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Hamlet Free Church in Aigburth was struck by an oil bomb in WW2.
The Royal Daffodil Ferry
Lark Lane.
The underpass, which links Aigburth Road from Jericho Lane to Ashfield Road, was brightened with community artworks, depicting scenes and memories of Aigburth, produced by local artist Nicola Taggart.
www.ljmu.ac.uk/studentfutures/start-up-hub/successes/nico...
Other work by Nicola Lowe (Taggart) tag-art.weebly.com
Engineering students from Liverpool JM University learning from a site tutorial about the deconstruction of the Churchill Way Flyovers, seen in the background.
COPYRIGHT © Towner Images
Rodney House, part of Liverpool John Moores University, at 70 Mount Pleasant, Liverpool, Merseyside.
Founded as a small mechanics institution (Liverpool Mechanics' School of Arts) in 1823, the institution grew over the centuries by converging and amalgamating with different colleges, including the F.L.Calder School of Domestic Science, the City of Liverpool C.F. Mott Training College, before eventually becoming Liverpool Polytechnic in 1970. The University also has a long history of providing training, education and research to the maritime industry, dating back to the formation of the Liverpool Nautical College in 1892.
The institution then became a university under the terms of the Further and Higher Education Act 1992 under the new title of "Liverpool John Moores University". This new title was approved by the Privy Council on 15 September 1992. The university took its name from Sir John Moores, the founder of the Littlewoods empire. Moores was a great believer in the creation of opportunity for all, which embodies the ethos of LJMU in providing educational routes for people of all ages and from all backgrounds. This belief led Sir John Moores to invest in the institution and facilities, such as the John Foster Building (housing the Liverpool Business School), designed by and named after leading architect John Foster. With the institution's backgrounds dating back as far as 1823, many of the university buildings date back also, with aesthetically pleasing Georgian and Victorian buildings found on a few of the campuses.
In this new image Hubble peeks into the Coma Cluster, a massive gathering of galaxies located towards the constellation of Coma Berenices. This large cluster is around 350 million light-years away from us and contains over 1000 identified galaxies, the majority of which are elliptical.
More information: www.spacetelescope.org/images/potw1402a/
Credit:
ESA/Hubble & NASA; D. Carter (LJMU)
Acknowledgement: Nick Rose
A debate about "Starchitecture" with architecture critics hosted by Liverpool John Moores University School of Art + Design, January 2015. Were there parallels between the critics and the criticized? Fountain pen sketch.
(Image from sharing of work in progress. Physical Fest 2015.)
An original theatre production directed by Yorgos Karamalegos and inspired by Euripides’ Medea.
“Home” is a new beginning in Yorgos’ career after a decade with Tmesis Theatre and four years of research in theatre making through his international laboratory for performance - Physical Lab.
The world of ‘Home’ is a poetic landscape and a hero's journey exploring the feelings of alienation, power, love, betrayal, and freedom.
It explores the symbolisms behind one of the most famous and powerful characters in the history of drama and promises to be an evocative and highly entertaining piece.
It has been created in collaboration with actress/dramaturg Despina Sidiropoulou, and the cast includes Yorgos Karamalegos, Despina Sidiropoulou and Tatiana spivakova.
The drama is supported by movement director Pablo Aran Gimeno (Pina Bausch Tanzthater company); stylist Venia Palychronaki; and lighting manager Marc Williams (National Theatre).
The premiere takes place at the Unity Theatre in Liverpool on the 24th & 25th of November 2015, followed by the London premiere on the 29th & 30th of January at Chisenhale Dance Space.
Yours truly in the atrium @ the 'Liverpool Echo' and 'Daily Post' newspaper offices with some film makers from 'Liverpool J.M. University'. They asked to film me reminiscing, re; my memories of Liverpool's famous old 'Overhead Railway' and our city's (once thriving) miles & miles of busy docklands. www.youtube.com/watch?v=h1zayd4eR1Y
** Pictured left to right: sound recordist, myself, cameraman and the producer/director. ** www.ljmu.ac.uk/
Shot taken with my own camera in 2011 by a great friend and top pro tog, the multi-award winning, Terry Donnelly of Red Pill Photography
A redevelopment of the plot between Hardman Street and Maryland Street is on the cusp of starting. Barriers have been erected around some buildings which will be demolished, including the old LJMU Students Union building (officially known as the High Building).
Liverpool John Moores University are due to start work on redeveloping the old Post Office site on Copperas Hill. The scheme will form part of the "Connected Central Village" proposal (of no relation to the Central Village development at Lewis').
Looking at the proposed images, the car park will remain but the old GPO will be altered to befit the requirements of the new building use. According to LJMU, all three libraries will be consolidated onto this site, meaning Avril & Aldham Robarts sites and the facility at IM Marsh will be relocated to Copperas Hill. I found the facilities at the Avril Robarts to be exemplary; hopefully these new facilities will be just as good. I wonder whether the Superlambanana will also be relocated?
On 24th November students and school children in Liverpool walked out of classes as part of a national day of action. They marched to the town hall and then stopped traffic at several spots around the city.
A familiar sight for anyone who has studied at the old Liverpool Poly, latterly Liverpool John Moores University. This was taken from the Churchill Way footbridge over Byrom Street looking North past the campus to Leeds Street. This busy intersection has changed a lot in living memory with the construction of the flyovers, demolition of the old tenement blocks and development of new student blocks. The area could change even more over the coming years as more developments push the limits of the City Centre northward.
This is the rear of Hardman House which is scheduled for demolition as part of a mixed student accommodation and LJMU learning space development. This could also mean "Back Maryland Street" is also removed.
I used to live right near here. Early council housing, now student accommodation. Check out the rest of the set www.flickr.com/photos/94058312@N00/sets/72157622207351540/
The Maritime Bridge and Engine Simulator in Liverpool officially opened today (20 October) where he also announced a new Liverpool John Moores University (LJMU) graduate talent pipeline programme offering sponsored placement opportunities to ten Merseyside companies operating in the maritime sector.
The Maritime Bridge and Engine Simulator enables students, marine pilots, shipmasters and senior navigating officers to develop and practise their skills in a high tech, lifelike but risk-free environment which can be programmed to look and feel like any seaborne vessel.
The scheme will be rolled out in partnership with industry body Mersey Maritime, which signed a three-year Memorandum of Understanding (MoU) with the University in 2015 in order to provide the latter with direct access to maritime sector employers and identification of skills gaps. It will provide the University’s next cohort of graduating mariners with their first professional job in the industry and employers with a highly skilled new professional who will continue with their development as they start in their career.
For more information, see Liverpool John Moores University.
John Hayes attended the launch of the new container ship “Atlantic Sea”, where HRH Princess Anne christened the giant container ship. He also saw the construction progress of the deep-water container terminal Liverpool 2, which will ensure the Northern Powerhouse can accommodate container trade from across the Atlantic.
Anna-Jane currently lives in Liverpool city centre she's originally from north Wales. Anna as studied at LJMU and wants to be a teachers. Not long finished her degree and currently works as a retail assistant in Liverpool.
Anna-Jane is my lovely friend
Thank you for letting me take your picture
Portrait Learning
On 24th November students and school children in Liverpool walked out of classes as part of a national day of action. They marched to the town hall and then stopped traffic at several spots around the city.
Checking out my EEG as recorded by Biosemi's ActiveTwo. Taken during my first go in the driving simulator at LJMU.
I am a bit dubious of listing Rodney Street as Canning, nonetheless, this route is still one of the most desirable streets in town. Linking the Anglican Cathedral to Mount Pleasant, the street is lined by various styles of Georgian housing.
Laid out circa 1780, the street has been home to several important figures in the city's history including Dr Duncan (first medical officer for Liverpool), William Gladstone and Edward Chambre Hardman.
The dark, shiny building in the distance is one of LJMUs new investments, replacing a 60's block on the corner of Brownlow Hill and Clarence Street.
I saw all these new graduates on my way home - so I climbed to the top of the Cathedral steps for a shot.
The Vauxhall Vaults stands on the corner of Cockspur Street. an insurance map dating from 1894 has this corner marked as a public house; however as you can see, the area around it has changed considerably in the intervening years.
Between here and Tithebarn Street were Mc Gees Buildings and a Presbyterian Church. The Avril Robarts Library (a part of the John Moores University) now occupies the site. The alignment of buildings has altered just as much. The Avril Robarts is set further back from the highway than it's predecessors were, providing a sizable area for people to congregate.
The building adjacent to the Vauxhall Vaults is the newest building in this image. Previously, there was a small newsagents which was essentially in a one room structure attached to the pub. I don't know how the two buildings are configured now as I guess part of the Vauxhall would have been demolished to accommodate a new, larger building.
Cockspur Street also included some retail units including a Pawnbrokers and Shirt Dresser.
www.bl.uk/onlinegallery/onlineex/firemaps/england/northwe...
On 24th November students and school children in Liverpool walked out of classes as part of a national day of action. They marched to the town hall and then stopped traffic at several spots around the city.
We put our hoodies on and venture into the unlit streets with our new Artist of the Month, Tomo…
“He’s a mysterious fellow, that Tomo, you know.” This is the reaction we get on telling a surprised friend (and fan) that we’re interviewing street artist Tomo, recently nominated and subsequently shortlisted for the prestigious Liverpool Art Prize (opening tonight).
Influenced by Andy Warhol, Basquiat, and Max Ernst, Tomo’s work depicts people living in the city, working in print and illustration through paste-ups on forgotten walls. You may recognise his work from Lost Properties in February, where he gathered up a team of friends to take over a deserted shopfront on Renshaw Street for a week of pop-up exhibitions, screenings and storytelling. The characters he creates are like you and me: drinking from cans, carrying plastic bags full of shopping, hanging out together. The only difference is, some of these characters will be hybrid animals or vagabonds, with the cracks of urban living peeping through – glimses (literally) into the minds of others or what happens under the pavements that we step on.
We meet the artist, originally from Huyton (nodding to his birthplace with our banner, entitled Huytoned State Of Awareness), in his curiosity-shop style studio at Wolstenholme Creative Space; full to the ceiling with artworks, found signs, knick-knacks, and printing screens. A graphic designer by trade (he graduated from LJMU’s Graphic Arts BA in 2005), his passion for graffiti grew from childhood.
“I’d been into graffiti as a kid. I’d see a nice piece at the side of a motorway when driving with the family, my eyes glued to it! But it wasn’t until my teens that one day, all of a sudden, all of the tags that had normally been invisible bounced out. I was looking at every piece of writing that I could on the wall, memorising where everything was and noticing when pieces were new; even just a little scribble. I met a few people that were doing graffiti, and started tagging up.” Where did you draw your first piece of street art? “I wouldn’t want to say … it’s a secret, but it’s still there!”
A trip to New York only intensified his interest in art on the streets. Blagging a place on a children’s summer camp, working in a stable – “I didn’t know anything about horses” – Tomo seized the opportunity to explore a city full of music-inspired graffiti. “The reason I’d wanted to go to NY was because it was the birthplace of Hip Hop and modern day graffiti. I wasn’t good at graffiti – my can control with spray cans is pretty crap – I’ve always been more of a drawer. But in the early 2000s when street art was getting a lot of attention, I was just getting more and more interested. Seeing the conflict between the two movements – some of the more hardcore graffiti writers proper hating on street artwork – was really interesting to me.”
Not content with just seeing the US style, Tomo developed a taste for street art a little closer to home, leading to some adventures hitchhiking around Europe. “The European styles were much more up my street – I could relate to them more than what I’d seen in America. I didn’t have much money; a fella I’d met in the Egg Café had been a squatter and gave me a few pointers! I did some research and there’s an underground network of socialist centres in Italy, a movement that goes back to the 70s. Basically, I located as many of them as I could, went to Italy and just turned up at the places.” Aged about 21 or 22 years old, in the summer of university, Tomo ended up staying at a historic social centre in Milan called Leon Cavallo, based in what used to be a Fiat factory. “The police tried to evict them in the 70s, but they fought back and got to stay there. It’s just old people, old ladies growing vegetables, all kinds of people; the place is completely plastered in graffiti … I didn’t want to leave. I didn’t speak any Italian. All types of people go there, the whole neighbourhood uses it as a community centre. As part of my keep, they realised I could draw, so I’d just draw things for people all the time and painted some murals for the place.”
“There should be a space for everyone’s voice. If there’s a space not being used, go out there and take it”
Whilst there, Tomo learnt more about the culture of Italian street-art and how it is expressed. “The Italian kids see graffiti as a real source of adrenaline, hitting rooftops and trains; street art is seen as really arty or pretentious, like putting a sticker on a lamppost. There’s a real division.”
Not feeling like experts on street-art culture in Liverpool, we ask: does it have one? “Liverpool has a street style; it’s always been small, but the graffiti scene’s still going. It’s not being passed down as much now, not as much as when I started. I think people have been doing graffiti passing through, travelling up and down the country. There’s new street art popping up; there’s a French lad doing stencils, you can see them in the car park on Slater Street/Seel Street. It’s quite intricate; one of his pieces is called Psyko. Then there’s Sicknote doing paste-ups of creatures and monsters; he’s done a piece at the back of Tabac, which is a recurring spot.”
With so much new building going on in the city, do places still exist for people to get into graffiti art? “There’s always been spots, a lot of them have gone though; maybe that’s one of the reasons why a lot of street artists have gone. There used to be a great spot in China town behind the new college building, there’s a bit of a hot spot in the car park on Duke Street, and the back of Renshaw Street. There used to be a legal wall at Jump Street Rat gallery, which is now Brink bar; that’s where I first met graffiti artists. You could go down on a Saturday and there’d be loads of kids drawing there. Fing is a local legend; he had a really nice style. A lot of the kids really looked up to an artist called Stok.”
Tomo brings up a really interesting discussion about our streets; we talk in depth about the privatisation of Liverpool public spaces, and what it feels like to have control of where you live. “It’s more gentrified around this neighbourhood now so it’s less common to see street art. I almost see it as a struggle against nature; you’ve got all these layers building up, you’ve got wild stuff you can’t control, so let’s gloss it over with something clean and blank.
“I don’t think there’s anything wrong with doing a permission piece, as long as you get to keep your creative integrity – not being told what to paint, like. Sometimes you can paint something much more detailed legally than you normally would be able to do illegally, because there’s less time restriction – you always have to watch out when you’re doing something illegal. I think it has more energy when it’s illegal – it’s not about asking for permission really, it’s really a democracy.”
So do you think that everyone should be into street art? “There should be a space for everyone’s voice. If there’s a space not being used, go out there and take it. It’ll either last and have an effect, or just wither away and be painted over by someone else. Sometimes people ask me for advice on how to do street art and I always say – just do it, that’s the best way to find out! If I put posters up, I don’t much mind doing it on a busy Saturday afternoon. People aren’t that bothered – there’s already enough to look at. I try to keep my head down. I do it because its fun.”
And that’s how Tomo’s work stands out from other street artists. He has a passion for where he lives and how we all live here. He prefers to use the city’s neglected walls and unused materials as his canvas, hating waste, seeing potential in the discarded, but without a loud agenda.
“I work with any materials I can find; if I find a nice bit of wood I’ll bring it back to the studio and start painting on it. I’m more inclined to do that than buy a load of new canvas. It’s about adding my own layer to something that’s already got a bit of history; especially my new work, it’s more about the layers, looking underneath and beyond and seeing what’s there.” His reoccurring characters include drawn bin-bags, petrol cans, owls and running men. “One of my characters is based on the recycling symbol on McDonalds packets, Ronald McDonald running and throwing something in the bin. The owl symbol comes from just being a night-owl; I’m a bit more of a day person nowadays, but years ago I’d just work straight through the night and sleep in the day.”
He makes a quiet statement with his actions that is gaining him a large band of loyal followers, who sometimes take his work down as soon as it appears, pasted up on the streets. His illustrative screenprints and drawings could grace any gallery wall, without being necessarily labelled or recognised as ‘street-art’. So next time you’re out walking in Liverpool, hurrying along, remember to keep a look out for artists who use the streets as their gallery; free art for your viewing pleasure that might have disappeared next time you look.
A new addition to the Royal Liverpool Hospital estate is taking shape on the corner of Dauby and Prescot Streets.
Moss Street is flanked on both sides by student flats. These have been in situ for a good few years now, recently the Echo reported that Islington/ Brunswick Road will be the focus of more student orientated developments. The idea of student living has proved controversial in some areas, however, Islington is as good a place as any where this mode of accommodation should be clustered. Close to the hospitals and between LJMUs capuses at Byrom Street and Mount Pleasant (not forgetting the University of Liverpool also!) This location is perfect. Hopefully, this will also help breathe life into London Road!