Mental Health during COVID, Parliament News Magazine

NEWS

PARLIAMENT PARLIAMENTARY SOCIETY FOR ARTS FASHION AND SPORTS MAGAZINE

ArtHistory RENAISSANCE & REGENCY PERIOD

Activity Book PARLIAMENTARY SOCIETY

ISSUE

SPRING 2021

In the Name of Love SOLUTIONS TO DOMESTIC VIOLENCE

London POST- BREXIT

"Find a group of people who challenge and inspire you, spend a lot of time with them, and it will change your life."

– Amy Poehler

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SPRING EDITION

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BEYOND COVID

ACCORDING TO THE OFFICE FOR NATIONAL STATISTICS (ONS) THE MOST RECENT

U N E M P L O Y M E N T R AT E - F O R OCTOBER TO DECEMBER - WAS 5.1%,

THIS IS THE HIGHEST FIGURE FOR FIVE YEARS, AND

1.74 MILLION PEOPLE WERE UNEMPLOYED. MEANS THAT

REBECA RIOFRIO, DIRECTOR OF THE PARLIAMENTARY SOCIETY FOR ARTS, FASHION & SPORTS

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We are living in unprecedented times, which we probably have never imagined we will face in our lifetime. Last week I lost a member of my family and because of the existing travel ban, I could not travel and attend the funeral. To participate in a ‘Zoom funeral” of a dear family member is not an experience I wish for anyone to have and yet this experience helped me to sympathise with the extra emotional struggle of losing loved ones during Covid times. Currently in the UK we had have 4.19 million Covid cases and 123,000 deaths.

Many hundreds of thousands are grieving and are under pressure, they wake up, stay indoors, and, many are barely surviving financially and undergoing mental stress. This only adds to the uncertainty and gloom. Not being able to plan for the future also triggers unnecessary anxiety.

According to the Office for National Statistics (ONS) the most recent unemployment rate for October to December - was 5.1%, This is the highest figure for five years, and means that 1.74 million people were unemployed.

However, we must make lemonade out of lemons and should understand that the Covid-19 virus has come to stay and as some say, to stay permanently. The faster we get the idea of how to live and succeed despite the virus, the faster we will get out of this cycle of uncertainty.

During this period of lockdown, it is crucial to take care of our mental and emotional health.

In this respect, the instant issue of the Parliament News Magazine reflects on this and raises the appropriate awareness.

To tackle problems that are not within our means or ability, we must get creative. To this end, I would love to share some of the things that I do which has greatly helped me and I sincerely hope that it will help all of you too.

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Declutter - Clean your physical and emotional environment - get rid of everything and everyone which/who doesn't give your peace.

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Learn something new - Improve and acquire new skills, you never know if by learning something new you will be opening a door to new opportunities.

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Stay active - Walk, get plenty of exercise and enjoy nature.

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Chat with your friends and family - Don't bottle things up, maintain a small circle you can trust and pick up the phone and call or message them.

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Find a mentor - Find someone knowledgeable and trustworthy, someone that can guide you to success and that is not afraid to tell you the truth, someone you can call if you need serious advice.

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Improve your social media platforms- Learning to SEO, improve your website, uplift your social media all this takes time and patience but all the information in 'How to' is accessible free online - take 10 minutes a day to improve something on your media platforms and become prominent in the digital world.

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Self- care - Stay positive, everyday look at yourself in the mirror and smile and say something positive about YOU to yourself! It is important to be kind to others but put yourself first on that list.

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Project of growth - Think on your life goals, and if you don't have any goals think how you would live the rest of your life and start working on those 'impossible' projects from today - research - make practical contacts and be proactive, remember you are your own hero.

And overall, if life gets a bit much seek for professional help.

Sometimes things can get overwhelming, even if you’ve been practising self-care and positive thinking so i would love to leave few useful free links that you can contact any time of day or night.

Free listening services: These services offer confidential advice from trained volunteers. You can talk about anything that's troubling you, no matter how difficult: Call 116 123 to talk to Samaritans, or email: jo@samaritans.org for a reply within 24 hours Text "SHOUT" to 85258 to contact the Shout Crisis Text Line, or text "YM" if you're under 19, you can also call 0800 1111 to talk to Child-line. The number will not appear on your phone bill.

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LONDON’S POSTBREXIT BID TO LEAD IN ENVIRONMENTAL POLICIES

BY DR ILMA BOGDAN FRSA

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DR ILMA BOGDAN FRSA FROM THE CONSERVATIVE FOREIGN AND COMMONWEALTH COUNCIL (CFCC) REFLECTS ON LONDON’S CHANCES TO BECOME A GLOBAL LEADER IN ENVIRONMENTAL POLICIES AFTER THE UK’S DECISION TO LEAVE THE EUROPEAN UNION.

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The landmark of Brexit has triggered not only the reconsideration of the British identity and standing in the world as a whole but also London’s role as the hub of a multitude of international activities. Put simply, the question emerged: what London, as a leading international city, can offer to the world post-Brexit?

One is inclined to say - a great deal. London continues to be a financial, political and cultural global centre, Brexit and pandemic repercussions notwithstanding. According to the February Bank of England Monetary Report, over 2021 UK GDP is expected to return quickly towards prepandemic levels as a result of the largely successful vaccination programme. Speaking recently to the Treasury Select Committee, Andrew Bailey, Governor of the Bank of England, reassured MPs that the City will withstand EU attempts to divert financial businesses from London after Brexit.

The Commonwealth Secretariat will continue to be located in London after Brexit as well as London continuing to run such renowned social and sporting events as the London Marathon.

However, with the UK hosting this year’s United Nations Climate Change Conference (COP26) in November in Glasgow, I want to focus my argument specifically on how a post-Brexit London can lead the world in tackling climate change. This conference has particular importance: it is now five years since signing the Paris Agreement and there is, therefore, a pressing need to urge countries to meet their declared climate commitments. The conference delay in view of the pandemic only intensifies the immediacy of this task.

In this context, all viable candidates for the upcoming London Mayoral Elections in May are making a strong bid to address environmental issues, particularly air pollution. The current Mayor and Labour candidate, Sadiq Khan (49%), pledges to take “the boldest action of any city in the world to tackle air pollution” in his manifesto, whereas Tory candidate, Shaun Bailey (28%), promises “a zeroemission bus fleet by 2025 and interest-free loans for black cab drivers to go electric”. Both the Liberal Democrat candidate, Luisa Porritt (10%), and the Green Party candidate, Siân Berry (9%), boldly vow to turn London into “the greenest city in the world”. Whoever wins the elections, clean air will certainly be at the forefront of the city’s policy agenda.

Another pivotal environmental sector, which has been gaining momentum recently, is green finance, which involves mobilising capital to deliver global and domestic environmental objectives.

This year, the UK finally joins a group of 16 countries (Germany, France, Netherlands, Belgium and Ireland included) by issuing its first sovereign green savings bond. That will give retail investors a chance to put money into environmentally-focused projects, such as renewable energy schemes.

According to the London School of Economics (LSE) Grantham Research Institute on Climate Change and the Environment, by issuing the green bond the UK can show leadership in responding “to the global imperative of a green and inclusive recovery from the coronavirus crisis”. The Institute’s report hopes that more countries around the world will now emulate UK’s action as a host of COP26, which, in turn, will generate considerable financial market momentum for investment in environmental projects within and between developed and developing countries.

Prior to that, UK-based funds have already constituted the second largest investments into both the French and Dutch green bonds and the London-based Climate Bonds Initiative has already been providing bonds certification, which verifies conformity with the 2 degrees Celsius warming limit set in the Paris Agreement. It is a scheme used internationally “by bond issuers, governments, investors and the financial markets to prioritise investments which genuinely contribute to addressing climate change.” Besides, London can strengthen its lead in global green finance through The Green Finance Institute, the UK’s principal forum for collaboration between the public and private sector with

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respect to green finance, established in 2019 by the government and the City of London Corporation to champion sustainable finance in the UK and abroad.

The last - but, certainly, not the least – environmental sector in which London may exercise postBrexit global leadership is food waste reduction. During the pandemic, food security has come to the forefront of the international agenda as the critical task was not only to fight the virus but also to feed all those who were locked up and unable to obtain provisions. The fact that the UN World Food Programme was awarded the 2020 Nobel Peace Prize reaffirms the urgency food security and sustainability has acquired.

Globally, 1/3 of food is wasted and the global food system accounts for 20-30% of greenhouse gas emissions. The global food system occupies 50% of the world’s habitable land, uses 70% of the freshwater we consume, causes 78% of all water pollution and is the single biggest contributor (94%) to biodiversity loss. In the UK, more than 10 million tonnes of food are wasted annually, 2/3 of which could have been eaten. The estimated worth of that is £20 billion (£500-£600 per household) and the estimated environmental impact is 20 million tonnes of CO2 emissions (including emissions associated with food production and disposal of waste). This statistics is shocking.

During the pandemic, the UK acted promptly. In spring 2020 the government set up the Food Vulnerability Directorate to ensure food subsistence for the most vulnerable in society, such as those who were shielding, who struggled to access food for any reason and who were economically vulnerable. As the National Food Strategy observes, the UK food system adapted quickly and, overall, there were no serious food shortages. People cooked at home more and wasted less. During the lockdown, the government also provided extra funding for surplus food redistribution organisations. In London, the work of charities fighting hunger and food waste, such as City Harvest and The Felix Project, became indispensable. In the first nine weeks of the lockdown alone, for example, City Harvest delivered 1.5 million meals across London. Throughout 2020, The Felix Project delivered enough food for 21.1 million meals. This way of London tackling food waste is a worthwhile example to be continued post-Brexit and post-pandemic.

Dr Ilma Bogdan FRSA is a member of the Conservative Foreign and Commonwealth Council (CFCC) www.cfcconline.org.uk

REFERENCES: 1 https://www.bankofengland.co.uk/-/media/boe/files/monetary-policy-report/2021/february/monetary-policy-report-february-2021.pdf 2 Andrew Bailey vows to fight Brussels power grab over the City (telegraph.co.uk) 3 https://www.onlondon.co.uk/sadiq-khan-takes-21-point-poll-lead-into-2021-and-is-on-course-for-a-record-breaking-win/ 4 https://sadiq.london/standing-up-for-london/ 5 https://www.shaunbailey.uk/plans/cleaning-up-londons-air 6 1) https://www.luisa4london.co.uk/green; 2) https://www.sianberry.london/category/news/green/ 7 https://www.lse.ac.uk/granthaminstitute/wp-content/uploads/2020/10/Green_Gilt_Proposal_October_2020.pdf 8 https://www.climatebonds.net/certification/ 9 https://www.civilserviceawards.com/award-nominee/food-vulnerabilities-directorate-department-environment-food-and-rural-affairs 10 https://www.nationalfoodstrategy.org/partone/

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IN THE NAME OF LOVE: A QUEST FOR CONSCIOUSNESS, MEANING AND SOLUTIONS TO DOMESTIC VIOLENCE

By Dr Desiree Saddik ‘…Each man kills the thing he loves…’ (Oscar Wilde 1898), The Ballad of Reading Goal).

In this age of consciousness and outing, the more glamorous cousins of domestic and social violence movements, such as #MeToo, and those of race and gender emancipation, risk dwarfing awareness and the chance for change in the domestic violence arena. For this reason(1), succumbed to the task of writing on the subject of domestic violence. Domestic violence is a social disorder, the casualty or the shadow of love. Culture and creativity, psychological knowledge, reflection and understanding provide some solace, but to truly change ourselves and society, we need to soar the skies(2) and search for something else.

‘In the Name of Love’ is a two part series on domestic violence and consciousness raising, written from a psychological and cultural/artistic perspective, not a socio-political angle. Philosophical writers, for example Camille Paglia(3) will argue that violence is part of nature, and culture, a defence against violence. Part one maps out the nature of violence and psychological antidotes. Part two ‘soars the skies’ in search of antidotes to violence in the arts and culture.

To change a society, we need to change but one individual, each a vital piece of a social puzzle.

“One incident paves the way for more.

Even if the violation never occurs again in the course of a relationship, the other may cower, relive and re-enact the violence forever more, it becomes a part of them, always burning, an eternal torture.

Couples are bound in a cycle of guilt, blame and self-blame, surviving in a pit of booby-traps, dragons and snakes.”

Dr Desiree Saddik, Consultant Lead Child, Adolescent, Family and Adult Chartered Clinical Psychologist, Associate Fellow of the British Psychological Society and Founder of ‘The Pink Couch’ 8) at 10 Harley Street London.

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PART I: THE NATURE OF VIOLENCE AND PSYCHOLOGICAL ANTIDOTES

Violence not only includes the obvious physical abuse or murder; it can be subtle, undercover, veiled, difficult to decipher, covering emotional abuse and sexual abuse. How one defines domestic violence is a matter of discern. I would like to define it as being in the eyes of the beholder, and in the realm of feelings and sensibility. It is dialogical in its nature, it happens in relationship with another or others, among people, and within one’s relationship with oneself above all else. It is without consent, implicit or explicit, and invokes harm. It may be unintended or unconscious. In the history of a couple, one incident of domestic violence, defines a relationship as ‘violent’(4). One incident paves the way for more. Even if the violation never occurs again in the course of a relationship, the other may cower, relive and re-enact the violence forever more, it becomes a part of them, always burning, an eternal torture. Couples are bound in a cycle of guilt, blame and self-blame, surviving in a pit of booby-traps, dragons and snakes.

Homo-sapiens are a warring race. Countries at war have a greater incidence of domestic violence.

In the presence of domestic violence, there is a heightened risk of murder, matricide, patricide and infanticide. In families where there are high levels of conflict, there is a higher risk of mental health disturbance. Substance misuse, undetected mental health difficulties and domestic violence often occur together. The perpetuation of domestic violence trans-generationally is well established.

Abuse can often be part of an identity, one is not ‘macho’ unless one is violent.

Violence is part of initiation ceremonies and peer experiences. Sadomasochistic metaphors are used to describe office politics.

Domestic violence has permeated the language and beliefs about coupling - ‘cruel to be kind’, ‘treat them mean keep them keen’, ‘relationships hurt’, ‘you are not whole until you have had your heart broken’, ‘love and hate are flip sides of the same coin’. Eve Hewson in a talk back show on ‘Behind her eyes’ said ‘the Masses find murder sexy’, her reflection on a story about a love triangle. Platforms such as Netflix count on us needing a stable of diet of gratuitous violence, on which to binge. In the wise words of one group psychoanalyst, ‘families keep murder off the street’. Motive(5) (in murder) is relational.

The development of a culture of violence starts at home. The couple will set the scene. A warring couple creates an atmosphere of threat and danger that will harm a small child. Donald Meltzer(6), psychoanalyst, will argue that an infant will internalise not the bond with their primary care giver, but the nature of the relationship between the couple. A warring couple are likely to expose an infant to risk of death. The smaller the child, the higher the risk. If the child survives, and survival is the name of the game, what they have internalised from their family life will contribute to experiencing a repetition of similar abuse situations, a lifetime of self-doubt, low self-esteem, unpleasant dysphoria, confusion, alienation, dissociation and angst and an incapacity to trust the other. Early experiences of violence will impact on the very nature of that person and how they perceive themselves and the world within and outside of themselves. Male infants, for example, exposed to hearing domestic violence in the first year of life are more likely to have difficulties with empathy and grow up to rape others. Males and females alike who are exposed to domestic violence in early life may perpetuate constellations of victim/abuser in their relationships, playing out perpetrator/victim as their destiny. For some, to reverse such backstories takes years of therapy, a great deal of personal discipline and intent. Early family dramas and trans-generational patterns become the go to setting. Like a stone thrown into a pond, this resonates into the fabric of societies. No race, creed or class is beyond violence. The torture and trauma literature recognises that torturing one individual can contaminate a whole society, by breaking down bonds of trust(7). One person not trusting another, due to exposure to harm, can set this off. There are often unbreakable bonds between victim and perpetrator.

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The dance between victim and perpetrator, is as thick as thieves, each carrying invisible cues and secrets. It’s not necessarily a conscious conspiracy. Victims and perpetrators, sadistic personalities, ‘dark triad personalities’ (with clusters of personality traits that include narcissism, Machiavellian traits, and anti-social psychopathology), may find themselves in the psychological consulting room for one reason or another. Psychology does offer some solutions. The likelihood of rapists reoffending, for example, is reduced radically by just their sheer attendance at psychological groups for perpetrators.

Psychological knowledge provides a language by which to label, acknowledge and understand untoward behaviours. The therapeutic relationship offers a space to reflect on the behaviours of ourselves and others, to be understood, to not be invisible. Therapy may challenge the other to experiment with new behaviours and break undesirable habits. The psychological literature on such matters is broad based and important, and thoroughly critiqued elsewhere. ‘Being in Love; Therapeutic pathways through psychological obstacles of love’ by Judith Pickering, a Jungian Psychoanalyst and couples therapist makes sense of many psychoanalytic ideas, through case examples of ordinary experience and myth. The myth of Orpheus is used to describe the breakdown of trust in a couple, for example.

Interestingly Pickering does not mention domestic violence in her writings, but she does reference ‘Blue Beard’ a man who locked up and murdered each of his wives. I have been raised on such psychoanalytic, psychological and mythical ideas for decades. I value them, but is this enough for an individual or for society to address the entrenched problem of domestic violence? Is psychological insight and some change in behaviours enough? Or do we need a metamorphosis?

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Dr Desiree Saddik, Consultant Lead Child, Adolescent, Family and Adult Chartered Clinical Psychologist, Associate Fellow of the British Psychological Society and Founder of ‘The Pink Couch’ 8) at 10 Harley Street London.

Help for domestic violence:

The Met Police. If there is an emergency call the police on 999.

The National Domestic Abuse Helpline: 08082000247 References: J. W. Von Goethe (2008) Faust: Part One A new translation by David Luke, (Oxford World’s Classics) , Penguin Classics Edition - ISBN: 978099536207 D. Meltzer and M. Harris Williams (2008) The apprehension of beauty: the role of aesthetic conflict in development, arts and violence. The Harris Meltzer Trust. Karnac. ISBN 781855756243

C. Paglia (1992) ‘Sex and Violence or nature and art in Sexual Personae’: Art and Decadence from Nefertiti to Emily Dickinson. Chapter one. Penguin Books ISBN 0-14-015731-X

J. Pickering (2008) ’Being in Love; Therapeutic pathways through psychological obstacles of love’ Routledge East Sussex ISBN 978-0-415-37160-5

Oscar Wilde (1898) The Ballad of Reading Goal. Copyright British Library shelf mark: Add MS 81634

(1) Rebeca Riofrio, Chairwoman of the Parliamentary Society for Arts, Fashion and Sports (see www.parlimentarysociety.com) asked me to write an article on domestic violence and mental health for the Parliamentary newsletter, soon after Valentines day, and I protested. After a 40 plus year career as a consultant clinical psychologist and psychotherapist, working mainly with young women, and women and children, I resisted. I

(2) shunned the idea, I cast a blind eye, much like Sigmund Freud and much like our society today. From Goethe’s

(3) Faust ‘Sex and violence or nature and art’ (1992).

(4) Commonly agreed by domestic violence workers.

(5) Dr Ann Morgan, group psychoanalyst and paediatrician, Melbourne, 1990.

(6) The Apprehension of Beauty: The role of aesthetic conflict in development, art and violence.

(7) Amnesty International.

(8) ’The Pink Couch' is a psychological concierge service offering psychological consultation and treatment for those who find themselves in difficulty. The Pink Couch moto is ‘This couch changes everything’. It provides services across the lifespan, cradle to grave. (Contact: DrDes@thepinkcouch.org).

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BODY LANGU COVID-19 PAN

UAGE IN THE NDEMIC ERA

By Carole Railton FRSA Global Body Language Guru

THE IMPORTANCE OF BODY LANGUAGE IN A PANDEMIC Body language is one of the main ways humans communicate globally. In a first meeting, it can be up to 85% of how we take on information.

Since body language is similar around the world, it is more transferrable than verbal language and is a great tool for communication.

With the current pandemic and resultant behavioural shifts taking place, the ways we are communicating is having a profound effect on society. The demands by governments around the world for self-isolation, physical separation, and the wearing of face masks, has made it more difficult to communicate with one another.

Carole Railton FRSA Global Body Language Guru

Social distancing in par ticular has made everyone more aware of their bodies. Looking at a screen all day is making us all tired and, without physical touch, our ability to trust is changing.

FACIAL RECOGNITION Facial recognition is the first things we do when we meet someone. How times have changed! Walking into a bank wearing a mask used to get you into a lot of trouble! People are now having to cover half their faces out of necessity so it is even more important to understand facial recognition signals.

Phone users with facial recognition struggle to pay in shops, people who lip read are unable to communicate and everyone is struggling to understand what people are thinking. One solution is to wear a transparent mask so you can see when the mouth is turned up meaning acceptance.

PHYSICAL GREETINGS In pre-pandemic times, when meeting someone, it was normal to offer an outstretched right-hand for a handshake. Instead, we now bump elbows which is awkward. My suggestion is to put your right hand over your heart instead, as they do in India, a movement that shows sincerity without touch.

VIRTUAL COMMUNICATION & INTERACTION The pandemic has also meant communication over a screen is common and this limits movements and interactions which works better for introverted personalities. Conversely, extroverts use their body more when communicating, therefore, having to sit still for an hour while meeting on screen can be frustrating.

I work with stockbrokers looking at multi-national CEOs who are delivering their annual results. One of the signs I am looking for is hesitancy in their delivery, suggesting less commitment to the item they are talking about. Now that I work from home with video, its easier for me to analyse and there is no escape for CEOs.

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PHYSICAL CONTACT Youngsters are already lacking some of the interpreting skills required for judgement, leading to miscommunication and difficulty in forming meaningful relationships. Each generation experiences these challenges differently. For example, Generation X and Y are generally thought to have the aptitude for technological change. In contrast, Baby Boomers are generally thought to prefer face to face communication. However, our behaviours change depending on our environment.

Crossing your arms and having your feet on the desk in an office can be threatening behaviour to others, but do this at home, it would be acceptable as you are in a relaxing environment.

Social distancing is probably the most difficult for us all to get used to. We have lost the common handshake, the hug that was always welcome when meeting colleagues or friends. Most body language is subliminal, and a great percentage is inherent. No one teaches a baby to shake its head when it does not want any more food, and all babies smile – even those who are blind.

CONCLUSION - HOW WE CAN APPLY THESE INSIGHTS IN PRACTICE? Whilst we will all be able to sit around a table observing the statutory two meter distancing requirements, we will also need to understand what is going on for others. For yourself, I recommend you have both feet on the floor, as this grounds you and what you say will have a greater impact. This is also a time to use ‘open body language’, to give you the best chance of receiving and giving information. If you struggle with this, imagine a heavy, crown on your head, that you need to keep balanced. This will have the effect of opening your lungs, straightening your pose and relaxing you; a good position to influence from.

Lots of my work now is with directors helping them understand and adapt to the differences between men and women in boardrooms and the new behaviours.Those higher up the scale use less body language moves, whilst women use more moves and as a result are seen as less important.

When we look back on this time in history, we will realise that we were part of a cultural shift which is happening faster than ever and our body language must adapt in record time too. We now spend just 3 seconds rather than 30 to make our mind up about someone....

Carole Railton FRSA is a body language expert who has worked with clients across the globe to improve their businesses and personal lives.

Rated in the top 30 by globalgurus.org Get her book The Future of Body Language at livingsuccess.co.uk follow her on Twitter @carolerailton Facebook @carolerailtononline LinkedIn.com refs & profile +44(0)7866531400

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ARCHITECTURE OF THE ITALIAN RENAISSANCE

By Duchess Nivin El-Gamal of Lamberton

Villa Farnesina, Rafel

The Renaissance movement had its beginnings in Italy, and Renaissance architecture was characterized by a rejection of the complex and intricate gothic designs that came before, in favour of a more balanced, simplistic style inspired by the architectural ideals of the Classical era. With the rise of the Gothic architectural movement this style had been largely superseded, and yet Italian architecture always retained some residue of Classical feeling and influence. The Loggia de Lanzi for example, a Gothic building located in Florence, was characterized by a large round arch, in stark contrast to the pointed arch that was typical of Gothic architecture. It preserved the sense of simplicity and monumentality that defined the Classical period, while still being a distinctly Gothic building.

Generally described as taking place from the 14th century to the 17the century, The Renaissance was a fervent period of European cultural, artistic, political, and economic “rebirth” following the Middle Ages. Some of the greatest thinkers, authors, statesmen, scientists, and artists in human history thrived during this era, while global exploration opened up new lands and cultures to European commerce. The Renaissance was in a sense the ideological bridge that enabled the transition from the Middle Ages to the Modern era.

The precursor to the Renaissance was a 14th century cultural movement called Humanism, which was at the time gaining momentum in Italy. Among its many principles, humanism promoted the idea that man was the centre of his own universe, and people should embrace human achievements in education, classical arts, literature, and science.

In 1450, the invention of the Gutenberg printing press allowed for improved communication throughout Europe, and enabled ideas to propagate far more rapidly than before. As a result, little-known texts from early humanist authors such as those by Francisco Petrarch and Giovanni Boccaccio, which promoted the renewal of traditional Greek and Roman culture and values, were printed and distributed to the masses. Additionally, many scholars believe advances in international finance and trade impacted culture in Europe and set the stage for the Renaissance.

The House of Medici The Renaissance had its origins in the city of Florence, a city with a rich cultural history and, perhaps more importantly, political stability. Here wealthy citizens could afford to support budding artists, and the most famous and influential among these citizens were the members of the powerful Medici family, which ruled Florence for over sixty years.

The history of the Medicis dates back to roughly the 12th century. Family members from the Tuscan village of Cafaggiolo emigrated to Florence, and before long had embedded themselves into the city’s fledgling banking and commercial industries. Through their continued success in these areas, the Medicis rose to become one of the most important houses in Florence. By the late 14th century however, their influence had begun to fade, exemplified by the exile of Salvestro de Medici, who was then the Gonfaliere, or standard bearer, of Florence.

Another branch of the family, descended from Salvestro’s distant cousin Giovanni di Bicci de’Medici, would begin the great Medici dynasty. Giovanni’s elder son, Cosimo (1389-1464), rose to political power in 1434 and ruled Florence as monarch in all but name for the rest of his life. Known to history as Cosimo the Elder, he was a devoted patron of the humanities, supporting artists such as Ghiberti, Brunelleschi, Donatello, and Fra Angelico. During Cosimo’s time, as well as that of his sons and in particular his grandson Lorenzo the Magnificent (1449-1492), Renaissance culture flourished, and Florence became the cultural centre of Europe.

Cosimo’s Descendants Lorenzo was a poet himself, and supported the work of such Renaissance masters as Botticelli, Leonardo Da Vinci, and Michelangelo. Michelangelo in particular, considered to be among the greatest artists of the Renaissance, was commissioned to complete the Medici family tombs in Florence.

Lorenzo’s support and patronage of the arts was not without its detractors, and chief among them was Father Savonarola, a Dominican Friar who Lorenzo himself had brought to Florence. Described by some as a vital precursor of the Protestant Reformation, Savonarola preached against corruption of the clergy and the exploitation and abuse of the poor by those in power. He also had a strongly Puritanical outlook, and was strongly opposed to Lorenzo’s stance towards the arts, considering them frivolous, a waste of time that would be better spent on more evangelical pursuits. This philosophical dichotomy between the two persisted until Lorenzo’s death in 1492, though the two remained on good enough personal terms that Savonarola visited him on his deathbed and granted him absolution from sin.

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Florence, Italy

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Florence Duomo

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Savonarola would go on to lead his followers in the destruction of thousands of books and works of art in a so-called “Bonfire of the Vanities” some five years after Lorenzo’s death. A year later he was hanged, the city having turned against him.

For all of Savonarola’s efforts, Lorenzo’s contributions and support of art, science, and literature extended well beyond his death, even to the modern day.

After his death at the relatively young age of 43, Lorenzo was succeeded by his eldest son Piero. His reign was short-lived however, as he soon infuriated the public by accepting an unfavourable peace treaty with France. After only two years in power, he was forced out of the city in 1494, and died in exile. His younger brother Giovanni however saw much more success. A Cardinal at the time of Lorenzo’s death, he would go on to be elected Pope under the name Pope Leo X, and his influence allowed the Medici family to return to Florence in 1512. The next few years marked the apex of Medici influence in Europe, and Leo X proved to be as much of a patron of the arts as his father. Piero’s son meanwhile, also named Lorenzo, regained power in Florence, and his daughter Catherine (1519-1589) would become Queen of France after marrying King Henry II. At this point few direct descendants of Cosimo remained, and his line was supplanted by descendants of his brother Lorenzo the Elder. This branch of the Medici family came to power under another Cosimo, known as Cosimo I, who became duke of Florence in 1537 and then Grand Duke of Tuscany in 1569. His daughter Marie would also go on to marry into French royalty, becoming Queen of France with her marriage to Henry IV in 1600. Cosimo himself was succeeded by his son Francis, and Francis by his brother Ferdinand. In general, the Medicis following this older generation renounced the Republican sympathies of their ancestors in favour of more authoritarian rule, a shift which led to the region’s decline as a cultural hub.

The Important Architects of the Renaissance The Renaissance’s architectural style was defined by the abandonment of the complex proportional systems and irregular profiles of Gothic structures, instead favouring the use of symmetry, proportion, geometry, and regularity of parts in alignment with the ideals of the Classical period, in particular classical Roman architecture. In the classical period, having proper proportions was considered the most determinant aspect of beauty; Renaissance architects found harmony in human proportions and architectural proportions, and this was reflected in their designs. This concern for proportion resulted in clear and easily comprehended space and mass, which distinguishes the Renaissance style from its more complex Gothic forbearer. Though the Renaissance produced numerous talented architects, we can focus on a few of the most important and influential ones and their most famous works: Filippo Brunelleschi, - Dome of Florence Cathedral, 1420-1436, and facade of the Ospedale degli Innocenti (“Hospital of the Innocents”), 1419-1424 Brunelleschi is an interesting case study. Most of what we know of his life and career comes from a biography written in the 1480s by an admiring younger contemporary, Antonio di Tuccio Manetti. Initially a master goldsmith and sculptor of bronze, his interests eventually branched out to architecture and engineering. His first architectural commission was the aforementioned Ospedale degli Innocenti in 1419, but the dome of the Florence Cathedral was his most famous. Construction of the Cathedral itself had begun in 1296, roughly 81 years before Brunelleschi was born. Its base structure was completed in 1380, but it was left without a dome. The original basic design, created by Arnolfo di Cambio in 1296, called for an octagonal dome larger and wider than had ever been built, without external buttresses to keep it from falling under its own weight. In 1367 an architectural competition was held to decide on a more finalized design, and this commitment to a structure without gothic-style buttresses was reaffirmed when Neri di Fioravanti’s buttressless design was chosen over its more traditional gothic-style competitors. This architectural choice is now considered one of the first events of the Italian Renaissance, marking a shift away from Medieval Gothic style and a return to classic Mediterranean style domes.

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This finalized design posed problems however. To begin with its massive size prevented the traditional methods of construction. The sheer scope of the project for example meant that there was not enough timber in all of Tuscany to build the necessary amount of forms and scaffolding. The design also required an internal solution against the stress of the dome’s own weight pushing outwards, which is what external buttresses usually address, but no such internal solution yet existed.

Could a dome even be built on an octagonal floor plan based on the existing walls, with eight pie-shaped wedges, without collapsing inwards as the masonry arched towards the apex? Nobody was sure.

In 1418 the Opera del Duomo announced a public competition for the construction of the dome with a handsome prize of 200 gold florins—and a shot at eternal fame—for the winner. Leading architects of the time flocked to Florence to present their ideas. After much uncertainty, the Opera del Duomo agreed to make Brunelleschi the superintendent of the cupola project and appointed Lorenzo Ghiberti, Brunelleschi’s fellow goldsmith, as a co-superintendent. The construction of the Dome began on 7 August 1420.

Brunnelleschi’s answers to the problems posed by the dome’s construction were ingenious. To address the question of how to construct the dome he looked back to ancient Rome, in particular the great dome of the Pantheon in Rome, which he had studied earlier in his life. To address the lack of timber, he invented a three-speed hoist with an intricate system of gears, pulleys, screws, and driveshafts powered by a single yoke of oxen turning a wooden tiller, as well as the castello, a 65-foot-tall crane with a series of counterweights and hand screws to move loads laterally once they’d been raised to the correct height.

The dome itself was designed to be light and slim in both form and substance. Built from brick, a lighter material compared to stone, Brunelleschi wove regular courses of herringbone brickwork, little known before his time, into the texture of the cupola, giving the entire structure additional solidity. Throughout the years of construction, Brunelleschi spent more and more time on the work site. He oversaw the production of bricks of various dimensions and attended to the supply choice of stone and marble from the quarries. He led an army of masons and stonecutters, carpenters, blacksmiths, lead beaters, barrel makers, water carriers, and other craftsmen.

Chief among the elements that make up the dome is its use of the golden proportion, which was in vogue at the time. In contemplating this masterpiece, you notice that its builders have made use of balance and harmony between each of its parts.

Each architectural element contributes to the stability of the dome as it stands without supporting structures.

Another of these crucial elements is the lantern at the top of the dome, on top of which rests the bronze ball built by Verrochio in 1472. To position the ball they used machines invented by Brunelleschi, and a young Leonardo da Vinci was among the apprentices that helped in this difficult operation.

Brunelleschi, therefore, is seen as an artist still profoundly dependent on local forms of architecture and construction, but with a vision of art and science that was based on the humanistic concept of the ideal. This is borne out by his first major architectural commission, the Ospedale Degli Innocenti, which he began working on in 1419. Although the portico of the hospital is composed of many novel features, morphologically it still is related to traditions of Italian Romanesque and late gothic architecture. The truly revolutionary aspects of the building emanated from Brunelleschi’s intuitive sense of the formal principles of the classical art of antiquity. The Innocenti facade offered a new look in Florentine architecture and a marked contrast to the medieval characteristic of the middle age buildings that preceded it. Its lingering late-medieval echoes were subordinated to the new style that provided the facade with its antique air: a wall delicately articulated with classical detail (such as pilasters, tondi, and friezes), modular construction, geometric proportions, and symmetrical planning.

Michelozzo Di Bartolomeo - Plazzo Di Medici, 1444 The Palazzo Medici follows the tradition of the Tuscan late-medieval palazzo, but without the more eye-catching symbols of civic power. The Palazzo’s exterior is not articulated by Vitruvian orders, and the large arches of its ground floor are not aligned with the windows of the upper stories. Instead, Michelozzo focused on the contrast between surface textures, such as the contrast between “the natural rustication of the ground floor, the flat courses of the piano nobile, and the smooth masonry of the upper storey. The exterior also differs from the palazzo in Montepulviano in its size, its more urbane character, and its massive classicizing cornice.

Brunelleschi’s influence on Michelozzo is evident in the palazzo’s design, especially in the late-medieval bifora windows, the symmetry and the dominance of the entrance axis, and the combination of traditional and progressive elements. The arcades and the entablature of the palazzo’s courtyard also follow the model of the loggia of the Ospedale degli Innocenti, which is symptomatically Brunelleschi’s earliest and most strikingly un-Vitruvian building. One of Michelozzo’s most well-known architectural projects, the palace led to the development of a new architectural type: the Florentine Renaissance palace.

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Caption Duchess Nivin El-Gamal of Lamberton writer of this article at her residence in London

Among the many Michelozzo innovations on the facade, the most notable include the use of bugnato digradante (large unevenly-cut stones which grow lighter as they ascend on the upper stories), the classical columns and fluted capitals in the bifore windows, the great classical cornice crowning the building and the small ones dividing the stories, the massive rectangular proportions of the block of square, and the regularity of the disposition of the windows, which are asymmetrical in regard to the doors.

Leon Battista Alberti - Pallazo Rucellai, 1452-1470 By 1450, the skyline of Florence was dominated by Brunelleschi’s dome. Although he had created a new model for church architecture based on the Renaissance’s pervasive philosophy of humanism, no equivalent existed for private dwellings.

In 1446, Leon Battista Alberti, whose texts “On Painting” and “On Architecture” established the guidelines for the creation of paintings and buildings that would be followed for centuries, designed a facade that was truly divorced from the medieval style, and could finally be considered quintessentially Renaissance: The Palazzo Rucellai. Alberti constructed the facade of the Palazoo over a period of five years, from 1446-1451; the home was just one of many important commissions that Alberti completed for the Rucellais, a wealthy merchant family.

The Palazzo Rucellai bears a strong resmblance to the Medici Plazzo, and its exterior design is even crowned by a similar projecting cornice, but there are a number of notable differences, in particular the Palazzo Rucellai having two entrances in contrast to the Plazzo’s single entrance, and all its floors are the same height. The largest point of similarity between the two palaces is the presence of windows surmounted by semi-circular arches, with each window having two shutters for lighting. Like traditional Florentine palazzi, the facade is divided into three tiers. But Alberti divided these with horizontal entablatures that run across the facade (an entablature is the horizontal space above columns or pilasters).

The first tier grounds the building, giving it a sense of strength. This is achieved by the use of cross-hatched, or rusticated stone that runs across the very bottom of the building, as well as large stone blocks, square windows, and portals of post and lintel construction in place of arches.

The overall horizontality of this facade is called “trabeated” architecture, which Alberti thought was most fitting for the homes of nobility. On each tier, Alberti used smaller stones to give the feeling of lightness, which is enhanced by the rounded arches of the windows, a typically Roman feature. Both of these tiers also have pilasters, although on the second tier they are of the Ionic order, and on the third they are Corinthian. The building is also wrapped by benches that served, as they do now, to provide rest for weary visitors to Florence.

The Palazzo Rucellai actually had four floors: the first was where the family conducted their business; the second floor, or piano nobile, was where they received guests; the third floor contained the family’s private apartments; and a hidden floor, which had few windows and is invisible from the street, was where the servants lived.

In addition to the facade, Alberti may have also designed an adjacent loggia (a covered colonnaded space) where festivities were held. The Loggia may have been specifically built for an extravagant 1461 wedding that joined the Rucellai and Medici families. It repeats the motif of the pilasters and arches found on the top two tiers of the palazzo. The loggia joins the building at an irregularly placed, not central, courtyard, which was probably based on Brunelleschi’s Ospedale degli Innocenti.

In summary, the Renaissance style of architecture reflected the rebirth of Classical culture, originating in Florence in the early 15th century and supplanting the middle age Gothic style. There was a revival of ancient Roman forms in particular, including the column and round arch, the tunnel vault, and the dome. The basic design element was order. Knowledge of Classic architecture came from the ruins of ancient buildings, which were studied by contemporary architects. Indeed, an architect’s training in this period was not considered complete until he had made a trip to Rome to see and study ancient ruins for himself. As in the Classical period, proportion was emphasized as the most important factor of beauty, and this concern for proportion resulted in clear, easily comprehended space and mass. Filippo Brunelleschi is considered the first and perhaps the defining Renaissance architect, and Leon Battista Alberti’s Ten Books on Architecture, inspired by Vitruvius, became the bible of Renaissance architecture. From Florence the early Renaissance style spread throughout Italy, and before long throughout Europe.

Donato Bramante’s move to Rome ushered in the High Renaissance (c. 1500-1520). Mannerism, the style of the Late Renaissance (1520-1600), was characterized by sophistication, complexity, and novelty rather than the harmony, clarity, and repose of the High Renaissance, and was the predominant artistic style in Italy up to the beginnings of the Baroque style around 1590. The Mannerist style originated in Florence and Rome, spread to northern Italy and, ultimately, to much of central and northern Europe.

Pallazo Rucellai, 1452-1470

OTHMAN AL OMEIR

A PIONEE VOYAGE

BY ADEL DARWISH*

ERING

When British Biologists at Roslin Institute in Scotland introduced Dolly the sheep, proving that mammals could be cloned in February 1997, Othman Al- Omeir broke with the tradition of Arabic language media and splashed the story on eight columns as a front-page lead of the prestigious AsharqAl-Awsat. It was an audacious editorial revolt. It challenged the unwritten ethical code set by the influential Muslim scholars against hailing “ungodly” scientific experiments; it also departed from Arabic papers traditions pf leading with the head of the state activities.

Although the 1978 launched Asharq Al-Awsat was a leading international Arabic language printed in several centres world-wide, it was associated with Saudi Arabia and its Saudi publishers. When AlOmeir became its first Saudi born editor in 1987, he surprised media observers by not following Arabic editors tradition in toeing the official line. He irritated the officialdom by showing great independence. Within weeks of moving from his three years editing the weekly Al-Majalla to Asharq AlAwsat he arranged a long-term sharing syndication service with the newly launched The Independent, Fleet Street first independent daily published by the journalists themselves, and with The New York Times, Los Angeles Times, and The Wall Street Journal. Two years later, Al Omeir launched a Sunday edition of Asharq Al-Awsat and signed a syndication deal with The Sunday Times and The Observer.

Those deals provide his broad readership with translated reports and features by the Crème de la crème of the Anglosaxon reporters and writers. In exchange, foreign news desks, especially the London Independent, benefitted from Asharq Al-Awsat Arabic speaking reporters’ first-hand account on the ground. Always believing in cross-culture sharing of knowledge and information, Al Omeir invited big names to contribute columns and features to his pages. Among them former American Secretary of State Henry Kissinger, Senator George Mitchell of the Northern Ireland peace fame, and the American commentator Thomas Freedman. The latter’s contribution was his gateway to visit Saudi Arabia and interviewing the then Crown Prince Abdullah Bin Abdulaziz (1924-2015), throwing light on the latter’s ideas of a comprehensive settlement for the Israel-Palestinian conflict. Long before Abdullah IV became the Kingdom’s sixth king (2005-2015), Al Omeir had interviewed him as a crown prince.

Caption: Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai, United Arab Emirates and Othman Al-Omeir

A courtier was surprised by Al-Omeir “western line of questioning Arb leaders”, still alien to regional reporters. But Al-Omeir, to the envy of many journalists, was a seasoned reporter who interviewed leaders like lady Thatcher (1925-2013), and Prime Minister John Major at Downing Street, the German Chancellor Helmut Kohl (1930-2017), President Jacques Chirac (1932-2019), President Mikhail Gorbachev, King Fahd of Saudi Arabia (1921-2005), President George Bush Snr (1924-2018), King Hussein of Jordan (1935-1999). He interviewed leaders of Gulf states, China, Pakistan, Iran, Egypt, Morocco, Tunisia, and many more, published in two books. He also penned the introduction to the Arabic edition of lady Thatcher’s memoir and edited and prefacing his late friend King Hassan II of morocco(1929-1999) memoir.

Caption: Saudi Kings – Late King of Saudi Arabia – King Abdullah and Moroccan King Mohammed VI and Othman Al-Omeir

Caption: Mikhail Gorbachev- Last leader of the Soviet Union and Othman Al-Omeir

His next pioneering project was the first Arabic online daily combining newspaper and website concepts, Elaph, meaning solidarity, in 2001, attracting liberal-minded, democratic and free-thinking writers. Since Elaph has been and remains committed to totally free speech, its readership overtook the widest circulation pan-Arab dailies within three years. Despite being repeatedly blocked by several Arab governments, including in his birthplace, Saudi Arabia, in the first 10 years of its life, Elaph became the most widely read Arabic daily, as certified by The Audit Bureau of Circulation of 1.8 Million visitors, even after the scores of other big names launched their websites. Elaph, which was given the Artistic Creativity Award by the Arab Thought Foundation in 2007, was reported by Forbes in 2012 as the tenth most visited daily website among hundreds in the Arab world.

Described as a champion of free expression and one of the most influential journalists in the middle east, the dual British Saudi national Al Omeir was named as the Media Personality of 2006 by the Arab Media Forum “for his contribution to the industry in the Arab World”; and in 2009 he was awarded The New Media Future Prize by the Anna Lindh Foundation. Al Omeir continued to innovate in media with pioneering projects, especially in the multilingual field.

“DESCRIBED AS A CHAMPION OF FREE EXPRESSION AND ONE OF THE MOST INFLUENTIAL JOURNALISTS IN THE MIDDLE EAST, THE DUAL BRITISH SAUDI NATIONAL AL OMEIR WAS NAMED AS THE MEDIA PERSONALITY OF 2006 BY THE ARAB MEDIA FORUM “FOR HIS CONTRIBUTION TO THE INDUSTRY IN THE ARAB WORLD”; AND IN 2009 HE WAS AWARDED THE NEW MEDIA FUTURE PRIZE BY THE ANNA LINDH FOUNDATION” ADEL DARWISH

In 1991 he initiated a partnership in OR media producing the first comprehensive documentary on the first Gulf War and continued providing documentaries for the Middle East, Britain and the Americas.

Caption: HRH Charles, Prince of Wales and Othman Al-Omeir

In 2004 he became the publisher in control of the oldest newspaper group in Morocco, Maroc Soir group in Casablanca, earning him the amusing title “The Murdoch of The Middle East”, ironically in a magazine he edited 20 years earlier.

However, adding the group, which published The French Maroc Soir and Le Matin, the Arabic Assahra Al-Maghribiya, and the English Morocco Times newspapers to Elaph and OR Media was another milestone on his multilingual multi-cultural media journey. Al Omeir played a more prominent role in modernising political thinking in the region. As a chairman of the Dubai based board of directors of Strategic Communications Group, he proved to be one of the most influential strategic thinkers in the Middle East region.

Caption: Michael Portillo, British journalist, broadcaster and former politician and Othman Al-Omeir

He often played the unofficial but pertinent role of special envoy and messenger between several East and West leaders. You can have a glimpse of this little-known part of his contribution to forging a better understanding, cooperation and working for peace If you attend Al Omeir power -lunches or dinnerdiscussions with former and present senators, British, American and European parliamentarians, top commentators and working diplomats. In the last dinner I attended before the covid-19 spring 2020 isolation, Al Omeir hosted a minister, American senators, two MPs, and top British, European and Arab diplomats and journalists comprising six different nationalities. His London abode’s location is symbolically telling the story of his career and its multi-faceted aspirations. A penthouse overlooking the iconic Saint Clements church on Strand, the law courts, with one balcony overlooking Fleet Street where he started 40 years earlier, another, on a clear day, gives a view all the way to Whitehall and the top of The Palace of Westminster. Another location of his ongoing contact and work where he frequently visits friends in the House of Commons, linking politics with peace and journalism. His office and apartment are like a modern gallery exhibiting classic arts, paintings, and vintage photographs of American and British newsrooms, rare books, and manuscripts. He is a classical music fan with good taste and encyclopaedic knowledge, and a great collection of records. In a small dinner party he gave to visiting middle-age German couple Wagner was playing in the background; he corrected the visitors dating of the piece. His popularity and endless calls make it difficult to escape to the world of his beloved classical music when in his library-like living room by the Strand, so he escapes, when he can, to Ammoun of London. Ammoun, a 2000 built 31-meter yacht, is his summer retreat for short holidays where he can really relax, either listen to classical music or watch football on TV but mostly gather his thoughts to think of a next journalistic and media project. Ammoun affords him the privacy he never experiences in a resort, where he can work too. Ammoun is not his first yacht; he had smaller ones before it as he loves the sea, although the time he spends sailing is limited geographically to the Mediterranean between the southern French coast, Spain, and Morocco, just a few days in between engagements. But there are more open leagues to explore on the Odyssey, which he started since he became the youngest Saudi editor of a major daily, Al-Yum, in 1980. Even in his sixth decade, Al-Omeir was adding video and multimedia service EMM to Elpah in 2012, and in 2019 he was in negotiation with a European consortium to launch an English version of Elaph hosting British politicians’ intellectual writings and to be expanded to two other languages for international readers. Unfortunately, with nCovid-19 pandemic hitting Europe, the project was put on ice for the time being. But there is more to come from this unstoppable captain of letters and headlines.

•Adel Alexander Darwish is a veteran Fleet Street journalist and, for two decades, a member of Westminster Lobby and House of Commons Press Gallery.

Caption: Othman Al-Omeir at his penthouse overlooking Saint Clements church on StrandLondon

“London is the greatest city on ear potential. Over the last five years, Lo isn’t working for them. Knife crim unaffordable. Our transport networ keeps rising.

So, I’m standing for Mayor to give L by hiring 8,000 more police officer ladder by building 100,000 homes t to Transport for London’s finances a day one. And my plan will spearhead infrastructure, creating jobs and im jobs over five years.

In short, I want to build a safer, faire SHAUN BAILEY

rth. But right now, we’re not living up to our Londoners have started to feel like our city just me has hit record highs. Good homes are rk is struggling to cope. And the cost of living

London a fresh start. I’ll make our streets safe rs. I’ll help young Londoners on the housing to be sold at £100,000 each. I’ll restore order and I’ll reverse the congestion charge hike on ad London’s economic recovery by investing in mproving transport links – generating 924,000

er, more affordable city.“

THIS 6TH MAY 2021 VOTE FOR A BETTER LONDON OUR SOCIETY ENDORSE SHAUN BAILEY FOR LONDON MAYOR

FIGHTING HOMELESSNESS IN THE UK GIVE YOUNG HOMELESS PEOPLE A FUTURE CENTREPOINT CHARITY AMBASSADOR

STUART WATTS, TALK TO US ABOUT HIS EXPERIENCES WITH THE CHARITY

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I have been an ambassador for Centrepoint Homeless Charity for over 15 years.

“It all started on a cold November evening in 2006, when I agreed to “Sleepout” on the street for the Centrepoint Homeless Charity with a dear friend of mine who was once homeless in his teens.

As I arrived at the “Sleepout” I didn’t know quite what to expect, all I knew from the moment I arrived was I have to support this charity. I met people from all walks of life; from private education, ex addicts, people who had suffered domestic violence and people who had just fell on hard times.

The next morning, I came away felling truly uplifted, I had actually done something positive and help to make a difference.

Sleeping out for one night was horrible; cold, wet and as I laid in my sleeping bag, I couldn’t stop thinking “how the hell do these people survive on this situation”.

A week later this really played on my mind so I then made an appointment to meet the fundraiser of the Centrepoint team who were all very passionate but like all charities struggle to raise funds.

Centrepoint was founded 51 years ago. Princess Diana was a patron for many years and after her death Prince William took over his mother legacy ‘Centrepoint Sleepout’ became a part of my life, each year supporting young homeless spreading awareness, introducing new donors and high-profile ambassadors and generally supporting and helping the people in need.

My aim with Centrepoint and other homeless charities is in the next 5 years to end homelessness forever by raising funds to purchase homes & housing and to build a community within the housing association all over the country Covid19 has left astonishing figures; 280,000 are now living on the street in the UK- and it was reported over 900 homeless deaths during lockdown which is one death every 9 hours.

I have met veterans who served for the country all types of people living on the streets recently by stopping feeding them I think it’s time for the government to step up and support the system-no one should be homeless in 2021.

I am hoping after lockdown London, the nation and the world will be a kinder place to live, I’m all about humanity, unity, community, kindness, education and making a difference - I feel this is the message the government should be focusing from today forward.

Article by Stuart Watts For more information on the CENTREPOINT CHARITY visit www.centrepoint.org.uk

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HRH The Duke of Cambridge has been Centrepoint's Patron since 2005.

Centrepoint has always been close to the Prince's heart. As children, Princes William and Harry made private visits to Centrepoint services with their mother, the late Diana Princess of Wales, who herself was Centrepoint’s Patron.

CREATIVE COMMONS PHOTOGRAPHY

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The world is living unprecedented times and people from all over the world are seeking answers above the human understanding. We had an insightful interview with the founder of The Global Charity Initiative, Goodwill Ambassador for the United Nations and author,

dr. Gershom Sikaala

1. PLEASE COULD YOU TELL US ABOUT YOUR BACKGROUND AND HOW IT LEADS TO THE WORK YOU DO TODAY? I was born & raised in Zambia; my father was a politician and an important man in my country. It was he who first instilled the value of helping people in me. I currently live in Los Angeles CA. My journey from Zambia to California is filled with amazing miraculous stories. I earned a Doctorate in Philosophy and Humanity from the University of Virginia, U.S.A. I also have a Doctorate in Biblical Studies. I am passionate about loving and helping people reach their potential. I knew that I wanted to help people at a very young age. It was then, when I began helping transform lives of people I didn’t know.

I am the founder of Global Charity Initiative, a NPO which helps gather and employ resources to help people around. Global Charity’s main focus is to eradicate poverty around the world. Global Charity Initiative is supported by many celebrities and household names in Hollywood.

I have been to over 80 countries, around the world. My experience is always the same whether I’m in Asia, Australia, Canada, Europe, New Zealand, or Africa. I always find treasures in people and help them unlock their destinies. I always and experience amazing testimonies, healings and mindset shift in people. I am also a Goodwill Ambassador for the United Nations Peace-Building Initiative. Doing humanitarian work, has made it possible for me to partner with likeminded business people, and celebrities from around the world.

Years ago, I founded Zambikes, a company that manufactures bamboo bikes with the purpose of eradicating poverty & creating employment to locals in Zambia, one family at a time. You can learn more about this business here: https://www.cnn.com/2012/05/31/business/bamboo-bicycles-zambiazambikes/index.htm. I have also been honoured in “Who’s Who” in America's publication for being the founder of Zambikes and inspiring leaders in the marketplace and the power of innovative thinking improve lives.

This passion I have to help people started as just a young boy. I write books that help people spiritually, mentally, physically and financially like Breakthrough thinking Book. We are living in a world where people need hope.

2. HOW WOULD YOU DESCRIBE YOUR WORK TO SOMEONE WHO HASN'T SEEN IT BEFORE? My work revolves around people and enhancing their lives. I help people find their identity, passion, how to live in overall health and wealth by maximizing their potential.

I run a mentorship program “Hollywood Mastery class”. I have had the opportunity to mentor a number of influential people in Hollywood, including famous A list actors and superstars. I am passionate about helping people become the best version of themselves. Seeing people do better in life is the driving force behind what I do. Through my books, TV channel “Authenticity network” and virtual meetings, I have been able to share the message of hope, love, and healing. Connecting with people is so important, especially during these challenging times of isolation.

Many people have been depressed and in search of hope and joy.

My work produces powerful results in people because of God’s power behind it . I have seen many testimonies of breakthroughs in countless individuals.

I believe personal change brings family and community change. I am convinced that the only way we can impact society is by impacting one person at a time, and it all starts with kindness. I help people by helping transform their mindsets and thinking patterns. My experience is that real change starts and has to affect the mind before it can affect the heart.

What I do is more than work, I help impact people to do and become better in every area of their lives.

Oprah Winfrey, Musician Emilio Estefan and Dr Gershom Sikaala

Dr Gershom Sikaala* *© Artisfactions.com . TracySaundersArt.com

Actor Richard T. Jones and Dr Gershom SIkaala* *© Artisfactions.com . TracySaundersArt.com

3. WHO ELSE IT’S BEHIND YOUR MINISTRY? First and foremost, I always have the Holy Spirit behind my ministry and everything that I do in life. I also happen to have a good support system and network of people who care about the things I care about.

Some live in Los Angeles, where I live. Others are spread all over the United States, and the world.

Additionally, I have an amazing team of people who work with me on a day-to-day basis. They are the ones who make sure that things happen. The people who work with me all have the same mind and purpose and we have achieved some great things including becoming Amazon #1Best Seller in under 24 hours.

4. WHAT OR WHO HAS BEEN THE BIGGEST SINGULAR INFLUENCE ON YOUR WORK? I have been Blessed to have walked in this life with so many great, wise and outstanding people. Some of them, including my own parents have moved on to eternity. The greatest, singular influence in my life and work is Jesus and my best friend the Holy Spirit. Jesus loved and served people so well, I always try to live up to his standard in my relationships and work.

5. FAITH IN TIME OF CRISIS. DUE TO COVID, HOW DO YOU THINK PEOPLE AND GOVERNMENTS ARE PERCEIVING ‘GOD’?

I strongly believe that it is usually in the hardest situations that human beings tend to know their limitations and look to God. Finding faith in the time of crisis can seem so hard, and yet it is so possible.

As a matter of fact, I believe that human beings are more likely to find God in the time of crisis, than any other time. When people feel limited, they tend to be desperate, a time of desperation is usually a time for searching deeper and seeking a higher power.

I strongly believe that many people, governments alike are viewing God as being the only one that can help humanity. But at the same time people are perceiving God as either being distant, unconcerned and unloving. I have news for all the people who are thinking that way, because of their hardships. God is alive, well, caring and very personal. He cares about every nitty gritty detail of our lives. His love for humanity is unfathomable and immense. All we have to do as a people and as individuals is to give him permission to come into our situations and help us. He will come through for everyone who asks, just as he came through for me and the people whose stories appear in my book “Look at God”.

6. COULD YOU TELL US ABOUT YOUR LATEST BOOK AND THE STORIES IN IT? “Look at God” was written to bring hope to people who feel forgotten and who feel like God is far off.

This book is living proof that good things do come out of bad situations. The pandemic did bring about so many bad situations, which overshadowed the good things. I would like to suggest that not everything was bad last year, there were some good things that happened last year. Suggesting that everything was bad would be very inaccurate.

If there is anything that the pandemic highlighted, it’s the fact that we as a people are very limited in what we can do. We always need hope, each other and a higher power, working in our lives. The stories in this book are neither fairytales nor fiction. They are real stories and real journeys, from real people who saw God’s intervention in their circumstances. God had intervened in their circumstances and changed their stories, which could have ended up very tragically. All they could say was “Look what God has done” Hence the title of the book “Look at God'' It really doesn’t matter who you are, where you are from and what you’re going through. God can and will come through for you.

7. WHERE PEOPLE CAN FIND MORE ABOUT YOU AND YOUR BOOK? You can find out more about me by visiting, https://gershomsikaala.org/ and you can find the book at Look at God Book | Dr. Gershom Sikaala. The book was released on Amazon and became a “# 1 Bestseller” in under 24 hours.

Find Dr Sikaala’s Book LOOK AT GOD Now for Sale on AMAZON

Personal perspective:

SYSTEMIC CHANGE NEEDED IN MENTAL HEALTH PROVISION AND ATTITUDES MENTAL HEALTH IS NOT A NEW FASHION TO BE NODDED TO LIKE A NEW SPRING FASHION BUT A MAJOR LONG TERM NEED

By Dr Mereille Nemh

As a doctor and mental health professional practising privately in the UK, I have seen the strain that the system has come under in the past 12 months. Referrals to mainstream CAMHS (Children and Adolescent Mental Health Services) have actually fallen, while underlying demand has increased, and some of that has been taken on by the private sector, by professionals like myself. We have been working on our own front line. The somatic implications of COVID-19 including the impact on Intensive Care Units, hospitals and the Ambulance services have been well noted, but the secondary mental health implications have been mostly hidden. Rates of mental health in children have risen, according to the recent NHS mental health survey, so that now 1 in 6 of children may have a mental health concern.

But it is not just for children that Covid-19 has created major mental health concerns: I remain concerned for an uptick in anxiety, depression and perhaps suicide rates among the very many who have seen their careers upended. In my own practice, I am concerned about increasing suicidal ideation and severe anxiety concerns from many men faced with bleak economic futures. Men tend to be silent sufferers and at a greater number than suicides by women.

My general stance here is: while much of the governmental rhetoric is well placed (for example the role of mental health within the NHS Long term plan), more capacity and more distributed localised capacity is needed within our mental health services and schools, based on people with the right training. Just as it takes many years to develop a nurse or doctor in the NHS, we should be taking a systemwide approach to development of the right sort of capacity for mental health provision, with professionals with the right training. For me, the NHS, private-practice and the 3rd sector can all help support our mental health, and more joined-up thinking here would be of importance. Experts have looked at the mental health impact of quarantines and isolation and saw that the damage is more related to the length of the total quarantine and feelings of loneliness rather than the intensity of such measures.

More than this, there is an ongoing need for attitudinal changes in the British populace to Mental Health. The Royal family with “Heads Together” have started us down the right path, to where mental health issues can be just as easily discussed between friends and colleagues as a sore knee. But there is still a stigma for children in schools, where they may feel labelled for seeking help. While attitudes have shifted, we still need to see Talk Therapy as sometimes a better response than medication in the treatment of our mental ills. While the NICE guidelines do support mental health provision, such as intensive CBT and psychoanalysis in many situations, GPs can still too easily use medications, seen as a panacea, but they are not.

And to return to my major point, we need a system-wide response to tackling the long-COVID mental health issues.

Private clinicians (just as private hospitals did for the NHS during COVID) provide a wealth of resource that can be tapped. And the third sector, in organisations both big and small, can also make an enormous difference. While the government did give £750m additionally to mental health provision during this last year, and £10m to mental health charities (more than 144 of them according to Nadine Dorries), much grass roots support in the community is given by small charities, such as Skylarks (www.skylarks.charity) a charity for children and families of those with Special Needs, of which I am a long-term Trustee for example. This is a wonderful resource for Londoners, especially those in West London, in supporting the most vulnerable (and with growing users across the country through its online provision) but these are small charities not supported by central government’s largesse. We need to do more to build up sustainable capability in the public provision (including in schools and GP surgeries), in the private provision and in the third sector so that there is much local and distributed capability. We need to move fast so that these services are available now as we unlock.

For those of us who work in the system, we are pleased by the occasional attention that our efforts bring. However, mental health is not just this spring’s new health fad – it is a long term commitment and calling and I call upon the system to build new capabilities and the public to see mental health as each person’s “new wealth”.

Dr Mereille Nemh is a Private Doctor and Mental Health Professional practising in London and a Trustee of Skylarks Charity.

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“EXPERTS HAVE LOOKED AT THE MENTAL HEALTH IMPACT OF QUARANTINES AND ISOLATION AND SAW THAT THE DAMAGE IS MORE RELATED TO THE LENGTH OF THE TOTAL QUARANTINE AND FEELINGS OF LONELINESS RATHER THAN THE INTENSITY OF SUCH MEASURES.” Dr Mereille Nemh is a Private Doctor and Mental Health Professional practicing in London and a Trustee of Skylarks Charity

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CHINOISERIE AND A TASTE FOR THE EXOTIC The Regency Era (1797-1837) was an explosion of new fashions and pleasure-seeking, driven by a rarified society booming with the proceeds of trade and conquest and by the Prince Regent himself as hedonist-in-chief.

“The era celebrated the world and its different cultures as well as all things new and extraordinary. It was the age of the middle class as every stratum of the population revelled in the material, intellectual and cultural riches flooding into the kingdom.”

Tyne O’Connell

One of the most recognisable Regency movements is Chinoiserie, a style that George IV was particularly fond of. It was born in the porcelain cups and used bohea leaves of the salon as the drinking of tea became de rigeur.

Soon there was a craze for all things exotic in architecture, furniture, ceramics and of course fabric and fashion. As for questions of cultural appropriation or accuracy – That was neither here nor there.

“The flood of exotic textiles pouring into Britain from the East, far from sinking the domestic silk and other textile manufacturers, fuelled change and growth.

Manufactures began replicating the cornucopia of exquisite and elaborate new patterns and designs of the East to cater to the population’s insatiable appetite for the latest fashions and styles. By 1800, Britain had already acquired the reputation as the largest counterfeit textile industry in the world.

But it was our eccentric British take on international designs, blended with our own cultural memes and vision; inspired by the Regency’s fascination with other cultures which fuelled unique new patterns; chinoiserie being the perfect example of this.”

Tyne O’Connell

It was in this spirit of playful reinvention that the British accessories brand Furious Goose was inspired to create a collection of silk scarves, pocket squares and lavallières inspired by the Dragon.

In true Regency style they have pulled together conflicting cultural references by featuring dragons from the Orient and the Occident.

The Chinese Dragon meets its mesoamerican counterpart, the flying serpent god Quetzalcoatl, in a mesmerising blur of fangs, scales and feathers.

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The Furious Goose studio is in Brighton close to one of the finest examples of Regency Chinoiserie, the Pavilion – home to several dragons of its own.

This award-winning accessories brand is designed and made entirely in the UK, making bold silks and wools with their unique mix of fine art and contemporary design aesthetic.

Website: www.furiousgoose.co.uk Email: hiss@furiousgoose.co.uk Instagram: @furiousgoose

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DEMONSTRATING EMPATHY IS A SIGN OF STRENGTH NOT WEAKNESS

BY ANNE

WELSH

FOUNDER & CEO OF PAINLESS UNIVERSAL

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Anne Welsh during a visit to South Sudan local school

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During this time of unprecedented pain, brought about by the Coronavirus pandemic and Brexit uncertainty, people are looking for leadership that this pain is going to end soon. An empathetic message for people, often under-represented by gender, race, and disability and who are most at risk from this pain, is very necessary for the healing process to begin.

I have very personal knowledge of how important empathy is and how it has impacted my own life. Growing up in the UK and in Nigeria was about survival from the physical illness of sickle cell anaemia and the corresponding mental stress that accompanied it. Not until my family, friends, academic institutions and employers saw what was needed and how to support my aspirations did the concept of empathy really take hold. It empowered me to overcome the inadequate stereotypes of race, gender and disability, all issues over which I had no control over. This energy helped me to achieve in academics and the corporate world of investment banking and entrepreneurship.

For a true understanding the role empathy plays in daily interactions with individuals or wider groups, clarity in the meaning of the word is so very important. What empathy is not is sympathy, which is the ability to understand and support others with compassion or sensitivity. Empathy is the ability to step into someone else’s position in life, be aware of their feelings and understand their needs.

Recent surveys on empathy have found that approximately 80% thought that an empathetic organisation inspires more employees to be motivated and CEO’s surveyed agreed at about the same percentage level that an empathetic workplace has a positive impact on business performance, motivating workers, and increasing productivity.

There are a few rules that are absolutely required for empathy to take hold in your life and for the halo of goodwill that will follow to show positive results.

This means that the trend of cancel culture, barriers to personal expression and mob thinking must be resisted without exception. Freedom of speech empowers individuals to learn from others their feelings and needs.

When this happens through empathy, trust is built between people or teams in an organisation. Positive things begin to happen when trust is built. Empathetic people listen attentively to others and put their complete focus on the person that is being communicated with.

Positive action can be grouped into the message that is shared and then how the objectives of that message are implemented. Be careful in messaging because frankly, words do matter. No matter how sensible a topic may seem, you must carry that person along with you or the intention of showing empathy is lost.

Remember that people are indeed unique. Prepare yourself for a difficult challenge or perhaps even hostility to your messages or implementation plans.

Empathy is a human trait. Humans use all senses to make informed decisions. The pandemic has brought in remote working and this has created the need for a new skill set of interacting with people from afar.

Remember that empathy must start with individuals showing that they: like people, enjoy working with and helping others and value people as individuals. Listen, be open to change and convince others that by being empathetic, the work-place will see performance improving.

This is what I do on a daily basis as CEO of Painless Universal. I founded the company to work with key decision makers in corporations and governments so they can be successful in implementing quality of life agendas. Its mission is simply to help individuals find their joy in life.

For more information contact Anne Welsh at info@painlessuniversal.com; www.painlessuniversal.com; YouTube: painless universal channel; Instagram: @ladyannewelsh

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TAKE CARE OF YOUR MENTAL HEALTH DURING LOCKDOWN

By Angelina Kali Journalist, TV Reporter, International Fashion Model, and Social Media Influencer instagram.com/angelina_kali

Only recently have people really begun to take mental health seriously. Prince Harry has been one of the most high-profile proponents of looking after one’s mental health. Even the most optimistic person will have bad days where it can be difficult to remain positive and focussed.

www.headstogether.org.uk This issue has become more noticeable during self-isolation and lockdowns throughout the world. Humans need interaction with others as we are social beings; retaining a positive mindset during these trying times is essential for one’s mental health.

There are several actions you can do to keep your mind healthy. Let us start with the “easy” one first: Make sure you get a good night’s sleep. Lack of sleep has several bad side effects and can even make you more prone to illnesses and stress. It might not be easy to relax to get a good night’s sleep when under duress. I take herbal tea but some might prefer a little nightcap to help with sleeping.

Once you have ensured that you got proper rest, you must fill the rest of the day with activities which interest you or challenge your mind. Thankfully, social media and new technologies allow us to keep in touch easily with our families and friends. As you are stuck at home, keep busy and work on backlogs like re-organising your wardrobe, some home improvements or major spring cleaning. Now would be an excellent time to do that especially as it focuses your mind on something constructive.

Keep yourself occupied by reading a good book; not only does it keep your mind alert but also broadens your horizons and knowledge. With so much time to spare, why not take up on self-learning, whether it is to improve your job prospects or something that you are interested in like learning a new language. There are so many virtual courses available online and more added every day to cater for specific demands.

Online gaming is probably one of the ways that will keep your children occupied and stave off their boredom.

But too much has been proven to be bad, so it needs to be monitored and timed.

Whilst space might be scarce, there are ways to do keep fit even in restricted areas. Read my blog “how to keep fit during lockdown”. If you are alone and need motivation, join an online exercise class or a fitness class on YouTube.

Whatever you decide to do, look after both your mental as well as physical health until the situation improves.

Stay safe, be smart and take care of your health and wellbeing.

Angelina Kali Journalist, TV Reporter, International Fashion Model, and Social Media Influencer instagram.com/angelina_kali

The Regency Era Making a Comeback in Fashion The Bridgerton Series

By Ciara Kramer

King George IV

The Regency Period 1811 to 1820 was the period where Prince George IV ruled in place of his sick father and acted as ‘Regent’ during his father’s time of madness. The Regency period in London holds a memorable place in British History. This period was a time of political, economic and societal change, with regards to the Napoleonic Wars happening since 1803. Societal structures were undergoing an immense change, due to George IV and Charlotte’s interests; whereby different demographics would mix and meet in various social spaces. Social routines of attending two balls per week during November to July, often referred to as ‘the season’, where aristocrats would go to London and secure a status, whilst making contacts and forming allegiances. Whilst ‘young debutantes’ ladies, would look for the attention of eligible bachelors. The naivety and purity of these young ladies, is truly admirable. The Regency is highly associated with a period of social and cultural development, with the Prince Regents encouragement towards painting, literature, music, science, sculpture and technology. With a strong attraction to fashion and manners.

With the release of the Romantic period drama ‘Bridgerton’ in December 2020, the reimagining of Julia Quinn’s best-selling novels has fluctuated the new emerging trend of the body sculpturing corsets, extravagant ruffles and the elegant, draping silhouettes of dresses. Season one of the series is based on Julia Quinn’s first novel, ‘The Duke and I’.

Within this period, Britain began to adopt the French style of dressing, making clothes less gaudy and more functional for women.

The series exploded onto our screens with a bang. With a record of 82 million households around the world choosing to watch it, within the first 28 days from its release. It hit NO.1 in 83 countries. But Why? Because the romance, the passion, the fashion, all engaging a more contemporary audience to the period drama. It’s a world we all fantasise of being in.

The characters in Bridgerton, are depicted as being ultra-modern, youthful, and fashionable.

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Leading actors Regé-Jean Page & Phoebe Dynevor on Netflix number 1 Bridgerton Series

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The previous image of the Bridgerton family, exemplifies the Regency style. With the men in tailored jackets, waistcoats, linen shirts with collars, and a cravat around their necks. Whilst the ladies are wearing narrow, slender gowns, with a neutral colour palette, representing upper class women, with purity and wealth. Ellen Mirojnick made 7,500 costume pieces from scratch. The costumes chosen for each character speaks both of the social class and the personality within the garments. Bridgerton modernizes the Regency style, for example, the series has added more brightly coloured garments and more contemporary fabrics with rhinestone-encrusted puff sleeves. Shown in the image below, of the Featherington girls, at the Queen Charlotte’s party.

Depicted in this image, shows the more colourful, embellished dresses. With this vibrant colour palette, of acid bright florals, with intricate details on each dress worn, are eye-catching, due to the contrasts in colour.

With corsets previously depicting the construction of the waist on women’s bodies and was the cultural construct in western society during the Victorian period. This was considered to be the ideal body shape, enabling women to construct their own bodies for social advantage. The Regency period, however, becomes much more comfortable, with elegance in fashion and the high waisted, undergarment inspired Chemise dresses, which was the fashion for women in that era.

This is depicted through the dresses that Daphne and the women wear in the series. However, there is also the theme of ice-cream colour pastels, shown in the image above of Daphne Brigerton, from the inspiration of the outfit on the right.

After the mass surge of popularity from the Brigerton Series, this has been noticed by some of the top fashion houses and has popped up on the Couture Runways. Brands such as Dior, Chanel, Valentino, which are all creating romantic, feminine, elegant gowns. Highlighting how the Regency era is making a comeback in fashion, with a modernity touch to it. The Dior collection has a relaxed silhouette, in the image below, of the yellow gold dress, with these floral embellishments, is similar to the gowns worn by the ladies from Bridgerton. Enhancing the mass influence this period drama has had on the present fashion trends.

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Christian Dior 2021Couture

CALIFORNIA ELEGANCE PORTRAITS FROM THE FINAL FRONTIER

BY PHOTOGRAPHER FREDERIC ARANDA AND WRITER CHRISTINE SUPPES

Is a visual diary of the extraordinary figures and natural beauty of California: the world's pacesetter for the 21st Century, in all its diversity.

Artist Frederic Aranda

Through the photographs by Aranda and chronicling of profiles and stories by Suppes, a lifelong Californian, the pair depicts the unique personalities and natural beauty of the state, as well as its significant sites. Profiles and portraits include Governor Gavin Newsom and First Partner Jennifer Siebel Newsom, politicians Willie Brown and Jackie Speier, actor Kirsten Dunst and her mother Inez, Glide Memorial Church pastor Cecil Williams, fashion designers Laura and Kate Mulleavy and Johnson Hartig, Queen Sugar author Natalie Baszile, young NASA scientists, social activists, farmers, firefighters, and awardwinning astronomer

“Having the opportunity to traverse my home state for the past 5 years to explore the breadth and depth of stories to be told by all Californians has been life affirming. Now, more so than ever, as we are separated and isolated, it is a reminder of the interconnectedness of all the incredible individuals who define the Californian sense of possibility” commented Suppes. Aranda adds “To continue my ongoing creative collaboration with Christine, this time documenting the people and the energy that spans the country’s most populous state, was an immense professional joy. We met so many incredible people moving the cultural, political, and scientific needle forward. To be able to capture them in their most authentic environments was hugely rewarding.”

From San Francisco's most influential players to the innovation hub of Silicon Valley and the creative capital of Hollywood, California Elegance brings you the very best of the Golden State. The changing landscapes of San Francisco, the redwood forests of Humboldt, the sands of Death Valley, the wonders of Yosemite, the slopes of Lake Tahoe, and the bustle of Silicon Valley.

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ABOUT THE AUTHORS: Frederic Aranda is a self-taught international portrait photographer with a career spanning over two decades. According to the BBC, "Aranda's portraiture aims to communicate the subject's humanity and strength. It's earned him a place as a favourite photographer for top brand style magazines such as Vogue, Vanity Fair and Harper's Bazaar.”

Aranda's passion for taking portraits of both groups of people and individuals is brought together in California Elegance, showcasing his full range of skills portraying people in their natural environment. This is his second co-authored book with Christine Suppes.

Christine Suppes was one of the first disruptors in the fashion industry launching the internet based editorial network, Fashion-lines in 1999. Following more than three decades dedicated to collecting haute couture, she co-authored Electric Fashion (published by Skira), which chronicled her devotion and unwavering support to the craft.

Her collection is now part of the DeYoung Museum.

She is a Friend of the Anna Wintour Costume Center at the Metropolitan Museum of Art, a member of SFMOMA’s Modern Art Council, and a supporter of the Fine Arts Museums of San Francisco. @littlemissychronicles #ChristineSuppes California Elegance by Frederic Aranda and Christine Suppes, Rizzoli Photography © Frederic Aranda.

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Willie Brown: San Francisco Mayor and iconic politician Willie Brown photographed at his weekly lunch spot, Le Central in San Francisco. Fun story: Francis Ford Coppola directed an actor to play a powerful politician in The Godfather Part III and instructed him to "play it like Willie Brown" but when the actor didn't understand, Coppola gave the part to Willie Brown.

California Elegance by Frederic Aranda and Christine Suppes, Rizzoli Photography © Frederic Aranda.

Kirsten Dunst with her mother Inez at home in Toluca Lake, CA California Elegance by Frederic Aranda and Christine Suppes, Rizzoli Photography © Frederic Aranda.

Queen of Quinceañera, April Black Diamond California Elegance by Frederic Aranda and Christine Suppes, RizzoliPhotography © Frederic Aranda.

OUTSTANDING

Art Book Review

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Say it with flowers

24 Hours Luxury Flowers WWW.FLOWERCOLLECTIONUK.COM +44 (0) 207 8343 1273

TRENDING FASHION SPRING SUMMER 2021 WITH

Pegah Pourmand

With everything that has occurred in the last year, it would make sense that the spring/summer season be one of optimism. From feel-good and floral prints and delicate puff-sleeves, pastels, silky satiny smoothness to disco sparkly dresses, I’m going to unveil the most wearable trends to add to your wardrobe this summer.

THE COLOUR PALETTE TO SPRINGBOARD THIS SEASON, WE SAW DIFFERENT SHADES OF PINK FROM BUBBLE GUM TO LIGHT BABY PINK, ULTRA-FEMININE, THE GIRLY TREND WITH ROMANTIC FEEL MAKES IT WEARABLE FOR EVERY DAY, SUMMER LIGHT CHIC .

SWEET PASTELS Joyful pastel hues that resemble a delightful, swirled serving of cotton candy. This trending colour story asks us to take our minds off of the gloom of the last year and embrace the cheery potential of a baby blue or mint. Having been locked up in loungewear, there's something intriguing about finally stepping out of our homes looking like delectable sugar confections.

Calming nature of a Pastels are certainly optimistic and soft and comforting.

Sweetest shades of sky blue, pink, lilac, mint and buttermilk yellow bring a sense of nostalgia to our childhood along with it , pure gentle and soothing feeling .

Pastels are also becoming colours associated with self-care, longing for wellness and comfort in response to the tension of the pandemic and its series of unfortunate events. pastels easily fit into a more minimalist and decluttered design aesthetic with cleanliness and simplicity as well as offering a quietness that is soothing to the soul — enduring messages that are especially desirable at this time.

PUFF AND PADDED SHOULDER SLEEVES TREND

Exaggerated, puff sleeves is a silhouette that has brought back into focus for the spring/ summer shows. romantic cottage-core trend From blouses to dresses and even outerwear have become a staple of contemporary womenswear puff shoulders bring a voluminous touch to any top or dress, give a statementmaking touch to an otherwise simple style, allowing wearers a display of power and confidence. The sentiments behind the trend are still running strong .

MATCHY MATCHY MASKS Masks are an integral part of everyday life of 2020-2021.

Mask fashions from masks matching a bodysuit to the multifunctional turtleneck sweater and the veils the designers are ever more creative in ensuring that the new essential of human safety is also fashionable.

FEATHER TREND From the runway to the red carpet, the feather is the trend of the moment. And If you are looking for a hint of couture drama about your wardrobe then this season's offerings are putting feathers top of the agenda punctuated with a good dose of feather action here and there and this trend is extremely wearable and interestingly it keeps coming back en vogue after every few seasons. feather flourishes all over the runway, yes it’s feather high time .

Regardless of what century, decade, or year ,there’s just something captivating and alluring about feathers that always seems to inspire creativity and give flight to our imagination.

And as I’m writing this I’m launching my fashion line “la pearlin by Pegah” in march 2021 which is also about feathers and statement ultra feminine pieces for a bold ,extraordinary woman , it’s beyond any dream I ever had that is coming to life and I’m really excited about it. I hope if you reading this will check ‘la pearlin’ when it’s launched.

DISCO ZOOM PARTIES ARE MAKING THEIR WAY INTO THE MAINSTREAM. As the temperature climbs, so does the number of statement silvery styles this season.

This statement pieces featuring a glittering chainmail construction that is bringing back the 80’s, shiniest, sparkiest and metallics, mirror and sequin textures pieces with some subtle or extremely bold jewellery pieces despite the mishaps of 2020 has been dazzling the runway . yes it's time to embrace your inner disco girl and the lurex that shines even brighter when the sun's out for all hours of the day and of course another chance for the next NYE party if we didn’t get this year.

PERHAPS IN REACTION TO A THUNDERING POLITICAL YEAR, THE DOMINANT TREND OF THE SEASON WAS CLOTHES AND ACCESSORIES THAT MAKE YOU FEEL GOOD – BE THEY CANDY- NEON COLOURED CHIFFON GOWNS, RAINBOW-STRIPED BLOUSES, DELICATE MINIATURE FLORALS INTERPRETED THE ROMANTIC BREATHE, WHICH GIVES A MORE DEMURE AND CUTE SENSE. VISIBLE EXTRA-LARGE FLORAL PRINTS SHOWED OFF DETAILED ARTISTRY.

UNTIL THE SUMMER COMES, LET’S BE OPTIMISTIC AND POSITIVE ABOUT UPCOMING GOOD DAYS, THE WARM WEATHER SEASON WHICH IS GOING TO BE FILLED WITH BEACH TRIPS AND POOLSIDE BBQS, LETS HOPE THIS ALL ENDS SOON AND WE ALL GET BACK ON TRACK OF USING EVERYTHING IN OUR WARDROBE AGAIN.

THE ABUSED PET REFUGE PROJECT WE HAD THE PLEASURE OF TALKING TO BRITISH ACTOR, MIKE BECKINGHAM, REGARDING HIS RECENT APPOINTMENT AS A PATRON FOR THE ‘THE ABUSED PET REFUGE PROJECT’.

In his own words.

“I’m a ‘John Wick level’ dog/animal lover. Recently it was an honour to be asked to be a patron for a new charity **started in 2019** called ‘The Abused Pet Refuge Project’. The reason this particular charity struck a chord with me is because it doesn’t just focus on animal welfare, but it focuses on an area that not many people in the UK are aware of... ‘the direct link between animal abuse and domestic abuse’.

In these unprecedented times, both animals and human abuse victims have soared, so it’s vital that we become aware on just how prevalent this is and how we can help, that’s where The Abused Pet Refuge Project comes in.

The Abused Pet Refuge Project are working tirelessly to ensure that there is huge awareness brought about this phenomenon and how we can detect how an abuser uses an animal to gain control over their spouse or partner who are also being abused. Statistics show that a human being abused won’t leave an abusive environment due to the commitment they have to their pet, which, I’m sure you’ll agree is heart-breaking loyalty.

So, The Abused Pet Refuge Project’s goal is not only to help detect animal abuse which leads, as we’ve seen to domestic abuse, but to find their dog/animal a safe haven so then the human victim can then leave that environment knowing their animal friend is safe.

The research is in very early stages in the UK after seeing success from research in the US. The work has only just begun but with your help we can make a difference, in fact a huge difference to both animals and humans.

I would love to be all philosophical right now, but... let’s all do what we can to help stop animal abuse and domestic abuse it’s that simple. I plead you to support The Abused Pet Refuge charity - https://instagram.com/abusedpetrefugeproject?igshid=m6o4pozujcau

LET’S CHOOSE TO CHALLENGE

International Women’s Day

A challenged world is an alert world and from challenge comes change — let’s all choose to challenge. Celebrating women’s achievements and increasing visibility, while calling out inequality, is the key.

And what a moment for reflection. This time last year we were producing our inaugural IWD networking event at The Lanesborough in London and the Covid-19 pandemic had begun in a city in central China. We had no idea it would then grow to affect nearly every country on earth.

The virus has put world leaders in hospital while exposing inequality. It has asked major questions of all of us. There has never been a more important time to choose to challenge.

At Raphia our team has put their energy into addressing the challenges faced by the Berber women’s co-operatives in the Argan region of Morocco. We have celebrated these incredibly talented women through our commitment to bringing their production of Argan Oil to UK and European audiences. Look out for this post being published in the coming days.

Since founding Raphia, Zineb continues to build her business to support the local communities and producers from her home country. She is especially passionate about empowering women and shaping an each for equal future.

Let’s shape the future together and continue to champion women and make that choice to challenge.

RAPHIA’S FOUNDER ZINEB FARESS www.raphia.co.uk

HA INTERN WOM WITH INTERNATIONAL WOMEN DAY CELEBRATION AT THE LANESBOROUGH HOTEL BY RAPHIA CHOCOLATIERS Caption (left to right) Simona Vicutie, Amina S, Anastasia Higgins, Desiree Faust Kate Moss, Julia Kors, Rebeca Riofrio , Zineb Faress (RAPHIA), Natalia Kapchuk Alice Sherman, Olga Balakleets, Chelsey Baker, Sophia Bouzian, Kate Ozerov

APPY NATIONAL MEN DAY H RAPHIA

LAST YEAR WE HAD A SUMPTUOUS INTERNATIONAL WOMEN DAY CELEBRATION AT THE LANESBOROUGH HOTEL BY RAPHIA CHOCOLATIERS. EVENT HOSTED BY RAPHIA'S CHOCOLATIER’S FOUNDER ZINEB FARESS, ARTISTS NATALIA KAPCHUK AND REBECA RIOFRIO CHAIRWOMAN FOR THE PARLIAMENTARY SOCIETY FOR ARTS FASHION AND SPORTS .

Caption: Duchess Nivin El-Gamal of Lamberton, Natalia Kapchuk, Panthea Parker.

Caption: Aliyah Rahat

Caption: Natalia Kapchuk, Lesya Warren, Kate Ozerov

2021 Zoom Game Night, Celebrating Women’s Day

Caption: Zineb Faress, Rebeca Riofrio , Natalia Kapchuk

Caption: Alice Sherman, Anastasija S., Natalia Kapchuck

Caption: Rebeca Riofrio Riofrio & Rania Faress

Caption: Polyana Santos, Natalia Kapchuk, Juliet Mayhew, Sherrett S.,Nivin Al-Gamal

HAVE WE BECOME MICRO FLUIDIC HARVESTING VESSELS ACROSS A FLUCTUATING FIELDSCAPE OR SIMPLY A FLOWER IN THE TORNADO? HASEB_ZADA B.A (HONS), DIPL.ARCH (AA/BARTLETT-UCL), M.ARCH (BARTLETT-UCL) CO-FOUNDER/PARTNER & DESIGN PRINCIPAL ORPROJECT

TO HAVE AND TO HOLD WITHOUT AN END, AND NEVER REMEMBER THE START, TO KEEP ONES FAITH WHILE OTHERS LOSE THEIRS IS ONLY A MATTER OF THE HEART ....

TO BE A WHISPER SO RARE AND ONLY CROSS A FEW, TO NEVER LOSE HOPE AND BEHOLD THE TRUTH IF ONLY ONE KNEW… TO SEE AGAIN THE WORLD WITH HOPEFUL EYES, OH HOW WE LONG FOR THOSE HELLOS AND GOOD BYES, TO HOLD THE HEART ON THE TOP OF THE HEAD, OR THE WISH FOR THE EARTH AS A RESTING BED TO RISE UP AGAIN EXCITED WITH THE SUNLIGHT, AND LAY DOWN SMILING WITH THE NIGHT TO HOLD THE BREATH UNTIL IT SINGS WE PRAY FOR BLISS THEN HOPE FOR WINGS WHAT CAN WE DO MORE SINCE ADAM AND EVE? THAT’S NOT BEEN FELT AS WE LEAVE THE NEW DAY DAWNS THE OLD YEARS GROW, WE KNOW WE DREAM, THE DREAMS WE KNOW TO LIVE, TO LOVE, TO SHINE, TO BED TO WRAP OUR ARMS, UNTIL IT’S SAID TO LAUGH, TO WEEP, TO KISS, TO EMBRACE LET HOPE BE CHERISHED UPON EACH PLACE….

REFLECTIONS For all of us the great 2020-2021 reset, reflect and re-build has given every soul the chance to make things better for ourselves and each other…. lessons it taught us on a global scale and even more so on a more personal level…as we attempt to try and make sense of the new world around us through signs and numbers and how we interact with them as a sweeping algorithm, making connections along the way to the things we held dear around us DO YOU REMEMBER WHEN THE WORLD WAS TOLD TO?

- Wash our Hands – Perhaps to cleans the heart and soul, as cleanliness as is Godliness, as they say - Wear the Mask: Perhaps humility and humbleness is the great trait of good character that was missing in the heavily exploited and exposed world - Socially Distance from one another – Perhaps to pause, disconnect, get closer to God or understand better our role and purpose in this world and towards each other for we hope from any trial and tribulation comes triumph, metaphorically understood here as Sun (light) and Shadow (darkness) in religious texts.

“Have we not seen how our Lord spread the shadow? If He willed, He could have made it still – but we have made the sun its guide (as after the sunrise, the shadow shrinks and vanishes at midnoon and then again appears again in the afternoon with the decline of the sun…thus had there been no sunlight, there would have been no shadow) (Surah 25. Al Furqan (The Criterion) - Page 711, Verse 45) "My greatest desire is that whenever my shadow falls behind me as I walk, may whatever it falls on be blessed."

(Sun Sentinel: Walk in Gods Shadow) ‘The

night is far-gone; the day is at hand. So then let us cast off the works of darkness and put on the armor of light’ (In Romans 13:12) And so perhaps its time to tie the heart to a balloon and release it like a ‘flower in the tornado’ and hope it reaches warmth with open arms, joy in those eyes and hope that carry’s it to its resting place…. As we become the sum of the incoming parts processed in the matrix of rebuilding society…

The Modern Church - an open House: Hand studies & annotations (2001(

RESETTING: THE PRINCIPLE OF APPLYING HOPE………

Architecture by concept and actualisation is seen as the ability to design or construct any ‘form from principle’ whether this is governed by major political and socio economic means or minor physiological and psychological factors, all are in interplay at varying levels in the context we build and experience around us.

In a place where perhaps our plans has been lost in the rehabilitation process, seeing remains the only way to believe, unite and reconstruct such values for what lays ahead. Architecturally connecting the visual aesthetic becomes a possible powerful tool in order to achieve this, laying the foundations towards a new future, a new tectonic reality and a new personal algorithm for each of us.

The idea of a new algorithm set provides the context in which paths and events cross like nodes in a sweeping matrix diagram therefore possibly providing a turning point in direction, a beacon of hope, a tool in rebuilding tangible and visual trust, a bench mark or land mark, and set a series of new inputs as we face the new reality for our future development….

-Red Pill or the Blue Pill? Defining Our own Algorithm: What are the inputs and outputs that define what we do now and hope to do? This principle could of course be addressed through historical channels with contemporary translations made to establish a new criteria for the vocabulary of spatial forms on our faces and our and places we strive to achieve, seeing man as a harvesting vessel: -Why does the bark never shout yet the committed rings show so much? Re-building our old trusts and forming new bonds: What remains to be seen is already heard of and this principle equates the foundation for re-engaging with the community when the doors open to what we may call ‘A new normal’….an intricately poised society building exercise in order to encapsulate the wants and needs of the ‘things’ that we held for granted as well as to promote the elements that were missing and so dearly missed as we re-connect again.

-Why does the bark never shout yet the committed rings show so much? Re-building our old trusts and forming new bonds: What remains to be seen is already heard of and this principle equates the foundation for re-engaging with the community when the doors open to what we may call ‘A new normal’….an intricately poised society building exercise in order to encapsulate the wants and needs of the ‘things’ that we held for granted as well as to promote the elements that were missing and so dearly missed as we re-connect again.

-THE A-Z MAP OF THE WORLD – REMAPPING OUR PERSPECTIVES AS A WAY OUT? CREATING ROUTES WHILE NAVIGATING THROUGH NEW FOUND TERRITORY: Similar to the notion of walking through uncharted territory, frail legs will cautiously walk while younger ones revel in the excitement of open doors charging more than open arms, but what about that gap in between?

The ‘grey zone’ which still is unsure or struggles with the ability to see and construct a future?...is that not what was the ‘great Depression’ all about? Perhaps for those we pray for Angles to sit in-between government ministries and rulers (Presidents/Prime Ministers/Heads of State) set poised to promote, monitor and review all future developments in society in order to harmonise what maybe difficult shapes to build and glue society back together again.

(12 harvesting vessels across a constantly fluctuating field-scape)

IS THAT THE NEW CITY OF OLD SOULS ON THE HORIZON? AN ICONIC PROJECT FOR A NEW IDEA OF SELF: The rough gemstone that lays imbedded within us, ready to be cut, shaped and polished is perhaps our approach in forming a project out of ourselves…… surely we aim to reconnect again , to the things we lost and things we won in the process…the rehabilitation process; and set forth a man made monument in which we embrace the universal experience we shared together, flicking the page towards a new dawn in the next chapter ahead.

(The Final Episode: ‘AVATAR Virtual Environments’ Exhibition. 2005)

MICRO LEVEL: BENEATH THE SKIN

All our movements ands social dynamics are conducted between different component interactions of the instruments (plug ins) It is the interaction and culmination of the individual processes and motions that define the instruments dynamics and loop it back into the system for future notation patterns. The system has parallels to dance and human formations found in Lab notation like a series of notes and instruments belonging to the network of the site as its choreographed. Such motions and notes become primary sources for a potential new design language and set an augmentation and pattern in the architectonic construction of building society.

MARCO LEVEL: ABOVE THE HORIZON – SHADOW TRACES OF OUR JOURNEY AND HISTORY

REBUILDING

(Afghanistan National Pavilion, World EXPO 2015,Milan, Italy) For EXPO Milan 2015, the Afghanistan Pavilion, for example, had been designed to symbolize the progress that has been made in Afghanistan while expressing the country’s vibrant culture. The architectural interior area was designed and inspired by the symbolism used in Afghan tapestry fabrics, the geometric shapes that appear throughout Afghanistan’s art and culture, and the colors of nature, the entire display area features an undulating, three-dimensional screen constructed of over 10,000 customized, individual pieces. Backlit and perforated with symbolic shapes, the screen not only casts dramatic shadows across the display area but also changes color throughout the day in synchronization with the audio presentation, creating an interactive experience for visitors.

HASEB ZADA BIOGRAPHY Born in Kabul, Afghanistan and raised between London, Los Angeles and Dubai. Haseb’s work although ‘deconstructive’ in nature is poetically binded together with a unique philosophy: having trained formally as an artist, designer, architect and classical musician, and it is this interplay of disciplines that defines not only his experience but approach to ‘building form from principle’ in his work.

In 1996, the U-turn from medical school suddenly occurred one late afternoon in the college Library, accidentally walking past a book left open illustrating “Falling water’ by Frank Lloyd Wright – Architecture came forth as another way to aide society – an intermediary between people and spaces – the space between the body and the soul of places.

This resolve towards architectural development - as a unifying tool that encompasses all parts of the whole created the passion for intellectual and creative inquiry, developing forms and principles governed through bridging links towards organic designs; that grows and nurtures its surroundings. The culmination of these elements has compounded for him, a discipline that can be formulated, constructed and delivered through an aesthetic platform via the development of conceptual actualisation. Having reached MENSA level intellectual inquiry, Haseb embarked his journey writing his first book (completed in 2004) titled: ‘Hasebian’s Law – the episodic script notation of an e-motional drama choreography’.

In 2001, having been selected for the ‘Morphosis Apprenticeship’ (1 of 4 International placements per year) by renowned Pritzker Prize Laureate Thom Mayne, Haseb was soon after awarded by world famous institutes: the Architectural Association, London (2002-04’ Baylight scholar) and the Bartlett (UCL – directly into 5th year and ‘end of year show design prize winner’) – which he studied simultaneously and immediately completed his Masters in 3 months at the Bartlett (UCL). Having achieved 4 degrees at only the age of 24, Haseb was offered the Bartlett PhD to study on developing countries and design principles between Art & Architecture.

Having completed his formal training at International design offices such as Morphosis, Los Angeles and Hopkins Architects, London, in 2005 embarked on the 1st of many private projects to come – the first development in Montpelier Street, London SW7 and a private art commission for the late H.R.H King Mohamed Zahir Shah of Afghanistan. It was this longing and re-connection to his ‘homeland’ that sent Haseb back to Kabul in 2006 for the first time since departing, during a sabbatical year long world trip (2006-07) to gather material for his PhD research at the Bartlett, UCL. ORproject was established in 2006 with the design philosophy for the studio to grow ‘organically’, the design practice is now based in 5 countries around the world (US, UK, UAE, India and China) between 5 partners all of whom met during their studies at the AA (Architectural Association, London) – and it was this foundation that brought Haseb to the Middle-East in 2007 with RMJM as the ‘Youngest Project Leader in the GCC’ and ‘company group representative to Afghanistan’ – travelling constantly back and forth between London, Dubai and Kabul to lead private and public commissioned works.

Haseb’s very much private and reserved portfolio came to the attention of the current President of Afghanistan: H.E. Mohamed Ashraf Ghani in 2014 –and authorised him as a Presidential representative and advisor for ‘Architecture and Development’. It was during these years that led to becoming the ‘Architect of the Afghan National Pavilion’ for the Milan EXPO 2015 and ‘Architect to H.E Rula Ghani’ (First Lady of Afghanistan) – for the ARG Palace no.1, in Kabul. After founding ‘fIQr’ think tank in 2014 (fIQr: for I Quantify reason – which translates ‘to think’ in Farsi, comprising of 30 intellectuals/specialists), to aide the countries developmental programs – soon led to completing his designs in 2015 for the Dubai EXPO 2020 ‘Connecting Minds…Creating a Future’. In 2016, Orproject was also officially invited by the GAA foundation to showcase their work at the Venice biennale in May-November of 2016.

Continuously awarded, over a 20-year body of work, have provided him with a substantial and extensive portfolio essential in approaching situations with a unique and creative approach. It is therefore no surprise to some, and the people that have worked and mentored Haseb that he has been shown immense support and acknowledged with the following credits:

FROM NEIL SPILLER: - 1 of 10 leading international curators and critics around the world selected by ‘10x10’ by Phaidon International Press ‘Combining rigorous theory with technical skill is an act of genius’ From Sir Peter Cook: - Founder of Archigram (1960) Director the ICA, Dean of Bartlett, UCL & Senior Fellow at RCA ‘A very hot designer’ From Mohsen Mostafavi: Dean Harvard Graduate School of Design, Chairman Architectural Association, The steering committee of the Aga Khan - 1 of 10 leading international curators and critics around the world selected by ‘10x10’ by Phaidon International Press ‘A gifted individual with scholarship standards’ From Thom Mayne: - Founder & Principal of MORPHOSIS (1971) Pritzker Prize Laureate (2005) & Founder and Trustee of the Southern California Institute of Architecture ‘Limitless talent, hard working, focused and intelligent…a young man of immense potential…the next Zaha Hadid’

ORPROJECT COMPANY PROFILE: Design – Construct – Sustain Orproject is an Architecture and Design partnership practice between Cincinnati, London, Dubai, New Delhi and Beijing. Our work explores advanced geometries with an ecologic agenda, the integration of natural elements into the design results in an eco-narrative.

The projects range from experimental small-scale installations to large real-estate developments. Orproject produce high-end luxury design, covering all aspects of a project from design and planning to practical completion. Our work has been published and exhibited widely, amongst other at the London Architecture Festival, the Furniture Fair in Milan, Venice Biennale in Italy, Palais de Tokyo in Paris and the China National Museum in Beijing.

Ecology as a Narrative expresses the approach to ecological design: More than creating perfectly efficient ecological machines Orproject are interested in expressing, through a visual narrative, the sequence of steps in which architecture can harness natural elements.

This sequence from a natural element to its integration into design is usually hidden within a photovoltaic panel or concealed behind cladding. We visually expose the sequence as a narrative by expressing each step in a stimulating game of perceptions, Ecology as a Narrative creates awareness of how harmoniously nature can blend into design.

W: www.orproject.com E: zada@orproject.com Images & Text: © Haseb Zada, Orproject 2021

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