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Malgate news, population, development finance briefing，Ocean research, seaside town research, history and public facilities

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Research, integration of marine spam

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Sandy beach social–ecological systems at risk: regime shifts, collapses, and governance challenges

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Approximately half of the world’s ice-free ocean coastline is composed of sandy beaches, which support a higher level of recreational use than any other ecosystem. However, the contribution of sandy ...

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Thinking and Research on Sustainable Development

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Some firms are looking to salvaged material, such as reclaimed bricks, to make new buildings. (Credit: Rotor)

Extracting materials is wreaking havoc on the planet. Could the world's growing mounds of waste hold the key to sustainable construction?

We now smash, grab and pull some 100 billion tonnes of raw material out of the fabric of the planet in just a single year. That's equivalent to destroying two-thirds of the mass of Mount Everest every 12 months.

Roughly half of the raw materials we extract go into the world's built environment. Construction creates an estimated third of the world's overall waste, and at least 40% of the world's carbon dioxide emissions. Compare that to the 2-3% caused by aviation, which people fret far more about.

The "waste" from the consumption of these raw materials is dumped in such vast quantities that its environmental imprint has helped to create a new epoch, dubbed the Anthropocene. Future archaeologists will dig through strata of manufactured detritus to discern how we lived.

But this stuff that we make and discard today also contains a treasure trove of materials we could be using to our benefit. It's been calculated that one tonne of mobile phones contains 300 times more gold than a tonne of the best quality gold ore, as well as significant quantities of silver, platinum, palladium and rare earths - all things we scar the earth to get more of by ongoing mining. The vast quantities of copper inside billions of cables worldwide is a far more concentrated source of reusable metal than the less than 1% in top-grade ore.

This all gives rise to an obvious question - why don't we re-use what we've already extracted, rather than gouging the planet for ever more raw materials? This thought has spurred a growing band of architects and building firms to look at how to re-use the huge range of materials already hiding within our built environment, from concrete and wood to the metallic bounty within electronic waste.

'Waste' plastic cups are being turned into bus shelter roofs in Italy (Credit: Folke Kobberling/Martin Kaltwasser)

In 2005, Rotterdam-based architecture firm Superuse laid down a marker for a new vision of construction by completing Villa Welpeloo, the world's first contemporary house to be made with a majority of waste construction materials. Steel from old textile machinery and timber from damaged industrial cable reels are among the total 60% of second hand materials used.

Then in 2013, UK architect Duncan Baker-Brown outdid Superuse by using over 90% waste materials to build the Brighton Waste House. Baker-Brown combined various different materials from used denim to plastic DVD cases and discarded toothbrushes to make the wall cavity insulation, and old bicycle inner tubes to provide sound and impact floor insulation. Around 10 tonnes of chalky soil destined for landfill was diverted to create rammed earth walls, while used carpet tiles rescued from an office provided exterior cladding.

"The waste house is a 'live' research project that gets people thinking where materials come from and where they end up," says Baker-Brown. He has laid out a blueprint for a new way of minimal waste construction in his 2017 book The Re-Use Atlas, and teaches its principles to a rising generation of architects and builders at the University of Brighton's architecture school. He offers a simple but powerful redefinition of waste as being "just useful things in the wrong place".

While these ideas would be included under the "circular economy" banner, Baker-Brown uses a more striking phrase: he calls for the need to "mine the Anthropocene" rather than dig up new material. "We need to become 'urban miners' and re-work [or] re-use previously made buildings, components, and material sources, " he wrote in a rallying call to action published in the Royal Institute of British Architects Journal in 2019.

"Why don't we re-use what we've already extracted, rather than gouging the planet for ever more raw materials?"

Baker-Brown is currently completing a pavilion for the world-famous Glyndebourne Opera in Sussex, the UK, built from waste products including oyster shells, champagne corks and "reject" underfired brick from a nearby brickworks. Crucially, he is also using these materials in a way that facilitates any later deconstruction - such as joining elements with bolts rather than glue - to create what he calls "a material store for the future".

The idea of designing buildings specifically with re-use in mind has acquired the tag "design for deconstruction". The 2012 Olympics showed these ideas in action through the construction of temporary accommodation for 17,000 athletes in London. This used buildings designed to be refashioned afterwards into sustainable homes for locals, thanks to things like full-storey partition walls that could be moved easily into new configurations.

However, those seeking to mine the Anthropocene have to work largely with existing buildings that were not designed for de- or re-construction. Dutch firm Maurer United Architects has responded to this challenge by building 125 new social housing units using over 90% of recycled materials from old adjacent blocks of flats on the Superlocal Estate in the Dutch town of Kerkrade.

Giant concrete floor sections were cut and lifted from the old buildings and set down to provide frameworks for the new homes, while leftover concrete was ground on site for re-use, an approach the firm's founder Mark Maurer called "smart demolition".

This 'waste house' at the University of Brighton was built using over 90% waste materials (Credit: Duncan Baker-Brown)

A key to successfully mining the Anthropocene for our future built environment is working out ways to re-use existing materials in myriad forms. Folke Köbberling, a professor of architecture-related art at Technical University Braunschweig in Germany, has spent years honing ways to re-use materials. "Using found material is different to working with brand new materials, " she says. "These materials have a story. We look for materials and try to use them as they come in a very flexible way."

One example is the amphitheatre she and colleague Martin Kaltwasser constructed in 2008 at the Wysing Arts Centre just outside Cambridge in the UK. Made primarily from 400 wooden pallets rescued from local construction sites, it also features windows from old glasshouses and teak floors repurposed from discarded Cambridge University shelves. Built for a total cost of just €5,000 (£4,270/$5,660) the building was envisaged to provide a distinctive arts venue for two years before being taken apart to re-use its materials elsewhere. But it is still going strong.

Köbberling has also found that discarded raw sheep wool acts as superb wall insulation and pollution filter, and has turned thousands of plastic bottles and cups discarded at the Berlin Marathon into material for bus shelter roofs.

Connecting the supply of these materials with the demand for components is a key element in the drive to reinvent "waste" as new construction materials. "We have to find a way to create prosperity and added value not by the production of new goods but from the maintenance and management of existing goods," says Michael Ghyoot, co-founder of Brussels-based design firm Rotor, one of the companies driving efforts to make reuse easier for building professionals.

Rotor has teamed up with other firms across Europe in an EU-funded project to build up an online directory which has so far signed up just over 1,000 specialised salvage dealers and allied businesses (the original target of signing up 1,500 was primarily hindered by the global pandemic). It is also creating a pre-demolition tool kit to help businesses assess the re-use potential of materials and products present in buildings slated for demolition or redevelopment.

Niyazahmed Shaikh peers through coiled wires made from scrap steel strips in his factory in India (Credit: Sam Panthaky/Getty Images)

Paris-based Bellastock's remodelling of the 59-storey Montparnasse Tower is another example of mining the Anthropocene in action. It is using concrete, glass and steel from the building's facade and interior to help create new levels and spaces, with no recourse to the wastefulness of demolition. The transformed tower is due to complete in time to welcome visitors to the 2024 Paris Olympics.

Mathilde Billet, technical director of reuse at Bellastock and project manager on the Montparnasse Tower de/reconstruction, argues that embedded attitudes in the building sector, rather than practical barriers, are the main hurdle to widespread implementation of re-use principle.

"The hardest thing is to change our way of thinking," she says, adding that awareness raising, training, conferences and simply talking can remove much of this fear of change. "We need to imagine the city as a material bank, conducive to re-use. There are no significant changes. It just takes a little agility and will."

Ghyoot also points out that the process of making existing materials ready for re-use creates an array of new jobs. "This activity is labour intensive: [it requires things like] cleaning the edges of a marble slab, removing mortar from tiles, rewiring old electrical appliances - and documenting all the materials."

For Billet, the principles which underpin the mining of the Anthropocene also chime with ancient practice, be it the once common re-use of old building stones over centuries or the constant reconstruction of large mud edifices in a country like Mali. "Re-use calls for ancestral know-how, " she says. "This know-how exists almost everywhere on the planet but it is slowly dying." The alarming situation we find ourselves in means must we return to a more frugal architecture, she says: "an architecture built with the material of the place it is located".

Far from being something that flies in the face of practical economics, a 2020 analysis of five EU countries by the Club of Rome found shifting to a more circular economy would reduce their carbon emissions by two-thirds while providing over a million new jobs.

What really makes little economic or environmental sense is continuing to gouge out billions of tonnes of virgin raw material from the planet.

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Extracting materials is wreaking havoc on the planet. Could the world's growing mounds of waste hold the key to sustainable construction?

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Renovation of my sited project in other areas

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Tinside Lido rose again to reclaim its place as the jewel in Plymouth's crown

Incredible photographs from Plymouth's archives show how Tinside Lido flourished, fell, then rose again to reclaim its place as one of Plymouth's most iconic landmarks.

These rare images reveal what life was like at the famous outdoor swimming pool on the Hoe in its glory years.

Sadder snaps show how the iconic attraction fell into serious disrepair before being brought back to life 15 years ago.

The art deco lido is a relic of its time - built by renowned architect John Wibberley.

The pool opened on October 2, 1935, beginning life as the Ladies' Bathing Place. The entry price was one penny.

Plans were then rolled out to develop the foreshore and provide a salt water lido that could be enjoyed by the many people flocking to Plymouth's waterfront to fill their leisure hours.

But its popularity dropped off in the 1980s and '90s and the lido became neglected. It closed in 1992 in need of serious repair.

Proud Plymothians campaigned hard for its renovation, led by the tireless Tinside Action Group.

They gathered 70,000 signatures in what was one of Plymouth's biggest ever petitions - and one that was presented to the Queen in London on a battle bus in 1999.

A £3.4million project eventually got under way, with the pool gaining Grade II Listed Building status in 1998 thanks to Tinside Action Group's efforts.

One of only 12 remaining lidos in the country, it finally re-opened to the public in 2003 and has been going strong ever since.

Take a trip down memory lane with us as we remember its highlights and lowlights in these eyecatching old photographs.

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Tinside Lido through history: Pictures of our iconic landmark

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Tinside Lido rose again to reclaim its place as the jewel in Plymouth's crown Incredible photographs from Plymouth's archives show how Tinside Lido flourished, fell, then rose again to reclaim its place as one of Plymouth's most iconic landmarks. These rare images reveal what life was like at the famous outdoor swimming pool on the Hoe in its glory years.

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Topic thinking

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Determine the subject, think about details, form

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Communication, combined with the spatial expression of Chinese garden, thinking about small space perspective

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在老的柏林犹太人博物馆建成54年之后，1987年，柏林政府为它的扩建工程举行了一个匿名竞赛。竞赛举办方希望将犹太人二战后的生存方式重置于人们眼前。众多赫赫有名的建筑师中，丹尼尔·里伯斯金最终胜出。只有他的建筑中贯穿了一种非凡、庄重的设计，一种再现犹太人在大屠杀前后的生活剧变、概念性的表达设计。

最初的 柏林 犹太人博物馆建于1933年，但不久之后，在纳粹的限制下，博物馆于1938年关闭了。一直到1975年，一个犹太文化群体决心重新开放犹太人博物馆，将犹太人重新纳入柏林的一部分，之前的博物馆一直处于空荡无人的状态。1999年，加建部分竣工。一直到2001年，里伯斯金的加建部分对外开放，犹太人借此博物馆终于在文化性和社会性上真正扎根于柏林。

对于建筑师来说，犹太人博物馆的意义不止于一个竞赛或是一个项目, 而是在柏林建构和维持一个犹太人的身份认同价值。二战后，这样的身份认同早已消失殆尽。概念上，里伯斯金想要表达一种缺位、虚无和消失的感受，用来表现犹太人文化的人间蒸发。通过建筑语言来讲述故事、宣泄情感，让参观者们体验到犹太人大屠杀对犹太文化和柏林城的双面冲击。

犹太人博物馆通过 Jewish Star of David 来找形，这个形状遍布了整个场地和文脉当中。建筑师首先将历史事件的发生地之间连线，构建出来的形状作为建筑的整体轮廓外形，因此建筑最终呈现一个折线挤出的复杂的"之字形"状态。

虽然里伯斯金设计的加建部分是一个独立的体量，但却没有一个明显的建筑入口。如果想要进入博物馆新馆，首先得穿过老的巴洛克式的博物馆旧馆，来到一个地下走廊。游客们被迫忍受"东躲西藏"和失去方向感，直到来到一个丁字路口。这个分岔路口分别通向三条路，让人们放慢脚步，通过德国当地历史、人们仓皇逃离和犹太人大屠杀的分镜图象切身体会犹太人的遭遇。利伯斯金循着建筑的"之字形"建立了漫游步道体系，让参观者步行穿越、体验空间内部特色。

从建筑外部空间进入建筑内部，内外空间的边界构成似乎是一致的，但事实上，内部空间极为复杂。利伯斯金建构的漫游体系引导人们穿过展厅、"空"间和最后的"虚无"。这座建筑的一个重要构成还在于窗洞的破碎感和建筑材料的丰富性。

建筑内部的钢筋混凝土材料是一种"增强型"建筑材料，同时也加深了人们对于建筑空旷的场所和虚无的尽头的印象。在这满是压抑感的空间里，只有微弱的光亮透过缝隙。这是里伯斯金为参观者体验二战时期犹太人的感受而设计的象征表示。即使是在"至暗时刻"，你也永远无法逃离这个领域。一丝光亮透露出几乎渺茫的希望。

博物馆里一个情感最为强烈、力量最为充沛是一个66英尺（约两米）高的空间，它穿透了整个建筑。顶部狭窄的裂缝里透出的自然光成为空间里唯一的光源，墙壁的混凝土材料更增添了一种冰冷、几乎令人难以忍受的气氛。10,000块粗粝的铁皮覆盖了地面。作为犹太人大屠杀事件中亡者的一个象征，这栋建筑通过叙述一种令人极为费解的空间体验，而超越了一个博物馆的功能。

这座建筑还引导参观者们进入一个"流亡者花园"，花园里矗立着49根混凝土柱，柱上密密麻麻地缠着植物，让人顿失方向感。这些超现实的柱子让人迷失、困惑，但透过间隙向上看到开阔的填空时，又让人的烦恼顿时烟消云散。里伯斯金的柏林犹太人博物馆带领人们穿越时空，游游荡荡，情绪捉摸不定。建筑本身和空间的独特性成为里伯斯金使用建筑语汇表达人类历史的能力的最佳肯定。

"柏林犹太人博物馆是一个象征。可见和不可见在柏林的这个角落汇集、通过建筑的构成特征来呈现。'不可说'在空间里仍然静默无言，但以一种不一样的方式出现在世间。"--丹尼尔·里伯斯金
翻译：邵婕

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在老的柏林犹太人博物馆建成54年之后，1987年，柏林政府为它的扩建工程举行了一个匿名竞赛。竞赛举办方希望将犹太人二战后的生存方式重置于人们眼前。众多赫赫有名的建筑师中，丹尼尔·里伯斯金最终胜出。只有他的建筑中贯穿了一种非凡、庄重的设计，一种再现犹太人在大屠杀前后的生活剧变、概念性的表达设计。 最初的 柏林 ...

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Convert to a more popular concept

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Narrating Space/Spatializing Narrative: Where Narrative Theory and Geography Meet

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Marie-Laure Ryan, Kenneth Foote, and Maoz Azaryahu, eds. Columbus, OH: The Ohio State Universitiy Press, 2016. viii and 254 pp., illustrations, tables, bibliography, index. $99.95 cloth (ISBN 978-0-8142-1299-8); $39.95 paper (ISBN 978-0-8142-5263-5); $19.95 PDF eBook (ISBN 978-0-8142-7407-1).

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Honpukuji, Ando's Water Temple, Awaji 本福寺

The "Water Temple", by Ando Tadao on Awaji Island

Tadao Ando, possibly the most well known of Japanese architects, has designed quite a few religious buildings, mostly Christian chapels and churches, but also several Buddhist temples, the most famous of which is certainly Honpukuji Temple on the island of Awaji.

The approach to the Water Temple on Awaji Island

Steps lead down below the pond at Honpukuji Water Temple by Tadao Ando

Temple Design

Honpukuji is known as the "Water Temple" for reasons that become obvious when you see it.

Approaching it you see a fairly standard-looking temple, but a sign directs you up a path that leads behind to where you must pass through a corridor of two curved, plain concrete walls with a floor of white gravel.

This is classic Ando, and creates a space that changes dramatically as the sun crosses the sky and creates different forms of light and shade at different times of the day.

Turning the corner you come face to face with a large, oval pool of water that reflects the hillsides behind the temple.

Again this is classic Ando, as he often uses pools of water to bring into his architecture the surrounding natural environment.

Growing in the pool are lotus plants, an important symbol in Buddhism, and if you come here in the summer you will see many lotus blossoms floating on the surface as well as water lilies.

The entrance into the Water Temple on Awajishima

Main Hall

The pond is bisected by a staircase that descends into the darkness below. From here you follow a curved corridor that increasingly fills with reddish light until you arrive at the main altar/sanctuary.

Here natural light enters the building from the western side so late afternoon is when it is most vividly red. As well as the main altar there are also statues of Fudo Myo O and Kobo Daishi, the founder of Shingon, the Buddhist sect to which Honpukuji belongs.

After leaving the main sanctuary the way passing the western side of the building where the natural light floods in through a vermilion lattice and back to your starting point and ascend up the stairs.

This is one of Ando's less monumental works, and the experience is less one of looking at a piece of architecture, rather it's one the experience of being in an architectural space.

Honpukuji is not so easy to get to, but consequently there are far fewer visitors. The temple is certainly worth visiting if you are interested in Ando's work and have just visited the nearby Yumebutai complex.

The main sanctuary and altar at Honpukuji, the "Water Temple"

Access & Information

Honpukuji Temple
1310 Ura
Awaji, Hyogo 656-2305
Tel: 0799 74 3624
Open everyday from 9 am to 5 pm. Entry 400 yen.

By car the temple is just 5 minutes drive from the Higashiura Interchange. The nearest bus stop is Uraminato, about 600 meters, a 5 minute walk from the temple.

Regular buses stop here, but the Awaji Loop Bus that runs a circuit around the north of the island actually stops in front of the temple.

Nearby Yumebutai is accessible in 60 minutes by express bus from Shin-Kobe or Sannomiya Station bound for Higashiura Bus Terminal. A ferry from Akashi runs regularly to the north of the island.

Awaji is easily reached from nearby Kobe, Himeji, Kyoto or Osaka.

The west side of the interior of Honpukuji, where natural light enters the building

Accommodation in Awaji

In addition to the luxury The Westin Resort & Conference Center Awaji Island, Awaji city has good options including the Athena Kaigetsu, which is handy for the Awaji World Park Onokoro. Further south on the east coast at Sumoto are the Kaigetsukan, the Yumekaiyu, the Umi no Hotel Shimahana, the two star Awaji TT House Pacific Over Seas and the Hotel New Awaji. On the west coast are the Awaji Hamarikyu and Pension Le Mer. There are also a number of campsites on the island for the budget traveler.

See here for a full list of hotels, ryokan and minshuku in Hyogo Prefecture.

Area Map

Nearby Places of Interest

Akashi Castle - built in 1619 to protect the approach to Osaka from the west.

Shimanami Kaido - 60 kilometer expressway that links the main island of Honshu with the island of Shikoku.

Maiko Park - a pleasant park with views of the Akashi Kaikyo Bridge and some historic residences.

World Peace Giant Kannon - once one of the largest statues in the world it is now virtually abandoned.

Awajishima Museum - displays on the history and culture of the island.

Sumoto Castle - Japan's oldest reconstructed castle.

Hokudan Earthquake Memorial Park - is located at the epicenter of the 1995 Great Hanshin Earthquake.

Awaji Puppet Theater - has daily performances of Awaji Ningyo Joruri.

Izanagi Jingu & Onokorojima Shrine - two important shrines connected with Japan's creation myth.

Book Hotel Accommodation in Kobe Japan
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Tadao Ando, possibly the most well known of Japanese architects, has designed quite a few religious buildings, mostly Christian chapels and churches, but also several Buddhist temples, the most famous of which is certainly Honpukuji Temple on the island of Awaji. Honpukuji is known as the "Water Temple" for reasons that become obvious when you see it.

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The secret to Beijing's Olympic venues? More than half the buildings were used before

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How a swimming pool became a curling rink.

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Large spaces ，Open up，Natural Energy , Wind ...

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Large spaces ，Open up，Natural Energy , Wind ...

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Weifang International Kite Festival is usually held in the third Saturday in April and lasts about half a month. Since 1984, it has been held every year with an increasing scale. More than 30 countries and regions from all over the world take part in the festival. It is the first large-scale local festival in China to be titled "international" and recognized by the international community.

Weifang is the birthplace of kites. It has a long history of kite making and boasts exquisite craftsmanship. Now more than 70% of kites in the world are exported from Weifang. In May 2006, Weifang kite was listed in the first batch of national intangible cultural heritage list. The International Kite Federation headquarter is also set in Weifang. Weifang has become the center of kite culture exchange and is called the hometown of kites by people all over the world.

✔ 3 Days Weifang Kite Culture & Festival Tour

Qingdao Ganbei (Cheer) with the World

Like many Chinese folk art forms, Weifang kites are the entertainment products that embody people's ideals and aspirations. Gradually, the kite becomes the symbol of Weifang and the festival is one of the most important events in Weifang.

Immerse in the World of Kite on Opening Ceremony

Ticket for opening ceremony: vary from year to year, usually CNY 100-300

On the opening day of Weifang International Kite Festival, you will see the most kites in different styles. With a growing scale, now there are over 60 countries and regions attending the festival. It has attracted over 100 thousand audience.

Representative teams from home and abroad gather here to fly their well-designed kites to the sky. Apart from the traditional patterns such as swallow, butterfly, and triangle, you will be amazed by the creativity showed in these kites. There are animals like centipede, fish, dragon, dolphin, bear, octopus; cartoon figures like flower fairy, Calabash Brothers, superman, characters in Pilgrimage to The West, and other shapes like spaceship, satellite and Noah's Ark. People say there is nothing you can not fly to the sky in Weifang. When you get here, you will know it is true.

Make a Kite on Your Own in Yangjiabu Folk Culture Village

Location: Yangjiabu, Hanting District, Weifang City 山东省潍坊市寒亭区杨家埠, about 16 km, 50 minutes' drive from Weifang downtown
Opening Hours: All day
Ticket: CNY 66 (including kite making and New Year picture painting)

Yangjiabu is the birthplace of Weifang kites with a long history. At the end of the Ming Dynasty (A.D. 1368-1644), the ancestors have already got excellent kite making skills and they integrated kites with New Year pictures (a form of Chinese colored woodblock print, for decoration during the Chinese New Year). Gradually, Yangjiabu kite has grown its own style with realistic colors and well composed groups.

After watching so many kites, do you want to make one on your own? If the answer is yes, Yangjiabu is the right place for you. Here you can not only make your own kite, but also experience the New Year picture painting, feeling the charm of this art that has been headed down for hundreds of years.

Pay a Visit to Weifang World Kite Museum

Location: No. 66 Xingzheng Street, Kuiwen District, in Weifang downtown 潍坊市奎文区行政街66号, in Weifang downtown
Opening Hours: Closed on Monday, 09:00-17:00 (Tuesday to Sunday)
Ticket: Free

Weifang World Kite Museum (潍坊世界风筝博物馆) is the first large-scale kite museum in China. It adopts the characteristics of centipede kite, whose roof is made of peacock blue glazed tiles and looks like a dragon flying in the sky. It is a landmark building of "kite capital of the world".

The kite museum collects and displays kite treasures and cultural relics in eight exhibition halls. They respectively introduce the history, application, evolution and development of kites, the schools and classification of kites, foreign kite exhibitions, and international kite fairs. Here you can see the most exquisite kites in China and other countries. Seeing the kites, it is like you have become a child again who is running freely in the fields to fly your beloved kite up high.

✔ 3 Days Weifang Kite Culture & Festival Tour

Flying Kite on Opening Ceremony

Yangjiabu Folk Culture Village

Making a Kite in Yangjiabu

Weifang World Kite Museum

Dragon Kites in the Museum

From Weifang downtown (Weifang World Kite Museum): about 53 km, 1.5 hours by car, 2.5 hours by bus

From Weifang Railway Station: about 55 km, 1.5 hours by car, 2.5 hours by bus

From Weifang North Railway Station: about 42 km, 50 minutes by car, nearly 2 hours by bus

From Weifang Airport: about 62 km, 1.5 hours by car, 3 hours by bus.

Note: To get to Weifang, you can take a high speed train from Beijing (2.5~3.5h), Qingdao (1h), Jinan (45min~1.5h), Taian (2h), Qufu (2.5h), Yantai (1.5~2h), Weihai (2~2.5h), etc.
Travel with China Discovery

If you want to save all the transfer troubles, you can travel with us China Discovery. We provide private transfer service for our customers who book a Weifang tour with us. Our professional local guide and driver will escort you from your hotel, train station, airport to all attractions with comfortable private licensed car and let you catch the highlights of every site and city, so you can get really relaxed on the way and focus on what you are interested in. The tour can be tailor made according to your plan, time and interests and demands. If you are interested, please feel free to contact us and tell us your needs, and we will customize a memorable tour for you!

Weifang Kite Festival Map

Private Transfer with China Discovery

During your stay in Weifang, it is most recommended to stay in Weifang downtown (around Weifang World Kite Museum). Though where the festival is held is a little far from downtown, it is held during the day and there are not many accommodation choices in that area. You can come back to Weifang downtown after attending the festival. What's more, in Weifang downtown, you will have a more convenient access to other featured attractions such as Weifang World Kite Museum and Shihu Garden.

Hotels in Weifang downtown may not be as luxury as those in Qingdao or Jinan. So in order to have a more comfortable living experience, 5-star or 4-star hotels are more recommended.

5-Star Pullman Weifang

Generally, a classic Weifang tour takes at least 2 days. We suggest you focus on the best highlights of Weifang, including Kite Museum, Yangjiabu Folk Culture Village and Shihu Garden. Of course, it is strongly recommended to visit Weifang during Weifang International Kite Festival. In the Opening Ceremony of the festival, you will be overwhelmed by the beautiful kites in the sky. With more time, you can take a hiking to Yunmen Mountain, have a relaxing time in Huanghuaxi Scenic Area or learn more about Weifang in Qingzhou Museum.

✔ 3 Days Weifang Kite Culture & Festival Tour

Weifang is usually traveled with other cities in Shandong such as Qingdao. It is really worthwhile to spend 2 days savoring Qingdao highlights, like Badaguan Scenic Resort, Qingdao Beer Museum, and Laoshan Mountain.

✔ 5 Days Qingdao Weihai Yantai Coastal Tour

If you have more time and want to have a comprehensive understanding of Shandong to learn more about its history and culture, it is highly recommended to visit Mount Tai and Qufu. Mount Tai is the first UNESCO World Natural & Cultural Heritage site while Qufu is the hometown of Confucius. Spending another 2~3 days visiting these two destinations will deliver you an unforgettable experience of Chinese culture discovery.

✔ 2 Days Most Classic Mount Tai Hiking with Sunrise Tour
✔ 2 Days Mount Tai Qufu Tour from Beijing by Bullet Train
✔ 9 Days Shandong Panorama Tour (Qingdao / Weihai / Yantai / Weifang / Zibo / Qufu / Mount Tai / Jinan )

Shihu Garden in Weifang

Laoshan Mountain in Qingdao

More about Shandong Travel Guide

Start planning your tailor-made holiday to China by contacting one of our specialists. Once inquired, you'll get a response within 0.5~23.5 hours.

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Weifang International Kite Festival is usually held in the third Saturday in April and lasts about half a month. Since 1984, it has been held every year with an increasing scale. More than 30 countries and regions from all over the world take part in the festival.

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震撼国际友人，潍坊国际风筝会惊现“鲲”组成的百平米巨型风筝矩阵

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震撼国际友人，潍坊国际风筝会惊现"鲲"组成的百平米巨型风筝矩阵_哔哩哔哩_bilibili

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Margate Events 2022 | What's on in Margate | Skiddle

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Events in Margate: The biggest guide to gigs, clubs, festivals and more. With lineups, venue details and entry times. Buy tickets from a trusted primary outlet.

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best events & activities in margate. explore upcoming concerts in margate

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Margate Events | Upcoming Events & Things To Do In Margate, United Kingdom

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Discover the best things to do & events in Margate. explore concerts, meetups, open mics, art shows, music events and a lot more.

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in Kent (South East England)

Contents: Built-up Area Subdivision

The population development of Margate as well as related information and services (weather, Wikipedia, Google, images).

Source: UK Office for National Statistics (web).

Explanation: All population figures and depicted boundaries are based on output areas officially assigned to the 2011 built-up areas. Output areas often include some unbuilt parts. However, tabulated area figures refer to (typically smaller) actual built-up areas in order to present a more realistic population density. Some of the 2001 figures are approximate values.

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in Kent (South East England) The population development of Margate as well as related information and services (weather, Wikipedia, Google, images). Source: UK Office for National Statistics (web). Explanation: All population figures and depicted boundaries are based on output areas officially assigned to the 2011 built-up areas.

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Historic environment and character can play an integral role in the success of a place, and this has been the focus of work by Historic England and its partners in Margate. This case study forms part of the Value of culture - visitor economy section of our online Culture Hub.

As one of England's earliest and foremost seaside resorts, Margate was popular with day-trippers and holidaymakers during the 19th and for much of the 20 th century. However, by the 1970s, its fortunes began to flounder as people deserted the English seaside in favour of low-cost holidays abroad and the promise of guaranteed sun. By the end of the 20th century, Margate, like many other resorts, had declined significantly. Lack of investment, poor quality accommodation and outdated facilities had all contributed to its demise.

In 1999, an action plan for Margate's historic town centre was developed to address some of the symptoms of decline. Since then, Thanet District Council, Historic England and other partners have been working to make sure Margate's rich and impressive heritage plays a significant role in its regeneration. The Margate Old Town Heritage Initiative, which attracted funding of £1.2 million from the Heritage Lottery Fund, has helped to transform some of the previously neglected buildings within Margate's Old Town area into attractive, desirable properties.

Impact of the project

At the turn of the millennium this area was in freefall with two-thirds of its shops lying empty. Today it is a characterful place of narrow streets and historic buildings with very high occupancy rates. Many of the shop fronts have been renewed to historic patterns and the public realm improved. This has made a significant difference to the local economy, attracting new shops, restaurants and businesses, and has made the Old Town a more vibrant and appealing place for people live in, work in and visit.

Dalby Square in Cliftonville is another area that has demonstrably benefitted from investment. Built in the 1870s as hotels and private schools, and largely unchanged externally, Thanet District Council designated the square as a conservation area in 2010. A grant scheme was set up (funded 75 per cent/25 per cent by the Heritage Lottery Fund and the council), resulting in this area of fine late Victorian townscape undergoing a radical facelift. Repairs have been carried out to windows, doors and rendered facades and lost architectural features reinstated, transforming a very rundown area. With strong public support for the designation of this conservation area, the district council has since designated other areas in Cliftonville.

Research by Historic England into Margate's heritage has helped to identify a number of places that are worth celebrating and protecting through listing, such as the seawater baths at Cliftonville and the Nayland Rock seaside shelter. This would preserve important historic buildings of value to the community and visitors. Others, such as the Scenic Railway and Dreamland Cinema, have had their listings upgraded to Grade II*.

The cultural outcomes achieved by this and other partnership work in Margate have included:

major local attractions opening or re-opening

a 32% growth in the number of businesses working in arts, culture and the creative industries across Thanet (2008-2013)

a 71% increase in the number of artists' studios.

Key learning points

Improving the historic environment and character of a place can lead to places being much better to live in, work in, do business in and visit.

Success should be publicised: there has been a clear shift in national and local media coverage of Margate, which now focuses more on regeneration and vibrancy rather than on decline and loss.

Research and the designation of conservation areas and listed structures leads to local heritage being better understood and managed by all partners, including the community.

For further information contact Owain Lloyd-James, Head of Development Research, Historic England: owain.lloyd-james@historicengland.org.uk
This case study has been developed in conjunction with Arts Council England

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The role of heritage in the regeneration of Margate

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Historic environment and character can play an integral role in the success of a place, and this has been the focus of work by Historic England and its partners in Margate. This case study forms part of the Value of culture - visitor economy section of our online Culture Hub.

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British seaside towns like Margate are a much-loved part of our country's heritage, conjuring images of sandy beaches, amusements, fish and chips, and donkey rides. For generations, the town thrived as a popular destination for holidaymakers not only from London but from all over the UK.

But the advent of overseas package holidays, together with the downturn in traditional manufacturing industries (among a variety of other socio-economic factors), has resulted in decades of decline for British coastal resorts - and Margate is no exception.

The combined effects of deprivation, limited access to local amenities, unemployment and a lack of resources and opportunities have led to negative effects across the population of Margate.

Recently, however, the arts have become a key driver in the transformation of the town's flagging image, notably with the opening of the internationally acclaimed Turner Contemporary art gallery in 2011.

More than five years on, the Turner Contemporary is a well-known landmark on Margate's seafront and, with its Art Inspiring Change vision, has provided a focus for the town's regeneration. Recognised as one of the most successful galleries in the UK, it has featured several ambitious exhibition programmes, together with an ongoing schedule of educational workshops, activities and projects, attracting more than two million visitors in its lifetime.

Largely thanks to the gallery's creative drive, Margate is now home to a thriving arts community, with a growing number of independent galleries, studios and workshops showcasing local and national talent.

To mark its fifth anniversary, the Turner Contemporary commissioned a Social Return on Investment report to deepen the understanding of the gallery's impact on its visitors and participants through its lifelong learning and educational programmes, as well as its impact on local residents, retailers and artists, and the role it has played in the regeneration of the local area.

The pioneering study was carried out by Canterbury Christ Church University's Culture Offers at Seaside Towns (COaST) research centre, a dedicated group of researchers, academics and practitioners based in the Business School, but from a range of disciplines, including cultural studies, geography, and travel and tourism.

The findings of the report revealed that the Turner has helped to re-establish Margate as a destination, contributing significantly to the town's regeneration - with 48% of visits being made by those who specifically came to Margate to visit the gallery. Since 2011, over 960,000 people have visited the Turner Contemporary who would not have otherwise visited Margate. Of these visitors, 80,000 had never previously been to an art gallery. In 2015-16 alone, 72,000 visitors were from the Thanet region and 24,000 from Margate itself.

Further findings have shown that of the increased footfall from visitors to the gallery, 22% came from London and 5% have travelled from overseas. The footfall to Margate drops significantly when the main gallery is closed between exhibitions.

In addition, the net additional visitor-related expenditure in 2015-16 for the Kent economy was estimated at £7.8 million, supporting and safeguarding over 100 FTE jobs across Kent.

However, regeneration is about more than just buildings, physical infrastructure and economic return; it's also about changing and supporting people to realise their true potential.

With that in mind, the new study had a particular focus on the social value created by the Turner Contemporary. The methods used were based upon well-established SROI (Social Return on Investment) principles and set out to measure social value created relative to the value of the resources invested. Research was conducted using a range of methods, including interviews, focus groups, workshops, observation, surveys and desk research, establishing what had changed since the gallery's opening, who it had affected and by how much.

The study revealed that the gallery has had a significant effect on participants of its learning programme, bringing empowerment and inspiring self-belief, as well as providing a stronger sense of connectedness to family and friends. Participants also felt encouraged to be more active in society.

It also found that local residents had an increased sense of contentment living in Margate since the gallery opened: public spaces have become more pleasant, people feel safer and residents spend more time enjoying Margate outside of their homes. There was also a heightened sense of community cohesion. Changes to the town and an increase in the number of visitors solidify Margate's identity as a creative town 'on the rise' and people feel a shared sense of togetherness as a result of these changes, the report observed.

In addition, the Turner Contemporary has had a wider, ripple effect on the regeneration of Margate due to the additional footfall it has brought to the town and by the significant media coverage and brand awareness triggered by the gallery, which will become more apparent over the next decade.

Dr Andrew Jackson, Director of COaST, who led the project, said: "Our research has been significant in that it has shown there are real and measurable social benefits for people who have engaged with the gallery, and we have been able to put a financial valuation on these for the first time."

Underlining the importance of the Turner Contemporary's role in helping to transform Margate's image, he added: "The gallery has really helped to raise the brand of the town. Margate is now spoken about nationally as a great place to visit. In days gone by, it was seen as a holiday town. Now visitors are drawn to the town for the cultural offer and residents feel an increased sense of civic pride.

"Margate is re-emerging as a cultural destination and having that strong identity is essential for any town to grow and expand."

Victoria Pomery OBE, Director of Turner Contemporary, said: "At a time when our communities are becoming fractured and divided, this research brings great hope that art really does inspire positive change, and can help us to build a stronger, more creative and connected society in future."

It is hoped that the research will be used not only to understand the gallery's achievements, but also to inform future investments and support sponsorship and funding applications.

To read the full report, Turner Contemporary: Art Inspiring Change - Social Value Report (15/16), visit the Turner Contemporary website

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Reinventing Margate - Inspire Spring 2017

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British seaside towns like Margate are a much-loved part of our country's heritage, conjuring images of sandy beaches, amusements, fish and chips, and donkey rides. For generations, the town thrived as a popular destination for holidaymakers not only from London but from all over the UK.

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Tourism Planning and Development of Margate - 3032 Words | Assessment Example

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Seaside resorts were created to cater for industrialization in the late 19 th century railway era. Back then, they were frequented by wealthy visitors. In the years that followed the depression, they renewed their appeal and attracted a lot of visitors until the Second World War when most were closed.

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Urbanism is a term that originates from the more general word urban which is used to describe an area that is characterized by high population settlements and numerous manmade features such as buildings that are closely packed together. Urban area is therefore a term that is used to describe towns and cities that have sizable population settlements and building structures that are close together regardless of their sizes, indeed there is no single definition of an urban area (Salama 4). Urbanization is also a closely related term that is used to describe the process of rapid growth of urban centers due to heightened rural-urban migration of peoples as a result of globalization (Salama 5). In this paper our focus would be on urbanism as used in architectural context, the features of an urban centre and discussion of urban cities in general.

More specifically urbanism is used to mean the architectural development of an urban town as well as its unique architectural characteristics that incorporates building designs, landscaping, scenery and all other architectural features of an urban centre (Salama 12). In general urbanism is a very wide concept that is used to describe an urban centre architectural system in its totality beyond the mere building structures and includes a city's infrastructure system, economy, geography, social-cultural norms and politics. The ideology behind urbanism in the broad sense involves description of three important functions of any city which includes diversity, environmental protection and preservation of culture (Salama 14).

Ideally urban planning according to urbanism involves use of zoning system to segregate the three key areas of an urban centre; commercial, industrial and residential areas (Love 7).

Currently new trends in urbanism include two recently developed concepts; New urbanism and landscaping urbanism. New urbanism is a concept that has been advanced in early 1970s to replace the shortcomings of urbanism that has led to highly concentrated commercial centers and automobile dependence due to segregation of residential areas (Love 9). New urbanism in its most simplistic definition refers to satellite urban centers that are self sustainable since they have all the elements of an urban centre within half a mile. Landscaping urbanism on the other hand is still an emerging concept that is being advanced by some of the leading architectural institutions in North America due to it environmental sustainability and green infrastructure systems (Love 10).

The term urban area and its definition is synonymous with urban city which tends to vary in every country, however urban area is more of a general term that is also used to describe towns that have high populations densities but which are not expressly regarded as cities. Perhaps, the unique characteristics of an urban city that differentiate it from a town are the permanent building settlements that usually have legal, administrative or historical status of the particular country (Love 14). Similar to urbanism, the definition of a city also varies with countries; in Europe for instance a city was defined as a town with a cathedral regardless of the population density of the town, in most other countries a town must be gazetted before it is made a city (Glaeser 143). In Brazil for example, a city is any town that functions as the headquarter of a municipality regardless of it population size, while some cities are referred as global cities due to their crucial roles in banking or trade industry such as New York (Glaeser 150).

As discussed earlier a city must have three important elements besides having a historical and administrative relevance; commercial centre, residential settlement and industrial area. Other features of a city include high population density, permanent build structures, advanced social amenities, sanitation facilities and complex infrastructure system (Salama 66).

The emergence of urbanism concept has now enabled researchers and scholars to undertake urban studies of cities from various perspectives most notably; internalist perspective, externalist perspective and interstitial perspectives (Salama 67).

Internalist perspective study focus is on city social order which can be enhanced by urbanists through architectural designs in such a way that promotes and consolidates social and cultural coexistence. Externalist perspective study can also promote and facilitate cities ability to function economically by determining their strategic locations.

Urbanism has therefore become a widely applied tool of managing environmental issues that have now become a more pressing concern and which have led to green housing and emergence of green cities. As such urbanism is helping us meet challenging difficulties at present while at the same time enabling us to conceptualize innovative ideas to tackle future challenges.

Works Cited

Glaeser, E. "Are Cities Dying?". The Journal of Economic Perspectives 2.2 (1998): 139- 160. Web.

Love, T. Paper Architecture, Emerging Urbanism, 2010. Web.

"Multiple Voices in Architectural and Urbanism." International Journal of Architectural Research 2.2 (2008): 62-79. Web.

This essay on Urbanism in Architecture: Definition and Evolution was written and submitted by your fellow student. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly.

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Urbanism in Architecture: Definition and Evolution - 763 Words | Essay Example

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Urbanism is a term that originates from the more general word urban which is used to describe an area that is characterized by high population settlements and numerous manmade features such as buildings that are closely packed together.

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Theaster Gates’ new cultural hub for Chicago’s South Side renews a building’s legacy.

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ARTISTIC FUEL PRIVACY POLICY

Last Updated: October 31st, 2019

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We provide registered users with settings on the Services to control whether they receive certain communications from us. If you do not want to receive marketing email from us, you can unsubscribe by following the unsubscribe link in the email you receive, changing your preferences in your profile and account settings (if you have registered for an Artistic Fuel account) or emailing us. Please note that opt-out requests may take up to five (5) business days to process. You may not be able to opt out of receiving some communications from us, such as email about your account, your relationship with us or your transactions. For further information, please contact us at _____@ artisticfuel.com. However, unsubscribing from receiving emails from us may result in a less robust experience with the Services.

ACCOUNTS AND USER PROFILES

Registration, Access and Records: To register for an Artistic Fuel account, you will need to provide your full name and a valid email address. If you have received our permission to use the Services as a business, you may need to provide additional information. If you have an Artistic Fuel account, you may access, add, remove or update certain information about you in your profile and account settings. It is your responsibility to update your personal information to keep it accurate and current. When you update your account or profile information, we may keep a record of the unrevised information for purposes consistent with this Policy. If you wish to cancel your account, you may do so by using the tools provided in your profile and account settings, subject to the Terms and any other agreements between you and us. If you terminate your account, we may keep a record of any or all information associated with you or your account, as required or permitted by law, for purposes consistent with this Policy; specific account data that includes personal information including your name, e-mail, contact information and certain other records such as settings and collector profiles will be removed at such termination. For further information, please contact us at _____@ artisticfuel.com.

Profile and Account Information: To make the Services more interactive, certain information about users' profiles or accounts may be made accessible to other users on or through the Services, as indicated in users' profile and account settings on the Services, or as otherwise indicated by us when you use certain Services. For example, if your public profile is enabled in your settings, your name and certain information that you may enter in your profile (such as your biography, location and website) will be visible to other users of the Services. The Services may include settings to control how certain profile or account information is shared with other users on or through the Services, and you should check your profile and account settings regularly to be informed of your current choices. Public information on the Services may be indexed by third-party search engines and accessible through them. For further information, please contact us at _____@ artisticfuel.com.

Data Retention: We will keep and use your data, as described in this Policy, for as long as (a) your account is in use, open or active; (b) is necessary to comply with applicable tax, legal and other regulatory requirements; and (c) is necessary to protect and defend against potential legal claims. If you would like to request the deletion of your personally identifiable information or request that it be returned to you, please contact us at info@artisticfuel.com. By deleting your data from our site, you understand that you will no longer be able to use the Services. We will retain your anonymized, aggregated, depersonalized data after it has been deleted from our site.

"FAVORITES" AND "FOLLOWS"

The Services may include features that enable you to designate your "favorite" artists, designers or other creators, artwork and other items or categories of artwork, or other items. The Services may also include features that enable you to "follow" galleries, institutions and other users, artists, designers and creators, categories of artwork, or other items. If your public profile is enabled, other users may also be able to follow you, and the number of users that follow you may be visible to other users of the Services. You may be able to share, or choose not to share, certain information about your favorites, follows or followers on or through the Services, as indicated by us in connection with these features or in your profile and account settings. If you enable those designations, we may include you in email communications regarding them. If you would like to opt out of receiving those emails, please follow the unsubscribe link at the bottom of the relevant email or visit your account profile to update your email settings. For further information regarding opt-outs, please contact us at info@artisticfuel.com.

USER CONTENT

As described in the Agreement, you may be able to provide Your Content on or through the Services. When you post or publish Your Content on the Services, any information contained in Your Content (including information in images or videos) becomes publicly accessible on the Services (and may also be indexed by and accessible through third-party search engines), and we and other users may access and use Your Content, as described in the Agreement. This applies even if you or someone else also provides the information to us by other means and our use of the information might have been more limited under this Policy if the information was only provided to us by such other means. It is your responsibility to ensure that you have the right to share any information about others that you may share with us or with others.

USER COMMUNICATIONS

Connecting with Other Users: We strive to provide a platform and marketplace where users can discover and engage with a wide range of artwork, design and other items from around the world, including items from the various galleries, institutions and others that use the Services as exhibitors or sellers. To help make this happen, the Services may include features, such as messaging tools and email addresses hosted on the Services, that enable you to contact and communicate with other users. For example, when another seller lists an artwork or other item on the Services, the Services may enable you to contact that seller about the item or other items that may be available.

Sharing Information with Other Users: The Services let you share information with others. When you use the Services to contact another user or perform a transaction with another user, such as a gallery, that other user may obtain from us your name, email address and other contact information to facilitate communications and transactions, or for their marketing purposes. Sometimes these users may be able to obtain additional information about you when you use the Services to contact them or perform a transaction with them. For example, they may be able to obtain information about your location, interests and other information, as indicated by us in connection with the Services, or as otherwise indicated in your profile and account settings. The Services may include settings that enable you to choose how certain information is shared with other users when you contact them or perform a transaction with them, as indicated when you use the Services or in your profile and account settings. Please remember that when you share information publicly, it may be indexable by search engines, such as Google.

WITH WHOM DO WE SHARE PERSONAL INFORMATION?

Personal Information: As used in this Policy, the term "Personal Information" means information that by itself can be used to identify or contact a specific person (for example, a person's name, email address, postal address or phone number), but Personal Information does not include information that has been aggregated or made anonymous so that by itself it no longer identifies and can no longer reasonably be used to contact a specific person. We will only share your Personal Information with others in the ways described in this Policy, or otherwise with your prior consent. In addition to the other sharing of Personal Information described in this Policy, we may share your Personal Information with others in the following contexts.

Service Providers: We may contract with third-party service providers that help us provide the Services or that perform some services for us related to the Services, and they may access your Personal Information as needed to perform their functions for us. Examples include order fulfillment, package delivery, payment processing, bill collection, fraud investigation, email and postal mail administration, customer service assistance, web and mobile data analytics and server and database hosting services.

We use third parties, including Stripe and more, to gather your data from financial institutions. By using the Services, you authorize our third-party providers to act on your behalf to access and transmit your personal and financial information from the relevant financial institution according to terms of the third-party providers' privacy policies and service terms.

Business Transfers: If we are involved in a merger, acquisition or sale of assets, your Personal Information may be one of the assets transferred. In this event, if you have registered for an Artistic Fuel account, we will notify you of the change of ownership by sending an email to the most recent email address you provided us under your Artistic Fuel account.

Legal Purposes: We may access, preserve and disclose your Personal Information or other information if we believe that such access, preservation or disclosure is reasonably necessary to (a) comply with any law, regulation, legal process or governmental request (such as search warrants, subpoenas or court orders); (b) enforce the Agreement or any other agreement with users or investigate potential violations; (c) detect, prevent or otherwise address fraud, security or technical issues; (d) protect or enforce Artistic Fuel's, your or any other person's rights or property; or (e) prevent physical harm to any person.

AGGREGATED AND NON-PERSONAL INFORMATION

We may aggregate or make anonymous any Personal Information we have obtained in any way from or about you or others so that such information no longer contains any Personal Information. We may use and share any aggregated, anonymous or other non-personally identifying information for any legitimate business purpose, including, but not limited to, research and development and marketing, and to inform others about how the Services or Content are engaged with or used.

PAYMENT INFORMATION

If you use our marketplace or register for certain of the Services, you may need to provide payment information, such as a credit card number, type and expiration date. We do not store credit card information entered on the Services. This information is stored by a third-party payment processor, and the use and storage of this information will be subject to the payment processor's own terms of service and privacy policy. We do receive certain information from the payment processor, including a unique token we associate with you to authorize your purchases, and in certain cases, the last four digits of the credit card number associated with that token, in order to help prevent fraud and identity theft. If you do not wish to provide payment information, you will not be able to use certain Services on our Site.

OTHER WEBSITES AND SERVICES

The Services may include links to websites or services we do not own or control, some of which may include links to the Services. The Services may also include features that enable you to link your Artistic Fuel account to your account on other social media services. For example, you may be able to sign up for (or sign in to) the Services through another social media service. The Services may also include features that enable you to share Content on other websites and social media services. However, these links and features are not an endorsement by us of any other websites or services or any of their privacy policies or practices. When you visit or use other websites or services, they may collect information from you, including through the use of cookies, web beacons or similar technologies. We encourage you to read the privacy policies of those other websites and services.

INTERNATIONAL PROCESSING

Artistic Fuel is headquartered in the United States. Our users (including the galleries and other organizations that use the Services as exhibitors or sellers), service providers and other third parties you may interact with in connection with the Services, may be located in the United States or other countries around the world, including countries that may not offer the same level of protection for Personal Information as that offered in the United States. By accessing or using the Services in the United States or any other country or jurisdiction, you agree that your information may be transferred and processed in the United States and any other country or jurisdiction.

In cases of onward transfer to third parties of Personal Information of EU individuals received pursuant to the EU-U.S. Privacy Shield, Artistic Fuel remains accountable for the onward transfer of that Personal Information.

CHILDREN'S INFORMATION

The Services are not directed to children under the age of 13, and we do not knowingly collect Personal Information from people in this age group. If you believe we may have collected Personal Information from anyone under the age of 13, please contact us at _____@ artisticfuel.com.

SECURITY

Every Artistic Fuel account is protected by a password to help maintain privacy and security on the Services. If you register for an account, we urge you to use a strong password containing unique numbers, letters and special characters and to protect the confidentiality of your password at all times. If you suspect or become aware of any unauthorized access to or use of your account or password, you agree to immediately notify us and change your password. Please note that while we seek to protect your information and maintain the security of the Services, due to the possibility of hardware or software failure, unauthorized entry or use and other factors, we cannot guarantee the security of any information, whether online or offline. Any transmission of information is at your own risk. Please also note that any information you provide to us by email is unencrypted.

STATUTORY REQUESTS

Some jurisdictions have laws that give people the right to access or correct the Personal Information a company has about them. We will honor any statutory right you may have to access or correct your Personal Information that we have in our records, and you can email such requests to privacy@artisticfuel.com. Once we receive your request, we will let you know if an administrative fee will apply to fulfill your request, as permitted by applicable law. However, please note that even if you have a legal right to request access to information or to correct information, as permitted by applicable law, we may reject requests that are unreasonably repetitive, would require disproportionate technical effort (for example, developing a new system or materially changing an existing practice), would jeopardize the privacy of others or would be extremely impractical to fulfill (for example, requests to access information located on backup systems).

EU-U.S. PRIVACY SHIELD

Artistic Fuel is a participant in the U.S. Department of Commerce's EU-U.S. Privacy Shield Framework ("Privacy Shield"). Artistic Fuel complies with the Privacy Shield regarding the collection, use and retention of personal information transferred from the EU and the United Kingdom to the United States in reliance on such a framework. Artistic Fuel has certified to the Department of Commerce that it adheres to the Privacy Shield Principles with respect to such information. If there is any conflict between the terms in this privacy policy and the Privacy Shield Principles, the Privacy Shield Principles will govern. We are subject to the investigatory and enforcement powers of the Federal Trade Commission.

For more information about the EU-U.S. Privacy Shield Framework, visit the U.S. Department of Commerce's Privacy Shield website __________________________.

DISPUTE RESOLUTION

As this Policy is part of the Agreement, any Disputes involving you and us that relate to privacy or the use of your information and that arise out of or are related to this Policy or the Services will be subject to provisions of the Agreement regarding the limitation of damages and liability, choice of law and dispute resolution, including mandatory binding arbitration.

If you do not receive timely acknowledgement of your complaint, or if your complaint is not satisfactorily addressed, you can also submit your complaint to Privacy Trust, an independent third party. Visit Privacy Trust's website here to file a complaint. In limited situations, EU individuals may seek redress from the Privacy Shield Panel, a binding arbitration mechanism, and please note that you have the right to register a complaint with your data protection regulator in your country, a list of which can be found here.

CHANGES TO THIS PRIVACY POLICY

Our business changes with time, and our Privacy Policy will change also. We reserve the right to change this Policy, including our Cookie Policy, without prior notice, at any time in our sole and absolute discretion. For example, and without limitation, we may change this Policy to reflect changes in the law or changes to the Services. All changes to this Policy will be effective when posted on the Services, or at such later date as may be specified in the updated Policy. We will notify you of any changes to this Policy by posting the updated Policy on the Services, and you agree to review this Policy regularly and inform yourself of all applicable changes. By continuing to use the Services after any changes to this Policy become effective, you agree to such changes and the updated Policy. Unless we notify you otherwise, the current version of this Policy will apply to all information that we have about you or your account.

CONTACTING ARTISTIC FUEL

If you have questions or comments about this Policy or our privacy practices, would like to know what Personal Information we hold about you or would like to update, delete or request access to that Personal Information, you may contact us by email sent to info@artisticfuel.com, or by postal mail sent to Artistic Fuel, LLC, 215 Depot Court, Leesburg, VA 20175, U.S.A.

COOKIE POLICY

Cookies, Web Beacons, and Similar Technologies. We may use cookies, web beacons and similar technologies, such as tracking URLs, to collect information about how you or others access or engage with the Services, Content, emails and ads displayed on or off the Services, and to operate, develop, improve and customize the Services, Content and marketing, including ads displayed on or off the Services. Many browsers automatically accept cookies, but your browser may have settings that enable you to decline or delete cookies on your device. Please note that if you decline cookies, you may not be able to sign in, customize or use some of the interactive features of the Services, as some of the Services require cookies to operate.

What these Technologies Are. "Cookies" are small data files placed on your computer or other device that record information. For example, a cookie could enable the Services to recognize your browser, while another cookie could store your account preferences and other information to help make the Services more customized. We may use two kinds of cookies, "session cookies" and "persistent cookies." Session cookies normally expire when you close your browser, while persistent cookies remain on your device until they expire or are deleted. "Web beacons" (also known as "pixel tags" or "clear GIFS") are pieces of code or pixels embedded in a web page or email to track engagement with and responses to emails, web pages or ads, or to access or communicate with cookies. "Tracking URLs" are special URLs that can be used to track engagement with and responses to emails or web pages.

Third-Party Analytics, Service, and Ad Providers. We may use third-party analytics and service providers who help us to better understand how the Services and Content are accessed and used, including for web analytics, audience measurement, personalization and segmentation, and relationship management purposes. In turn, this information helps us to develop and improve the Services and Content. Our third-party analytics and service providers include, but are not limited to, Google Analytics. These providers may use cookies, web beacons and similar technologies to collect information about how users access or engage with the Services, Content, emails and ads on or off the Services. For more information about how Google may collect and process information in connection with Google Analytics, click here.

We may also use third-party advertising providers, including ad networks or exchanges, to help display ads on the Services or on other websites, including customized ads based on past online activity. These third parties may use cookies, web beacons and similar technologies to help provide their services to us and to collect information about your and others' online activity across different websites. These providers may also collect your IP address, device identifier or identifier for advertising ("IDFA"). The third-party advertising providers we use include, but are not limited to, Google Analytics, and we use its Remarketing and Demographics and Interest Reporting features, which enables Google Analytics to collect data about traffic on the Services through Google advertising cookies and anonymous identifiers. We and third-party providers, including Google Analytics, may use first-party cookies (cookies set by the website you are visiting) and third-party cookies (cookies set by a third-party website other than the website you are visiting) to inform, optimize and serve ads based on past visits to the Services. We do not control the practices of any third-party providers, and this Cookie Policy (and our Privacy Policy in general) does not cover the use of cookies, web beacons or similar technologies by any third parties.

Opting-Out. Third-party providers may offer you a way to opt-out of receiving cookies from them by visiting their own websites or the websites of industry groups such as the Network Advertising Initiative and the Digital Advertising Alliance. For example, you may opt-out of receiving ad-related cookies from Google through its Ad Settings. If you opt-out of receiving cookies from one of these providers, it may place a cookie on your device to remember your preference. Accordingly, if you delete cookies, install a new browser or start using a new device, you may need to repeat the opt-out process. To opt out of receiving any marketing materials, please email us at info@artisticfuel.com.

Changes to this Cookie Policy. As this Cookie Policy is part of our Privacy Policy, we may update it at any time as described in our Privacy Policy. Please review this Cookie Policy regularly to be informed of any updates.

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and ARTISTIC FUEL PRIVACY POLICY Last Updated: October 31st, 2019 There are many different ways you can use our services. You can search for and share information, communicate with other people or create new Content.

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UP | Urbanplunger - Wine Culture Centre, Cantina Valpolicella Negrar, Italy, International competition

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TeamLab creates interactive whirlpools inside National Gallery of Victoria

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Japanese art collective TeamLab has used lighting to create a sea of spiralling whirlpools inside the National Gallery of Victoria in Melbourne

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Yinka Ilori creates maze of colour and sound in V&A Dundee

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Yinka Ilori has created a colourful maze-like installation called Listening to Joy for the V&A Dundee, exploring the difference between how adults and children approach space.

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Japanese artist Kohei Nawa filled a dark room with billowing clouds of foam for this art exhibition in Aichi, Japan (+ slideshow).

Kohei Nawa used a mixture of detergent, glycerin and water to create the bubbly forms of his installation, entitled Foam.

Described by the artist as being "like the landscape of a primordial planet", the large cloud-like forms were pumped up from the floor in eight different locations, creating a scene that was constantly in motion inside an otherwise black room.

The artist experimented with different quantities of the three ingredients to create a foam stiff enough to hold a shape without being affected by gravity.

"Small cells bubble up ceaselessly with the slight oscillations of a liquid," said Nawa, explaining the process. "The cells gather together, totally covering the liquid as they spontaneously form a foam, an organically structured conglomeration of cells."

"The risen volumes of foam link together and reach saturation, but continue to swell, occasionally losing vitality and spreading out over the ground," he added.

The exhibition was presented in Autumn 2013 as part of the Aichi Triennale, an art exhibition in Nagoya, Japan.

Photography is by Nobutada Omote.

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Kohei Nawa's Foam installation created a landscape of soapy bubbles

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Japanese artist Kohei Nawa filled a dark room with billowing clouds of foam for this art exhibition in Aichi, Japan (+ slideshow). Kohei Nawa used a mixture of detergent, glycerin and water to create the bubbly forms of his installation, entitled Foam.

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An oldie but a goodie here from US-based architects and installation designers Snarkitecture. Tasked with creating an entrance pavilion for Design Miami 2012, Alex and Daniel produced an array of giant inflatable cylinders, grouped together in an undulating pattern to produce a unique topographical landscape above the viewer's head. The cylinders fill in the entire courtyard space and are then lifted to create a clean, white cave with natural light leaking through the apertures between each form. There's also giant grey worms to recline on in the middle providing a perfect breathing space among the chaos of the main fair.

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Architecture: A giant inflatable canopy created by the brilliant Snarkitecture

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An oldie but a goodie here from US-based architects and installation designers Snarkitecture. Tasked with creating an entrance pavilion for Design Miami 2012, Alex and Daniel produced an array of giant inflatable cylinders, grouped together in an undulating pattern to produce a unique topographical landscape above the viewer's head.

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双带小丑鱼睡地毯海葵就像早上不想起床的我_哔哩哔哩_bilibili

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Ann Hamilton: "The structure of the building inspired me to hang something, and I immediately thought of hanging such a swing from a height of more than 80 meters from the roof. And I wanted to bring that tenderness and intimacy that I found to the In this space, I feel that when a person loses gravity, his body and mind are open, so I created 48 swings. Each swing is connected to the structure above the head, and there are two lines connecting the middle The white cloth of the cloth is connected with another swing on the back of the cloth. So if you swing on the side of the cloth, you can feel the weight of the swinger behind the cloth, which creates a kind of feeling that belongs to the whole space. touch the relationship".

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"There's something that happens when you swing. I'm sure there's a neurological explanation for the sense of pleasure that you feel and I think people are giving over to that."
Filmed in 2012 at Manhattan's Park Avenue Armory, artist Ann Hamilton discusses her installation the event of a thread, which occupied the Armory's cavernous drill hall. Hamilton, whose artwork often deals with the connection between text and textiles, was on site every day during the installation's one-month run. During that time she was able to witness the various ways that visitors engaged with the different though interconnected elements of the artwork.

If you were lucky enough to have visited the event of a thread, your foremost memory of it is probably the undulating white silk curtain that divided the space. Next you might remember the sensations you felt while swinging, or perhaps the odd sight of pigeons sitting calmly in nesting cages. Or maybe you remember the different sounds. There were the sounds of things you could see-people laughing as they whooshed past you on swings or the fluttering of pigeon wings. And then there were stranger sounds-distant bells and muffled voices coming from a series of paper bags randomly positioned throughout the space-whose sources were harder to locate.

Although this new Exclusive begins with footage of Hamilton's paper bag "speakers," the film doesn't go into detail about what they meant or the sounds that emanated from them. Inside of each bag was a radio transmitting the voice of a "reader," an individual who sat at the entrance of the drill hall reciting concordance texts to the pigeons.

After our interview with Hamilton, she asked us to speak with Gian-Murray Gianino, one of the readers and a professional actor with the SITI Company. Hamilton ended up interviewing him herself while we recorded. Their conversation, excerpted below, explains what a concordance text is and sheds light on their role in the installation.
Ann Hamilton: Could you start by saying what you're doing in the piece the event of a thread?
Gian-Murray Gianino: There are always two readers sitting at a table reading a scroll and there are cages of pigeons on the table. So we're communicating these texts to the pigeons. The texts are glorious and fabulous and rich-Aristotle, Darwin, William James, Emerson. They're in something called a concordance, which actually I'm still trying to figure out. But it has a spinal word and it connects two different fragments of the text and puts them together with different spinal words like "in, the, breath, or" so that the actual thing we're reading is non-linear, although we could find a linear thread in it. There are guidelines to how we read but there are no rules.
AH: That means it's still alive.
GMG: That's the richness of it. It is my process as an artist and as somebody who just speaks words. I mean, that is my job but everybody does it. So what does your brain go to or what words are you attracted to or what are the pigeons doing that maybe draws you to something else in the text? I'm finding my habitual rhythms and then I'm trying to swim away from them and challenge myself.
AH: How much are you affected by the reader next to you?
GMG: There are people who you're going to have a natural affinity with, either rhythmically or tone-wise or emotionally because you know them. And some people you don't know as well, which is exciting because it's an opportunity to get to know someone better. Because it's been packed and growing, it's very hard to hear that other reader unless somebody comes by with a bag and then you hear the person's voice. The day after we opened was the quietest day that I've read here, so I was able to sort of zen out and play with those people. Now, as it's been more active, it requires more rigor to keep finding something in the text with your partner. It's constantly changing. I wouldn't say that any moment has been the same.
AH: I'm really struck by how essential listening is to how you read.
GMG: Any good work, any good piece of art in any medium, is a conversation between the artist and the viewer, the other artists, the space, the whole thing. This seems to me a pretty amazing example of that.

As a producer and director, Ian Forster creates documentary content for Art21's various digital and broadcast programs. Since joining the organization in 2009, he has worked on four seasons of Art in the Twenty-First Century and the Peabody Award-winning film William Kentridge: Anything Is Possible. Additionally, he has overseen the digital series Extended Play since 2012, producing over 100 short artist portraits. Forster created the online video series Artist to Artist in 2013, which has since featured artists in conversation with their peers at international biennials in Italy, Turkey, the United Arab Emirates, and the United States.

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Exclusive | Ann Hamilton: "the event of a thread" | Art21 Magazine

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"There's something that happens when you swing. I'm sure there's a neurological explanation for the sense of pleasure that you feel and I think people are giving over to that." Filmed in 2012 at Manhattan's Park Avenue Armory, artist Ann Hamilton discusses her installation the event of a thread, which occupied the Armory's cavernous drill hall.

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Visitors are invited to enter the installation, and explore it by climbing. The brave ones who venture into the structure look upon museum visitors down below, wandering in the piazza, as miniature figures that occupy a miniature-like world. From the ground floor and the mezzanines of the Ständehaus, the installation's visitors on the net look like floating in the sky.

Once several people enter the structure simultaneously, it is set to motion, altering the tension of the steel cables and distances between the three levels of the interlaced net. The floating space now becomes a vibrating web of relationships, resonances, and synchronous communication.

Like a spider in a web, visitors perceive the presence of others through vibrations. This echoes Saraceno's interest and research, carried in his studio in Berlin, on new hybrid and more-than-human forms of communication, and co-habitation.

In terms of scale and discourse, in orbit is at forefront of Saraceno's oeuvre. Even those who are reluctant to enter the structure, suspended high above an abyss, and who decide instead to explore the installation in exclusively visual terms, will find themselves confronted with themes of flying, falling, and floating, and gripped by archetypal emotions that are associated with these experiences.

"To describe the work means to describe the people that use it - and their emotions," explains Saraceno. Rarely does a work of art touch fears and desires of viewers so intensely, and alters the perspectives of those who decide to step into an airborne condition.

in orbit was planned by Saraceno together with engineers, architects, and biologists from 2011 to 2013, and it is one of the artist's most elaborate installations. Despite the fact that the network construction alone weighs three tons, and the largest of the "spheres" 300 kg, the work, created specially to the spatial condition of the Ständehaus with a meticulous precision, is remarkably light: its fineness and stability hints to the structure of a spider's web.

For a number of years, the artist has been inspired by the intricate construction of spider webs, and has assembled the first three-dimensional hybrid spider web collection in the world. His research, intrigued by more-than-human worlds, studies web-building techniques and social group behavior of various spider species. The results of this inquiry have enriched his artistic practice by incorporating the insights on the functionality, beauty, and strength of the webs into his works.

While the precise observation of nature and natural phenomena suggests the basis for Saraceno's work, art-historical references, like of visionary architects Frei Otto or Richard Buckminster Fuller, are recognizable as well. Saraceno's practice can be viewed as a constant research and ambition to propose and to realize utopian architecture that is well informed by environmental, social and mental ecologies. Each installation, including in orbit, is a step forward to this large-scale visionary project, with an ultimate result: a floating city of the future.

Perceived as a response to the current troubling environmental crisis, the vision materializes in multiple recent actions, gathered together under the Aerocene project: experiments in science, community building and social engagement, performances and interdisciplinary dialogues, inviting to fly and float with one's feet on the ground.

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TOMÁS SARACENO: IN ORBIT | June 22, 2013 - July 1, 2022

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Visitors are invited to enter the installation, and explore it by climbing. The brave ones who venture into the structure look upon museum visitors down below, wandering in the piazza, as miniature figures that occupy a miniature-like world. From the ground floor and the mezzanines of the Ständehaus, the installation's visitors on the net look like floating in the sky.

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在薰衣草田中参禅，混凝土诗人安藤忠雄的“头大佛”太震撼了！

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在薰衣草田中参禅，混凝土诗人安藤忠雄的"头大佛"太震撼了！_哔哩哔哩_bilibili

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在薰衣草田中参禅，混凝土诗人安藤忠雄的"头大佛"太震撼了！

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卧槽！原来是她让风有了形状！！！

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卧槽！原来是她让风有了形状！！！_哔哩哔哩_bilibili

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卧槽！原来是她让风有了形状！！！

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Seasonal change, function, dynamic, feeling

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Seasonal change, function, dynamic, feeling

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By Peter Vossner

Each year, millions of pilgrims flock to the Al-Masjid an-Nabawī mosque in Medina, Saudi Arabia.

In recent years, the traditional time of pilgrimage has been in the cooler fall and winter months. However, this timeframe is changing gradually, with the lunar calendar indicating that the time of pilgrimage is returning to the extremely hot summer months, making a sunshade absolutely essential.

The Saudi Binladin Group contracted the architectonic planning of the Medina Haram Piazza project to SL-Rasch GmbH in Leinfelden-Echter-dingen based in Germany.

It was clear from the beginning that only PTFE fabric developed by Sefar based in Switzerland, would be able to meet the exceptional situational demands. In addition to UV-stability, the material had to have an extremely high tensile strength owing to wind load, maximum flexibility, colorfastness, fire resistance, as well as effective shading and appropriate light transmission.

Polytetrafluoroethylene (PTFE) is a synthetic fluoropolymer of tetrafluoroethylene that has numerous applications. The best known brand name of PTFE-based formulas is Teflon by Chemours. Source: Wikipedia

The extra tough PTFE fabric especially for this huge project could not remain pure white owing to the intensity of the light since the strong transmission would have blinded people beneath the sunshade.
For this reason, a sand-colored fabric was chosen.
In addition, oriental patterns made from blue PTFE-ribbons should be applied to the underside of the umbrella. With careful adjustment of the weaving machine, the consistent quality of the giant fabric surface was also guaranteed.

Completed in September 2010, a total of 250 umbrellas, each one with a surface area of 25.5 x 25.5 m (when open) and 20 meters high, have been installed in the area surrounding the mosque.

These umbrellas work together to form a shaded area of 143,000 m ² - greater than the floor area of the mosque itself. When closed, each umbrella - including its working parts - is encased in a narrow, elegant column.
The opening and closing procedure only takes three minutes.
With these impressive giant umbrellas, the ambient temperate within the cast of its shade is reduced by at least 8°C. Impressive!

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The Giant Umbrellas That Protect Pilgrims at the Medina Haram Piazza in Saudi Arabia | SENATUS Magazine

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By Peter Vossner Each year, millions of pilgrims flock to the Al-Masjid an-Nabawī mosque in Medina, Saudi Arabia. In recent years, the traditional time of pilgrimage has been in the cooler fall and winter months. However, this timeframe is changing gradually, with the lunar calendar indicating that the time of pilgrimage is returning to the extremely hot summer months, making a sunshade absolutely essential.

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Pritzker-winning Shigeru Ban is a Japanese Architect, famous for his innovative work with paper, particularly cardboard tubes, to quickly and efficiently house disaster victims. He is one of the few world-famous Architects who is dedicated to humanitarian efforts around the World.

Here are the 15 works of Shigeru Ban every architect should visit:

1. Cardboard Cathedral, New Zealand

Interior View - Cardboard Cathedral

2. Centre Pompidou-Metz, France

Perspective View - Centre Pompidou-Metz

3. Metal Shutters House, NewYork

Exterior View - Metal Shutters House

4. Paper Log House, Japan

Front View - Paper Log House

5. Tamedia Office Building, Switzerland

Outer View - Tamedia Office Building

6. Curtain Wall House, Japan

Exterior View - Curtain Wall House

7. Nicolas G. Hayek Center, Japan

Facade View - Nicolas G. Hayek Center

8. Nomadic Museum, New York

Front View - Nomadic Museum

9. Naked House, Japan

Side View - Naked House

10. New Temporary House

View - New Temporary House

11. Furniture House 1, Japan

Front View - Furniture House 1

Year: 1995
Location: Yamanashi, Japan

12. Japan Pavilion EXPO 2000 Hannover - Germany

Interior View - Japan Pavilion EXPO 2000 HANNOVER

13. Double Roof House, Japan

Exterior View - Double Roof House

14. Paper Temporary Studio, France

Front facade View - Paper Temporary Studio

15. Haesley Nine Bridges Golf Club House - Korea

Side View - Haesley Nine Bridges Golf Club House

Rethinking The Future (RTF) is a Global Platform for Architecture and Design. RTF through more than 100 countries around the world provides an interactive platform of highest standard acknowledging the projects among creative and influential industry professionals.

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15 Works of Shigeru Ban Every Architect should visit

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Pritzker-winning Shigeru Ban is a Japanese Architect, famous for his innovative work with paper, particularly cardboard tubes, to quickly and efficiently house disaster victims. He is one of the few world-famous Architects who is dedicated to humanitarian efforts around the World.

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【花艺灵感】#320  | 英国花艺师 | 伦敦花艺学校 | london flower school |

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【花艺灵感】#320 | 英国花艺师 | 伦敦花艺学校 | London Flower School |_哔哩哔哩_bilibili

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Regular visitors to TBTP know that I am a huge admirer of the Spanish street art collective known as Luz Interruptus. They recently completed this extraordinary installation for the first International Festival of Light at the beautiful Plaza Mayor in the heart of Madrid.

La Vida Continua Entre Hojas Blancas is centered on 4,000 notebooks, 2,000 of the notebooks were distributed among Municipal Senior Centers in the city so that senior citizens could express on the pages their hopes, fears, and reflections during the lockdown. The remaining 2,000 blank notebooks were added to the display for visitors at the Festival Internacional de Luz de Madrid to add their own thoughts and feelings.

Here's what Luz Interruptus had to say about the project:

"They told us their stories with uncanny detail and others drew as well, in some cases showing great talent. With their letters, poems, accounts, words, images, and scribbles, a large panel of lighted memory was erected. Writing sessions were organized which turned into a time of reunion. Therapists, instructors, technicians and directors were also present to help materialize their accounts. People with disabilities and their caregivers participated as well."

The results are probably moving, possibly mundane, and at some point, profoundly moist - thanks to a surprise rainstorm of intensity and duration that transformed many of the pages into objects far less geometric than the crisp flurry of quadrilateral finesse they began as. "The pages had acquired a more sculptural compact appearance," on artist tells us, "so that the wind could not do its job and the sound of the pages could not be heard."

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Regular visitors to TBTP know that I am a huge admirer of the Spanish street art collective known as Luz Interruptus. They recently completed this extraordinary installation for the first International Festival of Light at the beautiful Plaza Mayor in the heart of Madrid. La Vida Continua Entre Hojas Blancas is centered on 4,000 notebooks, 2,000...

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Live wind map and wind forecast - Windy.app

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Windy.app live wind map and wind forecast: local wind speed, wind direction, wind gusts, and more

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The Cliftonville Lido complex is instantly recognisable.

Its cream coloured Art Deco structures, porthole windows, red roof tiles and four-sided 'Lido' beacon are a magnet for photographers and film-makers and the site holds a wealth of interesting features.

The old Clifton baths within the complex represent a unique survival of Georgian bathing history, there is a hidden subterranean network and echoes of leisure enjoyed from the plunge baths of the 1830s through to the nightclubs of the 1960s and 70s.

Today much of the site lies neglected - other than the Cliff Bar and snooker rooms owned separately from the rest of the complex.

Last month a huge hole has appeared in the pavement area at the Cliftonville Lido car park.

The surface collapsed at the area closest to the sea facing wall along from the Cliff Bar building. It is thought poor drainage and years of neglect are contributory factors.

Demolition of the pergola on the site of the Margate Lido was carried out on Monday 1 November by contractors. The council's Building Control department conducted a site visit and confirmed that the structure was required to be demolished on safety grounds.

A Thanet council spokesperson said: "As the structure was within permitted parameters for the demolition of a structure in a conservation area, as measured by its cubic area, the demolition was not subject to planning permission."

Resident Ben Wykes has been into the complex since the collapse and his photos show a sad state of disrepair.

The Modern Provider bakery business owner said: "I've been a bit obsessed with the Lido and the current state of it since I moved here over 5 years ago. I've tried to find out as much as I could about it but the layers of ownership, administration, fallen through ideas etc seems incredibly complex.

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"The recent 'sinkhole' in the car park presented an opportunity I couldn't turn down. I knew where to go and explore once inside from previous research and just decided it was now or never. I don't think anyone has walked by the Lido recently and not wondered what it looks like inside so I wanted to share the images."
(Editor's note: We do not advise entering structures such as the Lido without the necessary permissions and safety precautions).
Ben is now working on a plan to host a 'Hades' reunion party, possibly at the Winter Gardens.

He said: "I want to do 'an evening with' as I've gotten to know so many people who used to go there.

"It would include getting everyone together to tell their stories on stage."

Keep up with the plans by following Hades Margate on Instagram.

The complex of buildings date over two periods - the early-C19 sea bathing site of the Clifton Baths; and the lido area, dating from 1926 and created by Dreamland entrepreneur John Henry Iles. It was called the Cliftonville Lido from 1938.

The Clifton Baths is the only known example of a sea bathing establishment which was dug out of the cliffs.

The baths were constructed between 1824-28 by John Boys at a cost of £15,000. It was excavated from the chalk cliff northeast of the harbour.

A large dome provided storage for 20 to 30 bathing machines which were brought down a curving tunnel to sea level when required. A tunnel also led to the Lower Reservoir used as a plunge bath for women and children. A horse pump forced sea water from the Lower Reservoir to the Upper Reservoir where it supplied the water for the hot baths, the power supplied by a horse gin in the open air.

There was also a bathing room divided into two wings, the north for gentlemen and the south for ladies and an Upper Terrace with round-headed alcoves, seats and benches for enjoying the sea views.

The lido was a semi-circular shaped pool which held 1000 bathers and could be emptied and filled every day with the ebb and flow of the tide.

At the landward end it had an amphitheatre for 3000 people and adjoining promenades and cafes. It also had slides, diving boards and moored floats.

The Cliff Bar was erected beside the sun terrace and could seat 1000 people with entertainment provided by orchestras on a circular stage. The Cafe Normandie was a large cafe where dances were held. It was destroyed by a great storm in 1953.

Various bars and clubs have had a home at the site including Seduction, the Golden Garter saloon, the Cavern, the Jamaica Bar, Hades and Echoes which was the last to shut in the 2000s.

The open air pool, where artist Tracey Emin learnt to swim, was closed in 1978 and filled in with sand.

The structures are on four levels, the lower levels excavated from the chalk cliffs and only the upper level, on the landward side, above ground level.

The Clifton Baths were Grade II listed in 2008.

Last year members of Save the Lido were clearing debris from the complex with the aim of regenerating it. Laser mapping of the area was completed by Thanet council and £44,000 was secured from the Coastal Revival Fund for a feasibility study. However, the team say they have been unable to access the site this year.

In 2014 plans for a sealife centre at the site were mooted but never came to fruition. The then-site owners Stour Side Investments/Stour Side Developments put the complex up for auction in 2016 with a guide price of £600,000 but it was later withdrawn.

Administrators Duff & Phelps were brought in during July 2017 after concerns over business irregularities were highlighted. The assets of Stour Side Developments, including two sites at the Lido, remain in administration.

The third Lido site, of the snooker club, was bought by Lido Streetview Limited - run by long-time Lido manager Neville Borck and Martyn Buckley - for £100,000 in February 2017. Mr Borck is also a director of Lido Views.

This year a progress report from Duff & Phelps revealed a sale of the entire site is being considered.

The administrators say: "(We) have consequently been considering and exploring the options available to the company to enhance the value of the Lido 1 and Lido 2 properties in order to maximise realisations.

"It has been determined that a sale of Lido 1 and Lido 2 properties together with Lido 3 and the Lido Pleasure Centre as a collective development opportunity would enhance their value as compared to piecemeal sales.

"The Joint Administrators have reached an agreement with the owners of Lido 3 and the Lido Pleasure Centre and are currently marketing these properties for sale."

The Joint Administrators also obtained from court a further two-year extension to the term of the Administration which will now come to an end on 11 July 2023.

The administrators add: " The Joint Administrators contacted the owners of Lido 3 and the Lido Pleasure being Lido Views and Lido Streetview respectively. Following discussions, the Joint Administrators reached an agreement and entered into an option agreement on 17 June 2021 which, in consideration of the Company paying £25,000 (which it has paid), grants the Company an exclusive option to purchase the Lido 3 and the Lido Pleasure Centre from Lido Views and Lido Streetview respectively for a set amount.

"The term of the agreement is 2 years, expiring on 16 June 2023. It was also agreed with Lido Streetview and Lido Views that, during the period of the option agreement, they be granted leases over both Lido 1 and Lido 2.

"As a consequence of entering the option agreement, the Joint Administrators are able to market for sale Lido 1 and Lido 2 properties together with Lido 3 and the Lido Pleasure Centre as a collective development opportunity."

In 2018 a proposal to develop a 100-room hotel and 90 apartments was put to Thanet council in a pre-planning document.

The scheme, from father and son developers Ralph and Alistair Noel, cited: "An iconic residential development of apartments would be built into the cliffs to the west of the site, echoing the layered balconies of the old Lido. Above the hotel and apartment there would be a publicly accessible cliff top sculpture park.

The entrances to the apartments, car park and hotel as well as some hotel rooms would rise up into this park as low-rise features. Together with restored glass dome over the historic Clifton bath these features would appear as sculptural forms in their own right."

The Noels, who do not own the site, are yet to progress their plans.

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Photos show the sad remnants of parts of the once thriving Cliftonville Lido and Clifton Baths

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The Cliftonville Lido complex is instantly recognisable. Its cream coloured Art Deco structures, porthole windows, red roof tiles and four-sided 'Lido' beacon are a magnet for photographers and film-makers and the site holds a wealth of interesting features.

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Group’s ambitious plan to revive Cliftonville Lido and Clifton Baths site

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An ambitious plan to buy the Cliftonville Lido and Clifton Baths site – excluding the Lido snooker club – and get its listed status upgraded has been taken on by a group of six friends. Led b…

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Laser scanning project at Ramsgate Tunnels could help to open further sections to visitors

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Ramsgate’s Wartime Tunnels could be opened up even further to visitors following a laser scanning project by Historic England. The scan, carried out under Heritage Action Zone status, has revealed …

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Report - - The Lido & Clifton baths Margate kent Summer 2013 | Leisure Sites

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Report - - The Lido & Clifton baths Margate kent Summer 2013 | Leisure Sites

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Report - - The Lido & Clifton baths Margate kent Summer 2013 | Leisure Sites

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Visited with Obscurity,Spaceinvader,UrbanGinger,and 2 non members After such a long break since the last time we visited and it being sealed then Blatantly ripped open and then sealed tight this place has been off the circuit of explore,so after a lot of recce and planning a way in was found...

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6) The Lido

Proposals for leisure and tourism related uses will be supported at the Lido. Any development must respect and restore the site's status as a significant heritage asset.

Any development permitted by this policy must not adversely affect any designated nature conservation sites either directly or as a result of increased visitor pressure.

All development must comply with policies relating to the Protection of International and European Designated Sites and associated Mitigation Strategy.

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2.23 The vision for Margate is to build on its success as a fashionable seaside resort based on its unique assets of a sandy beach, harbour, rich townscape, and on the success of the Turner Contemporary Gallery and a revived Dreamland Heritage Amusement Park. Margate's economic heart will be diversified through creative and cultural development and the town will no longer suffer disproportionately high levels of deprivation, transience and poor quality accommodation.

2.24 Positive signs of this step change are beginning to emerge, with a 14% increase recorded in contacts to the Visitor Information Centre in May 2017 compared to May 2013. Margate has a rich heritage which is important to the vibrancy of the town and as an attraction for visitors.

2.25 Margate has a number of commercial areas such as the Old Town, College Square and the upper and lower High Street areas that perform different functions around the town. The upper and lower High Street along with the seafront have suffered from high vacancy rates although this is now beginning to improve.

2.26 The Old Town area is a vibrant part of the town which contains many restaurants, cafes, gift shops and galleries. This area is popular with tourists and local people alike. This area of the town lends itself to tourism and leisure uses.

2.27 Dreamland Amusement Park is synonymous with Margate as a seaside resort. The park closed after the 2006 season. Since its closure the Council has worked, alongside partners to re-open Dreamland as an amusement park. The Council has compulsory purchased the site and a comprehensive phased development scheme is in place, maximising its potential to contribute to the economic well-being and attractiveness of Margate as a visitor destination.

2.28 The run down Lido complex is situated close to the Margate Winter Gardens and Turner Contemporary and, given its coastal location, provides an ideal opportunity for a leisure/tourism related development with uninterrupted sea views. The site is also an important heritage asset but is in need of significant restoration and repair, which the Council considers should be the main focus for any redevelopment proposals.

2.29 Strategic Local Plan designations that are expected to help deliver the continued regeneration of Margate include Margate's Town Centre and Old Town area, Margate's seafront area, and Dreamland.

2.30 Margate has a number of sites which present the opportunity for mixed use redevelopment that potentially include residential. These will also contribute to the overall vibrancy and energy of the town. These sites include Arlington House, the Rendezvous site, the Centre, the Cottage car park and Bilton Square.

2.31 The Arlington House site is a highly prominent site in Margate and has permission for a supermarket. Should this development not commence, the Council considers that this site is suitable for mixed use redevelopment.

2.32 The strategy for Margate's core area is to support retail uses including banks, restaurants and drinking establishments in the primary shopping frontage centred around the upper and lower High Street. The Old Town area will provide a range of town centre uses including cultural and creative industries. There will also be a designated Margate Seafront and Harbour Arm area that supports and encourages seafront leisure uses that are sympathetic to the surrounding seafront architecture. Evidence shows that in Margate there is a need for an additional 3,049 square metres of retail floorspace to the end of the plan period. Current vacancy levels and the wider town centre designations can adequately accommodate this need.

2.33 Seafront areas are important to the vitality and viability of the coastal town centres as they attract tourists and provide a natural leisure focus for the towns in close proximity to the High Streets and main shopping areas. As such, it is important that leisure and tourism uses are encouraged here that are complementary to the town centres and encourage economic growth.
Policy SP08 - Margate The Council will seek to support the continued regeneration and development of Margate as a contemporary seaside resort in line with the following area based proposals, indicated on the Policies Map. 1) Margate Town Centre* The focus for retail development will be in and around the High Street as defined by the Primary and Secondary Frontages. 2) Margate Old Town Margate's Old Town area will continue in its complementary role, contributing to the vitality and viability of Margate's town centre, increasing footfall and enhancing quality and choice of facilities in the town centre. It will be a focal location for creative and cultural industries. Residential development will be permitted above ground floor level only and the Council will resist the loss of existing commercial premises in the area. 3) Margate Seafront and Harbour Arm Within the seafront area of Margate and the Harbour Arm as indicated on the Policies Map, leisure and tourism uses will be permitted, including retail, where they enhance the visual appeal of these areas and protect the seafront character and heritage. Residential development above ground floor will be permitted. 4) Dreamland Dreamland will be developed as an amusement and/or theme park and will be a significant attraction supporting the regeneration of the town. Proposals that seek to extend, upgrade or improve the attractiveness of Dreamland as an amusement and/or theme park will be permitted. Development on site that Proposals would be required to be compatible with the context and proposals of the strategic urban design framework, and integration with appropriate proposals for redevelopment/refurbishment of neighbouring sites. 5) Opportunity Sites There are Opportunity Sites identified on the Policies Map which are considered suitable for mixed use town centre development. The ultimate goal of redevelopment of these sites is regeneration. Residential development will be considered acceptable where this does not conflict with the area based criteria above. 6) The Lido Proposals for leisure and tourism related uses will be supported at the Lido. Any development must respect and restore the site's status as a significant heritage asset. Any development permitted by this policy must not adversely affect any designated nature conservation sites either directly or as a result of increased visitor pressure. All development must comply with policies relating to the Protection of International and European Designated Sites and associated Mitigation Strategy. *as defined by the Primary and Secondary frontages would lead to the reduction in its attractiveness, leisure or tour ist potential will be resisted, including the loss of th e scenic railway.

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Draft Thanet Local Plan - 2031 - Pre-Submission Publication, Regulation 19

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2.23 The vision for Margate is to build on its success as a fashionable seaside resort based on its unique assets of a sandy beach, harbour, rich townscape, and on the success of the Turner Contemporary Gallery and a revived Dreamland Heritage Amusement Park.

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English Heritage have granted Grade II Listed status the baths at the Clifonville Lido. From reading the report, I'm as yet unsure to the extent of the area covered by the listing and how this would affect any proposed development. Interestingly, I think this now affords greater importance to the local area of the Lido and Cliff Terrace. Any development adjacent will now have to be more closely scrutinised by the close vicinity to two listed sites.

Advisor's Report:

REMAINS OF THE CLIFTON BATHS AT CLIFTONVILLE LIDO,
ETHELBERT TERRACE, THANET
Date First Listed:
Formerly Listed As:
Case UID: 163598
Parish THANET
District THANET
County KENT
25-JAN-2008
Adviser: Mrs C Ryan

Advice Text: After examining all the papers on this file and other relevant information and having carefully considered the architectural and historic interest of this case, the criteria for listing are fulfilled.

RECOMMENDATION

CONTEXT
We have been asked to assess The Lido and Clifton Baths, Cliftonville for statutory listing. The
buildings have recently changed ownership and the existing Lido buildings and the remains of the earlier Clifton Baths underneath may be affected by a proposal to build a hotel on the site although a planning application has not yet been submitted. The owners commissioned a report from Canterbury Archaeological Trust which has informed this assessment.

The building does not group with any listed buildings but is situated within a designated
conservation area. Its assessment sits alongside a batch of cases within Margate which has figured prominently in English Heritage's major research project on the history and architecture of seaside resorts, culminating in the publications 'English Seaside Towns' and Margate's Seaside Heritage'.

HISTORY
The complex of buildings on the site are of two distinct phases: an early-C19 sea bathing
establishment, dating from 1824, called the Clifton Baths; and a C20 lido, dating from 1926, called the Cliftonville Lido from 1938. The structures are on four levels, the lower levels excavated from the chalk cliffs and only the upper level, on the landward side, above ground level.

Margate was in the forefront of sea bathing in the C18 with bathers taken into the sea in simple
carts before a fully developed bathing machine appeared there by 1753. This was ascribed to a
Quaker, Benjamin Beale, who added a modesty hood to the rear of a bathing machine, enabling
the bather to enter the sea unobserved and offering some protection from wind and waves. By
1793 a guide to Margate speaks of 30 to 40 bathing machines in use at a time. Bathing Rooms had been established at Margate in the 1750s to the south-west of the harbour from which the bather descended an external staircase on the seaward side into a waiting bathing machine to enter the sea. In 1791 the Quaker physician John Coakley Lettsom established "The Margate Infirmary, for the relief of the Poor whose Diseases require Sea-Bathing" which had its own bathing machine and later sea water baths.

The Clifton Baths were constructed between 1824-8 by John Boys at a cost of £15,000 and
excavated from the chalk cliff north-east of the harbour. An engraving of c1829 shows a Gothick
style fort-like structure with a massive arch at sea level, buildings above with lancet windows,
crenellated parapet and an obelisk-shaped chimney. A detailed description was published in 1830 by George Alexander Cooke, probably based on a visit three or four years earlier. A large domed circular chamber provided storage for 20 to 30 bathing machines which were brought down a curving tunnel to sea level when required. A tunnel also led to the lower reservoir used as a plunge bath for women and children. A horse pump forced sea water from the lower reservoir to the upper reservoir where it supplied the water for hot baths, the power supplied by a horse gin in the open air. An obelisk-shaped chimney served the boiler but was removed in the later C19. A Bathing Room divided into two wings, the north for gentlemen and the south for ladies, had seven hot baths, shower baths and hip baths but was later demolished. There was a Waiting Room which was also a reading and subscription room and a newsroom which also had an organ and billiard table. The upper terrace had round-headed alcoves, seats and benches for enjoying the sea views. A bathers' terrace was erected by 1831 and a second chimney was erected between 1833- 45.

In 1849 ownership of the Clifton Baths passed to John Boys' son, John Harvey Boys. A map of the Margate Sanitation survey of 1852 shows the subterranean plan of the Clifton Baths with the circular dome, a passage leading off to the north-east, a reading room, bathing room, reservoir, tank and horse pump and further subterranean passages. An engraving of circa 1860 shows a further obelisk-shaped chimney had been built by this date.

In 1869 the site was sold to Thomas Dalby Reeve who built a drill hall for the local Artillery
Volunteers and a boiler house with tall chimney. These are shown on Bacon's map of Margate of 1875. In 1876 electricity was used to generate ozone, believed to be beneficial to bathers. In the 1880s an indoor salt water swimming pool was provided at the north-east corner of the site. This appears on the 1907 Ordnance Survey map and survived until the mid-C20. By 1903 a cinema had been installed into the former Drill Hall, operational until 1929. In 1924 a theatre or concert hall was built east of the indoor swimming pool but was later demolished.
From 1926 onwards the Clifton Baths were re-modelled under John Henry Iles, a leading figure in the amusement park industry between the wars, who also owned the Dreamland Amusement Park.

It was turned into a large modern seaside complex with bars, cafes and restaurants on several
storeys and a large open air swimming pool built out into the sea. These buildings were built on to and over the existing Clifton Baths in a Neo-Classical style with Mediterranean influences, laid out over a series of terraces. The Clifton Baths boiler house chimney was adapted with the addition of a large sphere (probably intended to be a lamp), to be an advertising feature for the new complex.

The lido was a semi-circular shaped pool constructed of concrete which held 1000 bathers and
could be emptied and filled every day with the ebb and flow of the tide. At the landward end it had an amphitheatre for 3000 people and adjoining promenades and cafes. It had slides, diving boards and moored floats. The changing rooms, comprising lockers and timber changing cubicles, were located under the promenade and tiered seating of the open air swimming pool.The Cliff Bar was erected beside the sun terrace and the interior scheme was often re-decorated. The Cliff Cafe, which could seat 1000 people with entertainment provided by orchestras on a circular stage, was erected underneath the the Cliff Bar and much of the Sun Terrace. The Cafe Normandie was a large cafe where dances were held, destoyed by a great storm in 1953 and replaced by the Echoes Nightclub. The French Bar, in existence by 1933, was damaged by fire in 1953 and is now a small bar at the east end of Echoes Nightclub. In it is a painted timber doorway blocking the lower end of the earlier Clifton Baths bathing machine tunnel and next to this part of the flint retaining wall of the Clifton Baths Bathers Terrace. The Jolly Tar Tavern, to the south of the Cafe Normandie used the blocked up mouth of the Clifton Baths lower reservoir as an arched alcove behind the bar. Under the Cafe Normandie was constructed the Cafe Basque by 1929 which had plaster scenery. Currently this is inundated at high tide. On the upper terrace, the south range, west of the boiler house had 50 private bathrooms providing ozonised sea or fresh water treatments. By 1929 hair dressing salons had been erected at the west end of the range, currently in use as a snooker club.

In 1938 the Clifton Baths were renamed the Cliftonville Lido. After the Second World War, circa 1948, the private bathrooms in the south range of the lido were closed and replaced by an aquarium and mini-zoo, a billiard hall and by 1949 a puppet theatre. During the storm of 1953 the open air swimming pool was damaged and the Cafe Normandie wrecked and replaced by the Golden Garter saloon, used for a Wild West type show. By 1962 a nightclub called the Cavern Disco had been established in the dome. By circa 1965 the Cliff Bar was re-decorated with a Caribbean theme and renamed the Jamaica Bar. Circa 1971 the Cavern Disco was renamed the Hades discotheque. In the late 1970s the Echoes Nitespot replaced the Golden Garter Saloon. A turf accountants was built by 1974 above the bar at the west end of the south range. The open air pool closed in 1977-8 and was filled in with sand.

DESCRIPTION
Most of the structures above ground level are buildings constructed for the lido, with the exception of the eastern building of the south range, which is the remains of a circa 1870 drill hall with attached boiler house and chimney. This is a stuccoed single-storey building with blocked round- headed arch with a taller boiler house, both with C20 replaced felted roofs. At the western end is a tall, tapering, square brick chimney with moulded top and base to which was added, in the early C20, a multi-faceted sphere and additional raised panels to provide a striking advertising sign for the lido. The oriignal lettering was replaced some time between the 1960s and 1980 and the beacon was repainted and reglazed in 2003. The remainder of the south range and the west side comprises an L-shaped range of buildings mainly erected in the 1920s for the new lido in a Neo- Classical style, stuccoed with hipped pantiled roofs. At the eastern end is a rusticated archway with flat arch and hipped pantiled roof. Adjoining is a low single-storey range with an off-centre projecting and taller entrance, again with a hipped pantile roof. The range has projecting piers defining the bays, one of which is decorated with a mosaic picture from circa 2000, and at the western end a taller flat-roofed entrance to a snooker club. The junction of the L-shaped range is split by a wide flight of steps up to street level and the two ranges are connected by two pantile-roofed angled pavillions, joined by a pantiled roof across the steps supported on a Tuscan column. Attached to the north-western pavilion is the Cliff Bar, a single-storey stuccoed building with projecting central canted entrance bay with cornice and brackets, rusticated piers and two mosaic panels, also from circa 2000. On the north side, overlooking the sea, is a detached 1920s shelter comprising four Tuscan corner columns supporting a hipped pantiled roof. The western wall of the Cliff Bar drops sharply to sea level and is of three storeys, the bar forming the top level with the former Cliff Cafe below and former Cafe Basque below this. There are 6 bays divided by piers to the two lower levels, rusticated to the base and plain above, and later C20 windows to the top floor. The penultimate bay to the south has a projecting cambered arch, approached up a flight of steps, and projecting pilasters with blank panels. The northern bay is similar. The north (seaward) side of the complex is of two to three storeys high. The west bay is three storeys high and defined by rusticated or plain pilasters with rusticated centre with a round-headed arch to the first floor and a flat arch to the ground floor. The remainder is plainer with rusticated piers defining the bays. The lower level comprised changing rooms for the lido. The tiered concrete terraces of the lido are attached to the north as are the large horseshoe-shaped concrete lido walls. The centre of the seaward side has a large concrete panel with curved top and circa 2000 mosaic. This panel is not shown in a photograph of 1928 but the concrete plinth may be a remaining part of the original diving tower.

Few original internal features remain to the lido buildings as they were frequently refurbished. The Cliff Cafe retains the remains of the stage with four fluted columns and shield but the columns and piers in the remainder of the room have been stripped down, for example losing the Ionic capitals. The Echoes nightclub has a 1970s refurbishment replacing at least two earlier decorative schemes. The changing rooms retain a tiled entrance, wooden changing cubicles and tiled freshwater plunge bath, foot bath and showers.

However, internal features also remain from the 1820s Clifton Baths, such as the circular chamber for storing bathing machines. This is a brick lined chamber, 42 feet (12.8m) in diameter, with eight round-headed arches with a thin brick stringcourse at impost level and alcoves, some lined with chalk blocks, in which the bathing machines were stored. The floor was constructed about ten feet (3m) above high water level. The circular shape made it easier for turning horses. Originally there was a domed roof 33 feet (10m) high which protruded above ground level. This was truncated in the 1920s when the above ground lido buildings were built, and a concrete curved staircase and gallery were added after 1962 when the space was used as a nightclub. From the eastern alcove a wide chalk block lined tunnel with vaulted roof about 100 feet (30.5m) in length, 13 feet (3.96m) high and 10 feet (3m) wide, leads to the beach and was used for bringing bathing machines to and from the beach pulled by horses. The mouth of the bathing machine tunnel is now blocked by a doorway in the French Bar where, looking west, can be seen the flint revetment wall of the bathers' terrace. Halfway along the bathing machine tunnel a straight tunnel, the entrance tunnel, leads west. This was used by both staff and patrons and was wide enough for small vehicles. Only the curving lower portion is currently accessible, the rest cut off by C20 alterations. From the west alcove a curved staircase tunnel constructed of chalk-block walls with segmental brick vaulted roof and thirty four steps provided access to ground level for foot passengers and survives in a mutilated condition. At the north-west end a straight horse pump tunnel, 120 feet (36.5m) long lined in brick with some knapped flints, communicated with the horse pump supplying sea water from the lower reservoir to the upper reservoir. Almost immediately leading off the northern wall of the horsepump tunnel is a further narrower curved brick-lined tunnel, called the reservoir tunnel, leading to the lower reservoir. The lower reservoir is a rectangular vaulted chamber about 80 feet (24.4m) long by 18 feet (5.5m) wide, slightly wider at the outward north western end and with a rounded eastern end. It was open to the air at the far end through a huge archway. The reservoir was cut directly into the chalk with a high semi-circular vault of large chalk blocks but the south-west wall has been extensively revetted in brick. It is thought that the reservoir walls were originally lined to a certain height with cement. A wide blocked cambered arch to the exterior is now visible in the former Jolly Tar Tavern. It is possible John Boys' self-acting valves or other features may survive within the brick-lined apron at the north-west end.

ASSESSMENT
Surviving culture and recreation buildings of pre-1914 date are likely to have rarity value and
warrant serious consideration for listing. Much greater selectivity is applied to the period between the First and Second World Wars. Criteria include architectural quality, the quality of internal and external decoration, including sculpture and murals, historical associations, novelty and rarity in surviving examples of popular culture and intactness.

The surviving parts of Clifton Baths, constructed between 1824-8, are an early and rare example of a seabathing establishment. Quebec House in Portsmouth of 1754 (listed Grade II) is the earliest surviving example but it was built on a domestic scale and is now a house. Nos. 2 and 4 High Street, Swanage, Dorset (Grade II) was built in 1825 as baths, billiard and coffee rooms but is now Conclusion: The remaining structures of the early-C19 Clifton Baths, all currently below ground, are recommended for statutory listing. The later-C19 drill hall, boiler house and chimney and the structures of the C20 Cliftonville Lido, including the earlier boiler house chimney adapted to provide advertising signage are not recommended for statutory listing becase of the degree of alteration although they have local historical interest in domestic use. Pelham Place in Hastings, built 1824-8 (Grade II) originally included seawater
baths but these have not survived. An example in Cromer of circa 1828 is also now in domestic
use. Two examples from the 1830s, Allonby House in Allonby, Cumbria of 1835 and The Bath
House at Ilfracombe, Devon of 1836 (both Grade II) have impressive Neo-Classical fronts but have been converted into residential use. The earliest surviving seawater bath appears to be the small marble hot brine bath of c1845 at Shanklin, Isle of Wight (listed Grade II) originally situated in the c1817 fisherman's cottage nearby. The Clifton Baths retains an early and rare survival of a seawater plunge bath, (the lower reservoir) and the only known structure in the country purpose-built to store bathing machines and convey them to the beach (the dome and bathing machine tunnel). The Clifton Baths is unique also as the only known example of a seabathing establishment to be dug out of the cliffs which altered the existing topography. While little survives in stylistic terms, given the overbuilding of the lido, the original choice of a Gothick style was very much of interest, and contributed to the picturesque, scintillating enjoyment of the bathing experience; this does remain in the way the baths exploit the cliffside, maintaining an element of mystery and pleasure as well as the interaction with nature. The 1920s and later Cliftonville Lido buildings would, had they survived intact with lido, terraces,
restaurants and bars, cinema, concert hall and theatre, zoo and aquarium have comprised a
remarkably comprehensive range of inter war seaside entertainment buildings in stylish Neo-classical buildings. Sadly the existing buildings have suffered from degradation of architectural details and been the subject of constant internal re-fitting and the lido itself was damaged in the storm of January 1978 and subsequently filled with sand. The adapted circa 1870 Clifton Baths boiler chimney became a striking iconic advertising sign to the later lido but unfortunately it has been altered since the 1920s, the original lettering to the chimney replaced between the 1960s and 1980 and the beacon repainted and reglazed in the summer of 2003.
Reasons For Designation Decision: The surviving parts of the Clifton Baths are recommended for designation at Grade II for the following principal reasons:

* Constructed between 1824-8 this is one of the earliest surviving seawater bathing
establishments in the country, only two listed examples being earlier in date, both of which were later converted to residential accomodation.
* The lower reservoir is probably the earliest surviving seawater plunge bath in the country;
* The circular chamber and bathing machine tunnel of the Clifton Baths are the only known
examples of purpose-built structures built to store bathing machines and convey them to the
beach;
* The Clifton Baths is the only known example of a sea bathing establishment which was dug
out of the cliffs, altering the existing topography.

COUNTERSIGNING
First Countersigning Adviser: Dr P Stamper
Second Countersigning Adviser: Ms E Gee
Comments: Agreed.
This is a special survival indeed. Extensive research by Canterbury
Archaeological Trust, together with fulsome English Heritage research into the architecture of
the seaside, and ongoing work into the specific history of bathing huts by an outside historian
provides a very clear context in which to make our assessment. This early-C19 architectural
infrastructure to enable a health andpleasure filled experience of sea bathing is a very
interesting survival and that it remains in Margate, with its own claims to earliness in seaside
terms provides additional interest. Even with the losses set out in our advice, the internal
survival certainly renders it listable at Grade II. While characterful, particularly the trademark
chimney, we are not recommending the inter-war lido buildings above, given the degree of
alteration and the much more rigorous context in which such buildings must be assessed.
30-APR-2008
Comments: Agreed. List surviving early C19 parts of Clifton Baths. The structures at Margate
are a rare survival from the early days of sea-bathing, their complexity reflecting the
investment made by its promoters at Margate. By contrast, the lido structures are much later,
and elsewhere survive in a much more complete condition. The Margate lido structures should
not be listed.
09-APR-2008
HP Director:
Comments:

Proposed List Entry

ETHELBERT TERRACE
MARGATE
REMAINS OF THE CLIFTON BATHS AT
CLIFTONVILLE LIDO

Seabathing baths. The Clifton Baths were constructed between 1824-8 by John Boys at a cost of
£15000, excavated from the chalk cliff north-east of Margate harbour. The Gothick style exterior of flint and stone was mainly overbuilt by buildings of the Cliftonville Lido, constructed from 1926 onwards, which are not of special interest. The remaining features of the Clifton Baths are below ground level, excavated out of the chalk cliffs, lined in brick or chalk blocks with some knapped flint visible.

PLAN: Comprises a circular chamber for the storage of bathing machines with eight alcoves from which passages lead off to the east, west and north-west and a further passage, leading off the north side of the north-west passage, leads down to the large rectangular Lower Reservoir designed as a plunge bath for females and children.

DESCRIPTION: The circular chamber is brick lined in Flemish bond and is 42 feet (12.8m) in diameter with eight round-headed arches with a thin brick string course at impost level and alcoves, some lined with chalk blocks, in which bathing machines were stored. The floor was constructed about ten feet (3m) above high water level. The circular shape made it easier for turning horses. Originally there was a domed roof 33 feet (10m) high which protruded above ground level. This was truncated in the 1920s when the above ground lido buildings were built, and a concrete curved staircase and gallery were added after 1962 when the space was used as a nightclub. From the eastern alcove a wide chalk block lined tunnel with vaulted roof about 100 feet (30.5m) in length, 13 feet (3.96m) high and 10 feet (3m) wide, lead to the beach and was used for bringing bathing machines to and from the beach pulled by horses. The mouth of the Bathing Machine Tunnel is now blocked and the original opening can be seen in the French Bar of the later Cliftonville Lido, which also preserves the flint revetment wall of the Bather's Terrace of the Clifton Baths. Halfway along the Bathing Machine Tunnel a straight tunnel, the
entrance tunnel, leads west. This was used by both staff and patrons and was wide enough for small vehicles. Only the curving lower portion is currently accessible, the rest cut off by C20 alterations. From the west alcove a curved Staircase Tunnel constructed of chalk-block walls with segmentel brick vaulted roof with 34 steps provided access to ground level for foot passengers and survives in a mutilated condition. At the north-west end a straight Horse Pump Tunnel 120 feet (36.5m), long lined in brick with some knapped flints, communicated with the horse pump supplying sea water from the lower reservoir to the upper reservoir. Almost immediately in the northern wall of the Horse Pump Tunnel is a further narrower curved brick lined tunnel, called the Reservoir Tunnel, leading to the Lower Reservoir. The Lower Reservoir is a rectangular vaulted chamber about 80 feet (24.4m) long by about eighteen feet (5.5m) wide, slightly wider at the outward north-western end and with a rounded eastern end and
originally open to the air at the far end through a huge archway. The reservoir was cut directly into the chalk with a high semi-circular vault of large chalk blocks but the south-west wall has been extensively revetted in brick. It is thought that the reservoir walls were originally lined to a certain height with cement. A wide blocked cambered arch to the exterior is now visible in the Jolly Tar Tavern of the Cliftonville Lido. It is possible that John Boys' "self-acting valves" or other features may survive within the brick-lined apron at the north west end. Other features of the Clifton Baths may survive beneath 1920s and later structures of the Cliftonville Lido which were superimposed on the earlier fabric.

HISTORY: Margate was in the forefront of sea bathing in the C18 with bathers taken into the sea in simple carts before a fully developed bathing machine appeared there by 1753. This was ascribed to a Quaker, Benjamin Beale, who added a "modesty" hood to the rear of a bathing machine, enabling the bather to enter the sea unobserved and offering some protection from wind and waves. By 1793 a guide to Margate speaks of 30 to 40 bathing machines in use at a time. Bathing rooms had been established at Margate in the 1750s to the south-west of the harbour, from which the bather descended an external staircase on the seaward side into a waiting bathing machine to enter the sea. In 1791 the Quaker physician John Coakley Lettsom established "The Margate Infirmary for the relief of the Poor whose Diseases require Sea-Bathing" which had its own bathing machines and later sea water baths.

The Clifton Baths were constructed between 1824-8 by John Boys at a cost of £15,000, excavated from the chalk cliff north-east of the harbour. It is estimated that the total quantity of the chalk excavated and removed was 40,000 cubic yards (30,584m3). An engraving of circa 1829 shows a Gothick style fort-like structure with massive arch at sea level, buildings above with lancet windows, crenellated parapet and an obelisk-shaped chimney. A detailed description was published in 1830 by George Alexander Cooke, probably based on a visit three or four years earlier. A large dome provided storage for 20 to 30 bathing machines which were brought down a curving tunnel to sea level when required. A tunnel also led to the Lower Reservoir used as a plunge bath for women and children. A horse pump forced sea water from the Lower Reservoir to the Upper Reservoir where it supplied the water for the hot baths, the power supplied by a horse gin in the open air. An obelisk-shaped chimney served the boiler but was removed in the later C19. A Bathing Room divided into two wings, the north for gentlemen and the south for ladies, had seven hot baths, shower baths and hip baths but was later demolished. There was a waiting room which was also a reading and subscription room and a
newsroom which had an organ and billiard table. The Upper Terrace had round-headed alcoves, seats and benches for enjoying the sea views. A bathers' terrace was erected by 1831. A second chimney was erected between 1833-45.

In 1849 ownership of the Clifton Baths passed to John Boys' son, John Harvey Boys. A map from the Margate Sanitation survey of 1852 shows the subterranean plan of the Clifton Baths with the circular dome, a passage leading off to the north-east, a reading room, bathing room, reservoir, tank and horse pump and further subterranean passages. An engraving of circa 1860 shows a further obelisk-shaped chimney had been built by this date.

In 1869 the site was sold to Thomas Dalby Reeve who built a drill hall for the local Artillery Volunteers and a boiler house with tall chimney. These are shown on Bacon's map of Margate of 1875. In 1876 ozone baths were produced by an electrical process and in the 1880s an indoor salt water swimming pool was provided at the north-east corner of the site. This appears on the 1907 Ordnance Survey map and survived until the mid-C20. By 1903 a cinema had been installed into the former Drill Hall which was operational until 1924. In 1924 a theatre or concert hall was built east of the indoor swimming pool but was later demolished.

From 1926 onwards the Clifton Baths were re-modelled under John Henry Iles, a leading figure in the amusement park industry between the wars, who also owned the Dreamland Amusement Park in Margate. The site was turned into a large modern seaside complex with bars, cafes and restaurants on several levels and a large open air swimming pool projecting into the sea. These buildings were built onto and over the remaining parts of the Clifton Baths in a Neo-Classical style with Mediterranean influences, laid out over a series of terraces. From 1938 the name was changed from the Clifton Baths to the Cliftonville Lido.

SOURCES:
Peter Seary, "The Cliftonville Lido, formerly the Clifton Baths, Margate". A Canterbury Archaeological Trust Report of October 2007.
Allan Brodie and Gary Winter, "England's Seaside Resorts". English Heritage (2007) ps 104-5.
English Heritage, "Margate's Seaside Heritage" (2007)
Janet Smith, "Liquid Assets" English Heritage (2007) ps 70-71.
Nick Evans, "Dreamland Remembered" 2005 Edition. P 85-111.

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English Heritage have granted Grade II Listed status the baths at the Clifonville Lido. From reading the report, I’m as yet unsure to the ex...

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Sort file:- Margate, March, 2021.

Page Updated:- Sunday, 07 March, 2021.

PUB LIST

PUBLIC HOUSES

Paul Skelton

Earliest

Lido French Bar

Latest

Margate

Above photos date unknown.

Above showing the damage after the 1953 storms.

With this website becoming increasingly bigger, the amount of in-depth research I am able to do is becoming increasingly watered down. For that reason I have no immediate thoughts to researching pubs in Margate. However, should viewers have any information regarding the pub on this page, or indeed photographs old or new, I am most certainly interested and will add the information to this page. Your help is appreciated.

LICENSEE LIST

If anyone should have any further information, or indeed any pictures or photographs of the above licensed premises, please email:-

TOP

LINK to www.pubwiki.co.uk

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Sort file:- Margate, March, 2021. Page Updated:- Sunday, 07 March, 2021. PUB LIST PUBLIC HOUSES Paul Skelton Earliest Lido French Bar Latest Margate Above photos date unknown. Above showing the damage after the 1953 storms. With this website becoming increasingly bigger, the amount of in-depth research I am able to do is becoming increasingly watered down.

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What is a Townscape Heritage Initiative Grant Scheme?

Townscape Heritage Initiative (THI) Grant Schemes are jointly funded by the Heritage Lottery Fund and Thanet District Council. You can learn more about the programme on the HLF's website.

The main objectives of Townscape Heritage Initiatives are to:

Raise awareness of the value and quality of the historic built environment

Set an example of good practice in building conservation

Reinforce an area's unique identity

Help change residents' and visitors' perceptions of the area in question

THIs work within particular conservation areas and highlight their unique heritage.

Thanet's THI schemes

The Dalby Square, Cliftonville, Townscape Heritage Initiative (THI) Grant Scheme began in January 2013 and will run until June 2019 . Focusing on a square in Cliftonville West that is a traditional heart of British seaside holidays, the scheme aims to help change perceptions of Cliftonville West.

Find out more about the Dalby Square THI grant scheme below.

Thanet is lucky enough to have had a history of successful grant schemes, each lasting 5 years. They are:

Margate Old Town THI

Ramsgate Seafront THI

Ramsgate Seafront Townscape Heritage Initiative

Success despite economic downturn

With a budget of £1,500,000 the scheme lasted from 2009-2013. A total of 62 grants were offered, despite experiencing a double-dip recession. Alongside capital projects (some of which can be seen below), the scheme also helped fund:

repairs to the 14 seafront shelters - in association with The Ramsgate Society;

SAVE Britain's Heritage publication on Saving Thanet: The Architecture of Kent's Forgotten Coast which has a chapter on Thanet's THI schemes;

Ramsgate Town Trail (booklet and interpretation panels) - in association with The Ramsgate Society;

Two lighting schemes. The first set of grant-aided lighting was based at Wellington Crescent and the second set were at Augusta Road and Nelson Crescent, in conjunction with Cllr Liz Green, Kent Highways and residents of Augusta Road and Nelson Crescent.

The total grant spend was £1,277,664.13, with running costs over five years of £196,702.72. Staff savings were made due to the Project Officer being part time, and the saving reallocated towards additional grant offers. This brought the overall scheme total to £1,474,366.85 being an impressive 98.3% spend.

Map of the THI Area:

Margate Old Town Townscape Heritage Initiative

Running from 2003 to 2008, the Margate Old Town Townscape Heritage Initiative (THI) helped to transform some of the previously neglected and run-down buildings within Margate's Old Town into attractive, vibrant properties. The scheme attracted a budget of £1.2 million, with funding from both the Heritage Lottery Fund and Thanet District Council, and substantial contributions from the Single Regeneration Board and European Regional Development Fund. It reached a total spend of 94.8%, and its success helped to pave the way for the Ramsgate THI.

Here are just some of the completed projects which we feel have been particularly successful:

Dalby Square, Cliftonville, Townscape Heritage Initiative (THI) Grant Scheme

The Dalby Square, Cliftonville, Townscape Heritage Initiative (THI) Grant Scheme began in January 2013 and ran until September 2019. It was funded 75% by the Heritage Lottery Fund with 25% match funding from Thanet District Council.

The objectives of the Dalby Square, Cliftonville Townscape Heritage Initiatives were to:

Raise awareness of the value and quality of the historic built environment

Promote the repair of historic buildings in the Conservation Area using appropriate materials, detailing and workmanship

Set an example of good practice in building conservation

Reinforce an area's unique identity

Help change residents' and visitors' perceptions of Cliftonville West

Design for Future Climate Project

The 'Design for Future Climate Phase 2 Programme: Dalby Square, Cliftonville' project was an innovative project exploring how historic buildings in Thanet will react to climate change.

The project was instigated by the team running the Townscape Heritage Initiative (THI) schemes, with specialist consultants carrying out the investigations. It was 100% funded by the Technology Strategy Board.

The purpose of the project was to explore whether the current buildings in Cliftonville West, which mostly date from the late Victorian period, would still be 'fit for purpose' in the future. The focus of the project was Dalby Square in Cliftonville West and the project was in parallel with the Heritage Lottery Fund bid for a new THI scheme, also centred on Dalby Square.

The grant allowed Thanet District Council to commission a predictive, climate change scenarios model specially for Cliftonville in the year 2080. This was produced by the University of Exeter using their Prometheus data sets along with data from UK Climate Impact Projections.

Buildings of the type found in Cliftonville are of a style that is found in many British seaside towns and the findings of the project can be reproduced in other places. One of the undertakings made in the initial application was that the Council will use its elected Member Cabinet system to endorse the recommendations of the Design for Future Climate Change project.

Thanet District Council put together a multi-disciplinary team to study the buildings and gardens in Dalby Square against the projected climate scenario of Cliftonville in the year 2080. The team included an Architect, a Landscape Architect, a Quantity Surveyor, a Sustainable Design Consultant and a Regeneration Consultant. The Kent School of Architecture was also involved during the earlier stages of the programme.

A final report was made in March 2013, together with a summary report in June 2013 ' Climate Change Adaptation: Retrofitting Communities '. Accompanying the main report are five appendices containing background information including: photographic surveys, drawings, cost tables, thermal modelling results, risk assessment documentation and a landscape strategy.

Conclusions

The buildings by virtue of their construction and form are, to a considerable extent, 'climate change ready', more so than most modern buildings. This emphasises their sustainability, in addition to the advantage conferred on them by the embodied energy already contained within their structures.

The central gardens in Dalby Square are already a climate change mitigating element and, by even simple adaptation, can provide shade, shelter and even modest food production which would greatly enhance the quality of life of local residents.

The buildings in Dalby Square (and by extension, Cliftonville West) are easily adaptable to new uses - hotel, multi-generational house - but that given current property values in the area this is currently not possible without public subsidy.

Simple measures of climate adaptation and energy and resource efficiency are currently cost effective and that more complex measures are not. However, the study provides a framework for future adaptations when resources are scarcer and energy more expensive.

Measures need to be considered in terms of their multi-functionality - a measure can perform well across a range of criteria such that even if it doesn't make initial financial sense, it can be justified on other grounds.
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Townscape Heritage Initiative Grant Schemes - Thanet

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Townscape Heritage Initiative (THI) Grant Schemes are jointly funded by the Heritage Lottery Fund and Thanet District Council. You can learn more about the programme on the HLF's website.