I just worry myself with every little thing.
Bridge House has helped me to have friends. I don't feel as nervous as I usually do. I feel relaxed here at Bridge House and I do not worry as much. The people here are friendly to me. I will always be grateful to have Bridge House!


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Coventry Society News
The Coventry Society: proud of our city but know it needs to be better. Campaign for a quality Coventry.
Creating a Different Vision for Coventry
15/05/2020 13/05/2020 Author by coventrysociety
Post the coronavirus crisis we will all wish for 'normality', a return to the reassurance of the way things have been. But though we might want a return to the known and familiar, the setbacks and the despair of the covid-19 crisis should make us hope that change is in the air. That something better is possible. We surely cannot be desperate to return to a society troubled by inequality, anxious about climate change, confused about migration and unclear as to where we go after leaving the EU – and with cities at the mercy of developers rather than providing the environments and facilities that residents want.
The conditions we are experiencing in 'lockdown' have helped us glimpse the future, and have made people recognise the opportunities for change. A 'new normal' is possible. This may embrace opportunities to improve air quality and reduce car dependency, and tackle the issues of decline in urban centres.
But the window is likely to be small before external circumstances close in. There will inevitably be pressures from Government and business on society and local authorities to 'get back to normal'. But this crisis – and the twin fears of returning to our bad old ways and of the poverty that may affect us all (in terms of welfare and prosperity) as we seek to recover from an unprecedented recession – should be the prompt for us to reassess our priorities. In our lifetimes we will never get a better chance to consider how we can make a future better than the past.
In the face of the crisis, Andrew Cuomo, Governor of New York, has said recently "What have we learnt, how do we improve, and how do we build back better?" The current situation with all its possibilities and terrifying uncertainties presents Coventry with the opportunity to re-think our vision for the city – what kind of place do we, the residents, want it to be?
We cannot predict what change will come (though we may have ideas). No particular urban future is inevitable. But the Covid 19 crisis is expanding our economic imagination – the possibilities open to society. So Coventry's future story – its reality – is up for grabs. We can seek to influence changes that will make Coventry better – and have a more sustainable future – rather than have whatever is forced on us by external circumstances.
The Coventry Society campaigns for a city of better quality; of appropriate amenities; of diversity and distinctiveness in retail and culture and where heritage is protected and valued. Let us now have a city-wide discussion about what we want to achieve in these areas post-lockdown, about how we can "build back better."
Some Ideas
Covid 19 and our reaction to it through drastically curtailed economic and social activities in the lockdown will lead onto significant changes to our behaviour, affecting, fundamentally, our economy and society. As a stimulus to thinking, here are three things that we could change:
Traffic and air quality
Coventry's Local Air Quality Plan (LAQP), in consultation to secure a grant of £24,5M, is a vital current adjunct to Coventry's acknowledged leadership among local authorities in climate change action. But the pace of change is moving so quickly in this area (vis Grant Shapps announcements of resources for urban active travel measures) that while the LAQP's provisions for more cycling, greening some of the bus fleet, and highway improvements at NO2 blackspots are laudable and necessary, a debate is to be had as to how much further we should go in the city.
Photo – Coventry Telegraph
We could go beyond easing traffic congestion to restrictions on car use to further improve air quality, create safer streets, and make a greater contribution to the City's Climate Change Action Plan. Here, the proposed 'Engagement Programme' of the LAQP – aimed at exploring with businesses, schools and communities the opportunities for promoting active travel (i.e. reducing local car journeys through encouraging walking, cycling and public transport use) provides the city with the opportunity of engaging in the debate and identifying our desired outcomes.
We might also wish to consider promoting an ambitious greening / tree planting
programme as an adjunct to the LAQP in order to further enhance the city's air quality.
Changes in the city centre in recent years have focussed on improving the physical environment while seeking to improve the centre's retail offer. While succeeded on the former the persistent decline in city centre footfall has seen a loss of retail floorspace (recently, dramatically with IKEAs closure) with more to be expected given the effects of prolonged shop closures and increased on-line purchases during lockdown.
What is the future of City Centre South?
Effects too will be felt in the city centre's pubs, bars and restaurants. Prospects for the City Centre South redevelopment look the poorer. Similarly, home working in the lockdown has caused concern for the future of traditional office floorspace – in Coventry this must threaten the marginal economics of the Friargate development by the station.
To add to worries, there must be fears that Coventry University's expansion in the city centre and the attendant student housing developments will be slowed in the face of reduced income, not least from the loss of fees from overseas students. In such difficult and unfavourable circumstances the current coronavirus crisis presents a challenge of reshaping city centres.
Will the virus impact on the demand for new student accommodation?
There is a debate to be had about the Coventry city centre we want/are able to have in the future. Arguably, this may be a city centre of greater diversity, meeting the needs of residents through more shops of modest rental targeted at small, diverse, independent retailers, with a food and drink offer to attract residents and visitors, with significant new social housing. The Councils latest Strategic Housing Market Assessment shows a need for an additional 12,000 affordable houses by 2031. Any new health and leisure facilities could be located in the accessible city centre in a reversal of recent trends.
Culture, leisure and recreation
The lockdown has suspended so many of the culture and leisure activities that we formerly took for granted: theatre, cinema, libraries, museums, music venues, watching and taking part in sport. Given the devastating effects on revenues and on cultural and arts organisations and independent artists and professionals, will public and charitable resources be sufficient to support their meaningful re-opening? When and how will audiences in Coventry appreciate the thrill and inspiration of seeing and hearing performances and events and experiencing works of art up close?
Conversely, we have come to appreciate the vital importance of our City's parks and greenspaces for the mental and physical well-being of individuals and families. The Covid 19 crisis has sharply focussed all of our minds on the health and wellbeing agenda and the free time that people have found themselves with under lockdown has led to a surge in walking, cycling, running and we should take positive steps to maintain the momentum that has developed. Yet Coventry has more to lose than most, given our anticipation of the investments for City of Culture 2021. Will the resources of Culture Coventry survive the inevitable re-prioritisation of Government arts and culture funding?
Will the Council have resources other than for the most basic maintenance of our parks?
Given the recent and current investments in our cultural heritage at the Old Grammar School, St. Mary's Guildhall, Drapers Hall, the Burges and Charterhouse can these be used to help the city recover through the attraction of more and varied leisure and conference visitors and hosting events? And will a national appreciation of the importance of urban parks lead to the additional resources that will secure the effective implementation of the City's recent Greenspace Strategy? These are serious issues on which the city needs to encourage engagement to 'build back better'.
The Coventry Society has a passion for Coventry and a commitment to a positive change. This passion is shared by each and every member of our Society. In this spirit we ask:
Do you agree that we need a different vision for the city moving forward into the post-Covid era?
What changes would you like to see, both in terms of our strategic approach and in
terms of specific ideas and proposals that might make a real difference?
How do we secure as wide a range of partners and as wide an engagement as possible to develop a new vision for the city?
How do we build a consensus for a different approach?
How would we secure political support for a new approach?
This discussion document has been published by the Coventry Society Committee. We would love to know what you think!
Published by coventrysociety
View all posts by coventrysociety
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