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It is currently bucketing it down outside our man-cave/garden shed as I write this post. When the weather is like this there is no better place to be: Sundays are made of this. Last summer we had Sky Sports installed in the man-cave. As a result I find myself watching some extremely dull sport just because it is there (European Tour Golf is inexorably there on Sky Sports 4 if all else fails). Over on Sky Sports 2 it looks likely that England will fall to another one-day defeat at the hands of the West Indies to make it 2-0 in the series. Subsequently, I have opted for the distinctly average tie of Aston Villa v Norwich on Sky Sports 3 to accompany my blog-writing on this occasion and, for some unknown reason, I'm keeping half an eye on it (it turns out to be a very exciting game, or first half, as it ends 4-1 with all 5 goals in the opening 45 minutes).
Manchester City won the League Cup earlier today, beating Sunderland 3-1. It seems using the outside of the boot is all the rage at the moment. Recently we have seen both Steven Gerrard and Raheem Sterling providing stellar banana-assists for the on-fire Daniel Sturridge. Today the banana shot was brought back in to fashion at Wembley. Firstly Borini banana-d a shot to put Sunderland 1-0 up in the tenth minute but City blew Sunderland away in the 55th and 56th minutes with stunners from Yaya Toure and Samir Nasri, the latter banana-ing it into onion bag after a scintillating, counter-attack. Sunderland were again caught on the break in the final minute as Jesús Navas sealed the deal and Manchester were crowned League Cup champions.
Roberto Carlos: king of the banana
This time yesterday I was watching Billericay Town FC away at Kingstonian FC. Two weekends in a row I have witnessed non-league football and once again I left the ground impressed by what I had witnessed. Two weekends in a row I have also witnessed non-league football on a hangover. I employed the dubious 'hair of the dog' tactic with a pre-match pint in the bar before we went to collect our lovely fairground-like tickets. Billericay dominated the game and went on to win the game 2-0. They employed a nigh-on identical strategy to Weston-super-Mare's that I had seen a week earlier, focussed around one MONSTER up front. Last week Weston had Chaz Hemmings. This week, Billericay's centre-forward Ricky Sappleton took the biscuit (in more ways than one, I suspect!). This man makes Adebayo Akinfenwa look emaciated by comparison.
The previous night I had attended a friend's party in Isleworth, London. I had travelled across from Bristol that same day and come up with a costume idea in the morning before work. It was an idea which had made a brief appearance at a previous party. I would wear all of the burgundy clothes I could find and a moustache and be Ron Burgundy. Poor effort, I know.
Before making my way over to the capital however I had an appointment with a knee-specialist to discuss my MRI scan results. Before explaining to the doctor why I was wearing entirely maroon, he confirmed that I have a ruptured anterior cruciate ligament and need an operation in about a month's time. As a result of the rupture I haven't played sport for over a year. The doctor informed me that I'd be back in action roughly nine months after the operation. Yes, sadly I will miss the 2014 World Cup in Brazil… but I cannot wait to play football again in 2015! My touch is going to be truly awful after over two years out.
I never know how to finish these things. It's the Oscars tonight so I suppose I'll put forward my meaningless support for my favourite three films of the year: The Wolf of Wall Street, 12 Years a Slave and Inside Llewyn Davis. Good films them, hope they win stuff.


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05 September 2012
Global Air Quality and Climate Change Practice Lead Ken Weiss has received the Charles W Gruber Association Leadership Award recognizing the outstanding contribution he has made to the Air and Waste Management Association (A&WMA). The A&WMA is an international nonprofit organization that aims to help improve environmental knowledge and decisions by providing a neutral forum for exchanging information.
The Charles W. Gruber Award is presented to the individual A&WMA member who has made a sincere, constant, and unselfish effort over an extended period of time, and in a manner best suited to his/her own resources, for the betterment of the Association.
Ken (pictured left receiving his award) was nominated for his outstanding contributions to the A&WMA's grassroots network and his continuing contribution to the Association's educational mission where his Workshop efforts have kept the Association at the vanguard of those environmental topics most important to its members for the past 35 years.
Background Ken has been an Association Leader almost since the time he joined A&WMA's predecessor the Air Pollution Control Association in late 1977 where he was instrumental in the formation of the Central Virginia Chapter of the South Atlantic Section and a founding Director. In 1983 he was awarded the Edgar B. Boynton Award by the Chapter recognizing his outstanding contributions in the field of air quality management in Virginia.
He continued his leadership role in the Associations Chapter and Section Network and became very active in the South Atlantic Section leadership from 1982 through 1985 during which time he served as Secretary-Treasurer, Vice-Chairman and Chairman of the South Atlantic Section. The South Atlantic Section awarded Ken its "Distinguished Service Award" in 1989 recognizing his continued efforts on behalf of the Association.
In 1990 Ken was elected a Director of the International A&WMA including two-years as Finance Committee Chair and including one-year as Chair and Vice-President of the Association.
Having participated at virtually every level of the Association's volunteer grassroots organization, Ken focused his efforts on helping to deliver a step-change in the Association's educational program by leading an effort to establish an ongoing Workshop program. In 1992 Ken worked with the Association to conceive the Title V Workshop Series and has lectured on New Source Review at more than 50 Workshops for the Association over the past 15 years. Currently, he is working in a leadership role with the Association as it establishes a new Workshop; "Understanding Today's CAA Permit Programs: The 'New' New Source Review and More."
Ken was presented with the Gruber Award at its Annual Conference and Exhibition this June in San Antonio, Texas by Merlyn Hough, Association President.
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The Light for Life Bariatric Support Group meets on the last Monday of every month at Poudre Valley Hospital in Café F, from 6:00 to 8:00 pm. (Café F is located on basement level in back of cafeteria) This group is designed for patients and their families who have either had the surgery or are considering it. Becki Mudgett, RN facilitates the meetings and one of the surgeons is always in attendance to answer medical questions. We often times will have a guest speaker that will address certain topics of interest to the group. The support group is a wonderful resource for you and we hope you will take advantage of it. There may be another Bariatric Center near you that offers a support group. Ask if you are welcome to attend.
Click here for agenda: 2018 SUPPORT GROUP AGENDA
It is important for your spouse or significant other or family members to come to the support groups. It is normal for them to be nervous and perhaps not altogether supportive of this surgery. Bring them to the support group so they can hear from other patients and talk with other spouses and support people of other patients. This will make a tremendous difference in the comfort level about you having surgery.
There is a large emotional and psychological impact with bariatric surgery. Positive Living After Bariatric Surgery meets the 2nd Tuesday of each month in the Indian Paintbrush room at PVH from 6:00 to 7:30 pm. Valerie Kinzie, LPC and Bariatric Behavioral Specialist, will facilitate this support group. This group is open to bariatric patients before or after surgery. There is a $20 fee per person. Please contact Valerie at 208-851-2873 to register for the group and for more information.
We feel that support groups are a very important part of our program. Please take advantage of the groups that we have established for you. Data shows people that take advantage of support groups tend to do better after the surgery.
For those of you that live long distances away and are not able to take advantage of support groups, there are websites that have chat rooms. The one that we are aware of is Obesityhelp.com.


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Kiss Catch
I didn't sleep particularly well last night... I woke up at something past two in the morning after a dream, parts of which have been recurrent for most of my adult life...
Unusually, I actually lived at the school that I attended between the ages of 8 and 18; it's not a typical upbringing and may explain why the majority of my dreams (even now) still take place in or near my old school. However, one of the recurring themes is visiting my preparatory school, which lies in the shadow of York Minster. At the time (in the late 1960s), it was the junior school of York College for Girls and the fact that I was one of only five boys in the school didn't make me any more attractive to the young girls even though, in theory, I was spoilt for choice.
I stupidly believed that not getting caught in a game of "kiss catch" was a smart thing to do... if I had my time again, I'd simply stand still, close my eyes and shout "take me"...
Anyway, these dreams involve me returning to the school many years later in the hope that I'll be allowed to have a look round, but as much as I want to subconsciously recall the layout of the classrooms and memories of "how it used to be", everything is different... Perhaps I want the nostalgic feeling of a time when I had no responsibilities and a future filled with hope and optimism... sadly a "feeling" is all it ever can be...
The other recurring dreams are concerned with being back at school, in my last year, with final exams looming. I'm worried because I haven't been to enough lessons or done any revision; I'm almost guaranteed not to pass and then what's going to happen to me?
Seemingly, dreams about being back at school are relatively common amongst people from almost every age group. Apparently, they can highlight childhood insecurities or the fear of an uncertain future... certainly I would acknowledge that I have a strong fear of failure. Sleep can allow you return to a time before your life path was decided... even if the road is pre-determined - I do believe in fate... but is that simply an easy option? Believing your life is mapped out is fine, but it does offer an excuse for every mistake or wrong choice.
I did reasonably well at school, 13 'O' levels and 4 'A' levels, but then took a really bad option for my further education. Do my dreams indicate that I subconsciously regret that choice and would my life have been different if I'd got better grades and picked another course at another university? The answer to the latter is "yes" and dramatically so, but would I want to have a life that didn't have Elaine in it? Absolutely not and the same goes for my children so for me, the end justifies the means (even though the "journey" has been difficult...).
Curiously... bizarrely even, Elaine and I were born just three weeks and fifty miles apart, but it took over forty years for our paths to cross. Yet when I looked through her photo albums, there she was, aged about seven, pictured in York with my prep school in the background.
At that very moment, I might well have been evading kisses in the playground, but why the hell wasn't I inside, looking out of a window desperately trying to attract the attention of my future wife..?
That would be fate, Kirbs...
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All my own work... almost.
July 2013


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Researcher: Shailoh Phillips
8-18 January.
The NWO funded research project 'Bridging art, design and technology through Critical Making' aims to interrogate Critical Making by experimentally applying it to a broad range of artistic practices. The project will investigate to what extent Critical Making can serve as a comprehensive concept for design, technology, education and activism intersecting with critical contemporary art practices and artistic research.
Researcher: Shailoh Phillips
8-18 January.
Researcher: Shailoh Phillips
Critical Making session in collaboration with Hanna Piksen.
Researcher: Shailoh Phillips
In the workshop Prototyping Ecologies of Non-Violent Dissent, we will start by exploring a collection of historical organic and technological tools for action in peaceful protest movements, from barricades, blimps, potato protests to graffiti bots. Using simple circuit boards, small inflatables and organic conductive materials, we will prototype feedback loops and interventions in concrete situations of imbalanced power. What seems to be the 'natural' state of affairs can be transformed into an interface using the conductive properties of organic materials.
Researchers: Anja Groten, Shailoh Phillips
In the legal field, automation is rife. Some lawyers claim that by 2030 99% of legal procedure can be automated. During Bot Club: Legal Bots we looked at different attempts to fuse the law and programming language together. To what extent can we translate the spirit of the law into the letter of computer code? On Thursday Night 15 February 2018, Matthias Dobbelaere-Welvaert and Max Hamsphire talked about the rise of automatic legal code at Het Nieuwe Instituut. The day after, during the Smart Contracts Critical Making session, a group of around 25 coders, designers, artists and thinkers followed up on the questions addressed in the Bot Club with a practice-based approach to speculating on the possibilities of smart contracts.
Max Hampshire of terra0 introduced participants to the basics of distributed autonomous organisation (DAO) and of smart contracts. Those inclined to coding were introduced to Solidity, the javascript-like code language used to write smart contracts. In small groups participants developed speculative, critical ideas for prototypes of smart contract applications. Jaya Klara Brekke, a UK based artist conducting doctoral research into the politics of blockchain applications, gave an introduction to the political construction of the Ethereum smart contract. Input from a Critical Making perspective was delivered by Anja Groten and Shailoh Phillips. See Shailoh Philips' blog about the underlying issues from this session.
Researchers: Anja Groten, Janneke Wesseling
Anja Groten and Janneke Wesseling will give a presentation at the conference Critical By Design?, on 17-18 May 2018 at the Academy of Art and Design FHNW in Basel. This two-day international research conference on the capacity of design as a mode of critique offers a unique platform for the interdisciplinary discussion of critical theories and practices from a design perspective. Renowned experts from design theory, history and practice, the philosophy of technology, the art, cultural and media studies as well as the field of human-computer interaction come together to reconsider historical trajectories, advance contemporary understandings and propose future developments of design as a materialized form of critique.
In her lecture 'The device paradigm: contemporary practices in art and design', Wesseling will focus on the concept of 'device paradigm' as developed by the American philosopher Alfred Borgmann in his Technology and the Character of Contemporary Life. A Philosophical Inquiry (1984). The device paradigm locates the crucial force that more and more detaches us from the persons, things, and practices that used to engage and grace us in their own right. The more, or the more effectively, the device yields its commodities, the less visible, or present as a thing it is. This necessarily leads to a loss of engagement with the world, while at the same time the commodities become evermore shallow. What does the device paradigm mean for contemporary art and design practices? And vice versa, what can be the role of art and design in this technology driven world?
In her talk 'ctrl+c', Groten will propose hands-on modes of learning about technology from the perspective of design practice, calling into question techno-optimist notions such as 'innovation'. Strategies of Critical Making are hereby put forward as means to force quit (ctrl+c) and reevaluate accelerated technological processes. Practicing critically can be seen as practicing in 'a state of suspicion and alertness', a condition of not-yet knowing – ref. Rita Felski's The Limits of Critique (2015). Situations of collaborative making turn into sites for exercising positions: opposing, contradicting and confronting. Could design – through initiating and cultivating oppositional forces during making processes – move toward a breaking of habits and practicing of new critical routines?
Researcher: Anja Groten
Anja Groten will host a workshop during the 9th SAR – International Conference on Artistic Research, on 11-13 April 2018 at University of Plymouth. From the perspective of design practice this workshop introduces methods of critical making as a strategy to force quit (ctrl+c) persuasive technological processes such as algorithmic search–more specifically by putting forward the prototype of the Feminist Search Tool developed by Amsterdam-based collective Hackers & Designers and Utrecht-based collective Read-in. The Feminist Search Tool is a digital interface that invites users to explore different ways of engaging with a library catalog, putting forth the question: Why are the books I read so white so male so Eurocentric?
Participants of the workshop are invited to explore the possibilities and limitations of the Feminist Search Tool pursuing hands-on exercises in querying, applying and enacting solvable and unsolvable search inquiries, working on alternative, imaginative, practical and impractical (paper)prototypes, all the while discussing pressing questions related to processes of algorithmic decision making: Who is taking the responsibility for which part of the search process: we, the users, the (re)searcher, the designer of the interface, the library, the algorithm? And how do these decision influence our search result and eventually the choice of books we read?
Florian Cramer, Lucas Evers, Akiem Helmling, Klaas Kuitenbrouwer, Marie-José Sondeijker, Janneke Wesseling with comments by Roland van Dierendonck, Shailoh Phillips, Ana María Gómez López, Shirley Niemans, Loes Bogers, mthom057, Yuri Westplat
As a result of globalization, social and technological developments, we increasingly witness practices that cross the disciplinary boundaries of art, design, engineering and technological making[b][c] and (artistic) social intervention. Sometimes these practices unfold within established contexts of art spaces, design culture, technology labs and activist projects. [Explain the urgency of contemporary socio-/technological/cultural/political developments that makes artists/activists redefine their practice/leave the confines of their traditional disciplines.] Increasingly, however, they leave their respective boundaries[d][e]; for example, when contemporary art spaces are used for political assemblies[f][g][2] and Internet anonymization services,[3] when social design and community art becomes neighborhood activism[h][i],[4] when a media design grows into a technological development project for empowering contemporary artists[j][k].[5] Often, the positioning of these projects as "art", "design", "technology", "activism" is merely tactical (or even opportunistic), tailored to the now-existing institutions and discourses[l][m] [n]which are still acting within the categories of the Western 19th and 20th century arts. 'Critical Making[o][p]' has the potential[q][r] of giving these practices a common name. [s]Originally coined in the context of design culture and do-it-yourself technology,[6] it gathers (a) practices that are defined by a common characteristic of criticality[t][u][v][w] rather than a common disciplinary and institutional context[7] and (b) work approaches and attitudes of thinking-through-practice.[8]
Through the latter, Critical Making does not only cut through the disciplinary divides of art, design, activism and technology.[9] In Critical Making, there is no longer a divide between critical theory and artistic practice, but the practice itself is critical and philosophical.[x][y] In this regard, Critical Making corresponds with contemporary philosophies that question the divide between idea and matter[z][aa].[10] But where this thinking still manifests itself in the classical format of written theory, Critical Making negates the dichotomy between making and thinking[ab][ac].
To date, Critical Making – as coined by Matt Ratto and Garnet Hertz – refers to design practices that critically engage with technology.[ad][ae] Open Source cultural production therefore is a general characteristic of Critical Making. This may entail alternative forms of authorship and copyright, as well as a reconfiguration of traditional linear design workflows of conceptualization, construction and distribution. [af][ag]Distribution, in this context, includes multiplication and archiving. In networked Critical Making processes, all these efforts can take place simultaneously and anywhere[ah][ai].
Critical Making in this sense is not confined [aj][ak][al]to particular sites. While Critical Making, in Ratto's and Hertz' original perspective, had the Maker[am][an] movement and its Maker spaces (i.e. FabLabs, hacklabs[ao][ap] and other public workshop facilities for distributed, personal digital fabrication) as its points of departure, their concept has become highly inclusive and therefore emancipated itself from this specific context[aq][ar].
In our project, we experimentally take the concept of Critical Making outside the Maker movement and Maker spaces into the larger, general field of contemporary art and design practices. The question is: Can Critical Making reinvigorate the concept of criticality[as][at] in art and design theory and practice, in a technologically informed cultural field? Can existing art and design practices conversely radicalize the criticality of Critical Making? And how can this be made constructive?[au][av][aw][ax]
The notion of Critical Making is not specific to art and design, but potentially encompasses any practice that combines making with criticality. This inclusivity – which many art and design movements fought for in the previous century[ay][az] – is without doubt an asset of Critical Making. Still, we think that a more specific arts perspective might not constrain, but will enrich the Critical Making discourse with two specific qualities: artistic research and criticality of discourse.
The liaison between thinking and making characterizes Critical Making as well as artistic research as it was established as a new academic discipline at the end of the 20th century. Artistic research typically involves practices in which textual and artistic approaches are closely interrelated. In artistic research, the researcher produces writing that critically reflects on the making, while conversely the practice informs and feeds into the writing.[ba][bb] How artistic research may expand the vocabulary of Critical Making will be subject of further investigation.
Traditionally, contemporary art has had an edge over design in regards to the rigor of its critical discourse. Drawing on critical theory, conceptual art and institutional critique have radically addressed issues of gender, class, ethnicity and even questioned art as such, in its aesthetics, ethics, economics and politics. There needs to be research on the extent to which this radicality can inform expanded notions of Critical Making.
Conversely, the Open Source and DIY practices of Critical Making can be constructively used to question under-reflected and under-criticized modes of production and distribution in contemporary art: authorship, intellectual property, ownership, privileges of participation. [bc][bd]
In our research project, we will address the following new questions[be][bf]:
Concluding questions to be addressed, partly taken from visitor feedback:
Critical Making is, according to its inventor Matt Ratto, "a mode of materially productive engagement that is intended to bridge the gap between creative physical and conceptual exploration" (Ratto 2011: 252). It has its origins in North American design and is, to date, little known in European art, design and humanities. Critical Making generally aims to reintroduce the notion of criticality into creative practices that have been dominated by the industrial paradigm. Its more specific potential is to provide a new reflective discourse and way of working across art, design and technology.
Critical Making was coined as a response to critical thinking and critical theory. The concept of critical theory was originally developed by the Frankfurt School. In the context of the arts, critical theory is intrinsically related to Adorno and Horkheimer's general critique of applied artistic production ('culture industry'). This had the side-effect of reinforcing the distinction between autonomous and applied practices, identifying them as critical and non-critical practices respectively. This made it difficult, in a continental European context, to productively use 'criticality' for creative practices outside fine art. With our research project 'Bridging Art, Design and Technology through Critical Making', we reject the preconceived dualism of applied and fine art. But we also acknowledge a greater experience and practice of radical critical thinking in contemporary art in consequence of the Frankfurt School. This experience has not yet been fully translated into design and technology.
There are two notable exceptions: Anthony Dunne and Fiona Raby's concept of Critical Design, and Design Thinking. Dunne & Raby's approach remains in the realm of speculative design, which concerns itself with desired and less-desired possible futures. It thus resides primarily in the symbolic realm and therefore does not directly relate to our specific research domain. Design Thinking has developed a multi-stakeholder, iterative approach and most recently focuses on so-called 'wicked problems'. With its roots in problem-solving, it lacks the attention for critical problematization that is a crucial part of Critical Making.
We are not satisfied yet with the existing concept of Critical Making as developed in North America, since it has mostly been limited to the (sub-)cultures of Maker and FabLab culture. Critical Making thinks of itself as chiefly a product design practice that combines conceptual with material thinking. We want to further research Critical Making and deepen it beyond product design. Criticality is the point of departure for this project. We research the existing critical perspective in North American Critical Making and augment it with the complex experience of criticality present in contemporary art, with the aim of creating a common discourse between art, design and technological making.
Insights and methodological approaches gained from the (relatively) young academic discipline of artistic research will contribute to building this common discourse. Artistic research distinguishes itself by the pivotal role art practice has in the research. In artistic research, there is a unique relationship between the artist/designer, the research method and the outcome of the research. It is critically reflected research into and through the making practice of the researcher. Our project, a collaboration of academic scholars and practitioners in art and design, will bring artistic research into action in re-thinking the concept of Critical Making.
The project 'Bridging Art, Design and Technology through Critical Making' aims to investigate (a) how the concept of Critical Making can be developed further within the context of critical theory and the discourse of artistic research and (b) how such a renewed notion of Critical Making can problematize and correct the narrow focus on systems and solutions in the contemporary techno-creative industries. Therefore, our main research question is:
How can the concept of Critical Making be expanded into a general approach that ties the critical methodology of artistic research, and the established concepts of artistic autonomy, together with contemporary creative-technological development?
(a) The concept of Critical Making, currently limited to Maker culture and product design, will be fundamentally and academically researched, deepened and applied to a wider set of creative disciplines;
(b) The experience of criticality of contemporary art will be made available to design and technological making by introducing insights and methodological approaches from the academic discipline of artistic research;
(c) Artistic Research will be brought into action in re-thinking the concept of Critical Making, which will enable the advancement of the discourse in both the field of art and in academia on design-issues relating to technological innovation and the impact of this discourse on society and on cultural values;
(d) The project will propose a new theoretical and practical positioning of disciplinary codes in the field of art and design as well as in the field of academic research, to open up the discourses in visual art and design that are largely separated up until now;
(e) In the context of Digital Humanities, this project will provide methodological insights for Digital Humanities scholars who feel stuck in traditional methodologies of computer-aided statistical analysis and visualization of data sets. The artistic research projects, symposia and workshops will use the competency of artists and designers to think up new ways of digital visual research;
(f) In the context of practice-oriented polytechnical education (HBO), the project will introduce Critical Making as a reflective working method into Dutch art and design education and into the professional field of artists, designers and technological makers.
A larger ambition of this project is to give humanities researchers insight into contemporary creative practices that transcend the classical disciplinary categorizations of fine art, design and technology, and often take place outside the established art system (i.e. outside contemporary art galleries, museums, biennials and art fairs). The publications to be created in this research project will therefore give hands-on insight into these new practices to art historians and cultural studies scholars. These traditional categorizations of the arts are also reflected in the current disciplinary divides within the humanities. Our research products will give researchers and policy makers concrete examples and discussion material for the disciplinary transformation of creative practices in the 21st century, and hence (by implication) for possible changes of humanities disciplines.
The project will include four subprojects by a PhD researcher (Anja Groten), two junior researchers (Shailoh Phillips, TBA) and an embedded researcher (TBA). The researchers will contribute to different events and programmes of the consortium members from a combined practical and theoretical perspective. The consortium will organise a series of Critical Making workshops with art and design students and teachers in several Dutch art schools, including Willem de Kooning Academy Rotterdam and the Royal Academy of Art (KABK) in The Hague. Furthermore, various public presentations, a national and an international symposium will be organized. At the end of the project, the project outcomes will be disseminated through a peer-reviewed, open access, hybrid paper and electronic book.
In 2017, the Critical Making consortium received a grant for the four-year project 'Bridging Art, Design and Technology through Critical Making' from the Netherlands Organisation for Scientific Research (NWO) as part of the research programme Smart Culture – Art and Culture. The project has its origin in a prolonged exchange between representatives of Het Nieuwe Instituut in Rotterdam, Waag Society in Amsterdam, knowledge center Creating 010 at Willem de Kooning Academy in Rotterdam and PhDArts / Academy of Creative and Performing Arts (ACPA) at Leiden University.
In 2015, the private partners Het Nieuwe Instituut and Waag Society put the subject of Critical Making on the table and articulated a need to deepen and theoretically contextualize the subject and to connect practical research with academic research. Conversely, the academic researchers in this project recognized the urgency of overcoming the split between creative disciplines which they experience as increasingly problematic in their research, respectively art/design educational, practice. All partners agreed that today's duality of an art and a creative industries system in The Netherlands has widened that gap instead of bridging it, thereby largely excluding fine art practices from creative industries. At the same time, the social impact of new technologies requires a new common discourse and language among practitioners in all disciplines.
Therefore, the partners decided to initiate a research collaboration with an aim to further investigate Critical Making as an existing concept in the design and new media field with regards to its potential to provide this common language and practice. In June 2016, a one-year KIEM subsidy by NWO/Topsector Creatieve Industrie was granted for preliminary research and for a first position paper on this subject. The research proposal for the current project 'Bridging Art, Design and Technology through Critical Making' was developed as part of this KIEM project. The contemporary art institute West Den Haag joined the consortium in July 2016 because it was interested, too, in researching new critical practices spanning art, design and technology. For the other consortium members, it was an important addition to involve a partner from the field of contemporary fine art.
In the project 'Bridging Art, Design and Technology through Critical Making', main applicant Prof. Dr. Janneke Wesseling (Leiden University) and co-applicant Dr. Florian Cramer (Rotterdam University of Applied Sciences) have joined forces with Klaas Kuitenbrouwer (Het Nieuwe Instituut), Lucas Evers (Waag Society) and Marie-José Sondeijker (West Den Haag). In November 2017, designer, researcher and Hackers & Designers co-founder Anja Groten and media artist, researcher and educator Shailoh Phillips joined the team as PhD candidate and junior researcher respectively. Candidates for the final two available positions have been recruited in early 2018. Selected researchers will start in September 2018 and January 2019 respectively.
— Leiden University (with PhDArts) brings in its expertise on the area of artistic research and art and design theory. For Leiden University, Critical Making– with its implied convergence of art, design and technology – is a new field for which no humanities theory exists yet.
— Rotterdam University of Applied Sciences (with Creating 010 and Willem de Kooning Academy) brings in its expertise on practice-oriented research on new media, art and design. It provides the link between Critical Making and art/design education, with the ultimate objective of introducing and structurally integrating Critical Making into the art and design curriculum.
— Het Nieuwe Instituut brings in its expertise on critical design practice that transgresses the traditional disciplines of design, architecture, new media and digital technology, and its network of Critical Making practitioners. It wishes to gain a stronger theoretical framework for Critical Making.
— Waag Society brings in its expertise as the institute that first brought Critical Making to The Netherlands. Waag Society operates from a cross-disciplinary vision on design and technology, with a focus on bio art and bio design. It wants to gain new insights from university research and art and design education.
— West Den Haag brings in collaborations with international experts in a range of different cultural backgrounds and disciplines, and an expertise in the discourse on the presentation of art and on the role of art in society. West wants to expand its collaborations in the field of artistic research.
Lucas Evers joined Waag in April 2007 and is currently leading Waag's Wetlab. He is actively involved in several projects that concern the interactions between the arts and sciences, arts and ethics and the arts in a contemporary makers culture. The Wetlab is a laboratory where arts, design, sciences, engineering and the public meet to research biotechnologies and their impact on society and ecology.
Lucas Evers is trained in fine arts and teaching at Maastricht Academy of Fine Arts and Design and he studied politics at the University of Amsterdam. He worked De Balie Center for Culture and Politics and Melkweg in Amsterdam, programming cinema, new media and politics.
He organized a retrospective of French cinematographer Chris Marker was involved in projects such as 'net.congestion – international festival of streaming media', Next 5 Minutes, e-culture fair, an Archeology of Imaginary Media and a number of programs related to the societal debate about the life sciences.
From 2010 until 2013 he was advisor at DasArts, second phase theatre and performance education, mentoring students. He has been commission member at Mondriaan Foundation and is currently commission member at Amsterdam Fund for the Arts.
At Waag he worked and works on projects such as Trust me I'm an Artist (ethics of art and science collaboration), Future Emerging Art and Technologies, Hack the Brain, Do It Not Yourself Biology, Critical Making and initiated Designers and Artists for Genomics Award (now Bio Art & Design Award).
His interests lie in the way we can learn from the interactions, the differences and similarities, between artistic, scientific and other cultures of research.
Florian Cramer is a reader (Dutch: lector) in 21st Century Visual Culture/Autonomous Practices at Willem de Kooning Academy and Piet Zwart Institute, Rotterdam University of Applied Sciences, The Netherlands.
For a list of selected publications relevant to this research project, see here.
Polymash media artist | researcher | activist | educator
Junior researcher in the Critical Making project
PhD candidate at PhDArts, Leiden University
Originally trained in Anthropology, Philosophy and Cultural Analysis (University of Amsterdam, Humboldt University), Phillips has spent the past decade working in the field of digital media and design education, as well as cultivating a collaborative studio practice of cross-media projects and tinkering with electronics. She works along the interstices between digital/analogue, making/thinking, art/engineering, theory/practice, building interdisciplinary bridges. Her practice revolves around fostering playful forms of resistance and seeking out pressure points to act in the face of social inequalities and unfolding ecological disasters. In 2017, Phillips graduated from the MA Education in Arts and Design (Piet Zwart Institute). She currently teaches Hacking and Digital Crafts at Willem de Kooning Academy, and in the Design, Curating and Writing Master at the Design Academy Eindhoven. In the context of the Critical Making project, she investigates the limits and potential of criticality through pedagogical experiments in the Fabulous School of Octopy.
Co-founder and artistic director West Den Haag
West presents contemporary art in the historic environment of a city palace in the heart of The Hague museum district and in a seventeenth century townhouse. The art centre focuses on the most relevant international developments in the field of visual arts. West offers artists space and opportunities to develop new work, and places it through a broad dialogue, in a social context. West is researching new critical practices spanning design and technology from within the arts.
Researcher and program maker in digital culture at Het Nieuwe Instituut.
Prof. Dr. Art historian, art theorist, art critic. Main applicant of Critical Making Project, chair of consortium. Main task: supervision of two Critical Making PhD projects.
Designer and PhD researcher.
Investigating the possibilities of frictional encounters as part of design practice, Anja Groten designs collective moments of critical making, aimed at discussion, confrontation and contingency. Her design practice evolves around the cross-section of digital and physical media, design and art education and community organization. Groten works on (self-)commissions and besides tutors at the Sandberg Instituut Amsterdam, and the Design Academy Eindhoven. In 2013 she co-founded the initiative Hackers & Designers, attempting to break down the barriers between the two fields by enforcing a common vocabulary through education, hacks and collaboration.
Researcher: Shailoh Phillips
What are the limits and potential of 'criticality' in the context of Critical Making? My research aims to generate an updated notion of the 'critical' in Critical Making.
What could 'critique' entail if it includes non-verbal and non-human modes of operation — can an object form an argument and embody critique? I investigate this using inflatable sculptures, as part of the Tools for Action collective. How can inflatable objects express and perform critically in the context of social protest movements? If a 'critical' object is copied, is criticality also reproduced with it? Can critique be formalized in an algorithm and repeated, that is, can a computer program perform critique? The questions regarding reproducibility are explored by building copying machines that perform automatic text analysis and critique.
Exploring and analyzing the implications of 'postcriticality' (Felski), contemporary debates on entanglement in feminist new materialism (Barad) and Actor-Network Theory (Latour) this discussion addresses how critical objects remain radically complicit, stuck inside the systems that are being critiqued. Throughout this, I am approaching criticality as a form of cultural capital that is unequally distributed.
This research trajectory materializes under the banner of the School of Octopy, pushing the limits of criticality by identifying and testing the practical implications of distributed modes of critique for critical pedagogies in arts and design education. Collaborative modes of working are developed within, between, and alongside a network of institutions, materializing as a tentacular nomadic school. With a meshwork and suction cups to stake critical commons, the Fabulous School of Octopy attaches to a specific context, while staying connected a dynamic interconnected field of ecological, political and social issues.
Connecting, disconnecting, transforming: we are investigating different modalities of criticality that open up possibility for action, that is, supporting alternative infrastructures, changing the conditions of production, dismantling toxic colonial legacies and reconfiguring fields of power and modes of exchange. The activities in this school include stress tests with materials, interspecies pedagogy, developing and testing critical tools, circuit hacking, curriculum bending, power mapping, rapidly melting prototyping, and (inflatable) interactive public interventions.
Ideas for collaboration and participation in Critical Making sessions with the Fabulous School of Octopy are most welcome. Contact: email@example.com.
Researcher: Anja Groten
The starting point of the (sub-)project 'The (Im)possibilities of Friction' is the question: can oppositional forces and encounters of resistance in the context of design and engineering processes be productive, and if so, what could be a possible outcome? Could the results of friction be used strategically, and be considered design?
This research problematizes frictional co-creative processes by drawing parallels with cultural, philosophical and political theories of agonism, dissidence and disobedience. By means of hands-on cross-disciplinary workshops and by producing and highlighting frictional experiences – by breaking open and appropriating software, hardware, and networks, i.e. through actual encounters with the technologies proposed – this inquiry aims to reframe the discourse about what is often described by tech-optimists as innovation.
Getting started on this website might seem a little overwhelming. If you are new to the discussions on Critical Making, this would be a good place to start.
In 2016, a group of people from a university, an art school, a cultural platform, arts and technology lab, and modern art gallery in the Netherlands (see partners) applied for funding for this project, because they are interested in how the field of arts and technology is shifting and wondering what to do about it. Together, this group of partners seeks to help bridge the gaps between arts, technology and design in the context of the Netherlands. This research project questions some of the current developments and offers a context for practice-based researchers to keep on developing and investigating the potenial of Critical Making.
Critical in the sense of figuring out what is going on, analyzing beyond face value and challenging oppressive power structures (taken from "Critical Theory"). And making as in building things, especially using new technology (coming from DIY Maker Culture). Critical thinking + Making = Critical Making.
The rise of the Internet and digital network technology has changed so much — and not only for people working with technology, also for artists and designers. There used to be 'disciplines' like painting, sculupture, photography, animation, etc. But nowadays, the entire field of arts, crafts, design and technology is impacted by the availability of digital tools, such as computers, 3D printers and cameras. Now there are artists making all kinds of work that just doesn't seem to fit into boxes.
We can think of a bunch of artists that don't necessarily fit into the boxes of traditional disciplines (or fit many of them at the same time).
Check out these examples:
Jonas Staal: When you build a parliament for non-state parliament in the Kurdish region of Rojava, Is it 'real' politics or is it just an artistic performance? (hint: the answer is both).
Paglen / Appelbaum: A Tor server in a gallery: is it art or is it technology? (hint: the answer is both)
Jeanne van Heeswijk: neighbourhood studios in Rotterdam: is it art or activism? (hint: the answer is both)
Hotglue: DIY web publishing: is it a tool or a design? (hint: the answer is both)
Overall, none of these projects exactly fits the categories of 'art' design' or 'technology', so what are they, 'both', 'neither' or something in-between? None of the above, and some of each at the same time? These are just a couple of examples, but if you look around, the boundaries between disciplines are blurry for a lot of artists, designers, researchers and engineers. Nevertheless, the field is still full of 'old' institutions and labels, which simply doesn't match the interdisciplinary nature of many projects that are a kind of hybrid. What they actually do is mix and match from different disciplines. The situation might seem quite confusing, because it marks a shift from old ways of operating and we don't really have better ways of describing it yet. But it is also exciting, as it also means that there are many new combinations of media and powerful tools that can be used in different ways.
At the moment in the Nethterlands, much funding for digital and cross-media art forms is being transferred to funding the 'Creative Industry'. The only problem with this is that it ends up being more about profit and less about critical challenges to power structures. Without some critical adjustments, valuable kinds of research and collaborative art and design projects will be forced to enter the 'industry' logic (buying and selling as the main driver) instead of caring about social or artistic values. It might make more sense to think of a better name. Our current favourite is 'Critical Making'. Matt Ratto and Garnet Hertz (both from Canada) made up this term, combining two kinds of activities that are often separated: making and thinking.
Can Critical Making provide a viable alternative to the Creative Industry, providing a new umbrella term for cross-disciplinary artistic research? At the same time, a new field is being emerging called Artistic Research, where artists are accepted to masters and PhD programs to do practice-based work at a doctorate level, also combining making with critical reflection and analysis. Can the new trends of 'artistic research' and 'critical making' work together to generate alternative ways of making and sharing projects? So not only do we get a mix of artists, designers, activism, technology (and more), we also get rid of the strange idea that thinking and making were separate in the first place. We can do both at the same time. Who ever thought that it was a good idea to keep all the good ideas separate from the skills to build things anyhow? A lot of people are actually trying to bridge this gap, and this project would like to help figure out how to do that in the context of Dutch arts, technology and education institutions.
The term 'Critical Making' was invented by Matt Ratto and further developed by Garnet Hertz. Both of them are Canadian. For Matt Ratto, the term comes from media literacy, combining hands-on tinkering as a tool for deeper understanding. For Garnet Hertz, the term also is useful for furthering the field of interdisciplinary arts and design, while also challenging major issues in society. For both of them it refers to design practices that critically engage with technology. This includes Open Source, and different ways of working and owning the rights to your work. Rethinking authorship and ownership are not limited to the Maker Movement, and can quite well travel to other domains beyond Makerspaces.
For this project, we are taking Critical Making to the context of contemporary arts and design. Here we see that technology is seeping into practices and there is a need for more 'critical' approaches. On the other hand, there is an existing wealth of critical resources critical to tap into, especially in the arts field that would be especially relevant for Critical Making. Why reinvent the wheel from scratch, when the parts are already available to continue bulding with?
Critical Making might just be the answer to a problem that's been around for a while. Specifically, we come from the perspective of artistic research, where there is also a combination of thinking and making, of theory and practice. What can happen when we try and bridge artistic research and critical making, that is, working between arts, design and engineering in the context of the Netherlands? What does this mean for how institutions operate, how we teach, how we apply for funding, what the critical potential is for the field? Some people think that art is more critical than design. So can we update the "critique" in Critical Making by connecting it to fine arts? And what can the field of arts learn from Critical Making, such as working with Open Source software?
Shailoh Phillips – Paraphrase of the Critical Making Position Paper, 2018
Co-edited with …
In january 2018 Shailoh Phillips taught a course for 1st and 2nd year students at WdKA on Critical Tools. Reading the Critical Making Position Paper on this website with the group, she realised that it is full of jargon and practically illegible to them. The above text is an informal paraphrase of the Position Paper (link), not only putting the general gist into words that can be understood at an undergraduate level in art schools, but also relating the topics and issues to their frame of reference. Hopefully this simplified version will also be useful to make this project more accessible to people who hear of it for the first time, coming from many different backgrounds.
Please contact us if you have questions at <contact info>
— Abel, Bas van, Lucas Evers et al., Open Design Now. Why design cannot remain exclusive, Amsterdam: BIS Publishers, 2011.
— Barness, Jessica, and Amy Papaelias, 'Critical Making: Design and the Digital Humanities'. In Visible Language 49.3 (2015), 5.
— Biggs, Michael, and Henrik Karlsson (eds.), The Routledge Companion to Research in the Arts, London [etc.]: Routledge, 2011.
— Biggs, Michael, 'Learning from Experience: approaches to the experiential component of practice-based research'. In Enquist, Henrik L. U., and Henrik Mark Karlsson (eds.), Forskning, Reflektion, Utveckling, Stockholm: Vetenskapsrådet, 2004, 6-21.
— Bippus, Elke (ed.), Kunst des Forschens: Praxis eines ästhetischen Denkens, Berlin: Diaphanes, 2009.
— Boler, Megan, and Matt Ratto, DIY Citizenship: Critical Making and Social Media, Cambridge, MA: MIT Press, 2014.
— Borgdorff, Henk, The Conflict of the Faculties. Perspectives on Artistic Research and Academia, Leiden: Leiden University Press, 2012.
— –Carter, Paul, Material Thinking: The Theory and Practice of Creative Research, Melbourne: Melbourne University Publishings, 2005.
— Cramer, Florian, Anti-Media: Ephemera on Speculative Arts, Rotterdam: NAi010, 2013.
— Da Costa, Beatriz, and Kavita Philip, Tactical biopolitics: art, activism, and technoscience, Cambridge, MA: MIT Press, 2010.
— Dormer, Peter, The Art of the Maker. Skill and its Meaning in Art, Craft and Design, London: Thames & Hudson, 1994.
— Dorst, Kees, Frame Innovation. Create New Thinking by Design, Cambridge, MA: MIT Press, 2015.
— Drucker, Johanna, Graphesis: Visual Forms of Knowledge Production, Cambridge, MA: Harvard University Press, 2013.
— Dunne, Anthony, and Fiona Raby, Speculative Everything. Design, Fiction, and Social Dreaming, Cambridge, MA: MIT Press, 2013.
— Frayling, Christopher, 'Research in Art and Design'. In Royal College of Art Research Papers 1.1 (1993/4), 1-5.
— Hertz, Garnet, Critical Making, United States: Telharmonium, 2012.
— Ratto, Matt, Kirk Jalbert, and Sara Wylie (eds.), Critical Making Special Forum Issue 30.2 (March 2014).
— Ratto, Matt, 'Critical Making: Conceptual and Material Studies in Technology and Social Life'. In The Information Society 27.4 (2011), 252-260.
— Schatzki, Theodor R., Karin Knorr Cetina, and Eike von Savigny (eds.), The Practice Turn in Contemporary Theory, London [etc.]: Routledge, 2001.
— Schön, Donald, The Reflective Practitioner: How Professionals Think in Action, New York: Basic Books, 1983.
— Somerson, Rosanne, and Ma. Alessandra L. Hermano, The Art of Critical Making: Rhode Island School of Design on Creative Practice, Hoboken, New Jersey: John Wiley & Sons, 2013.
— Wesseling, Janneke, Of Sponge, Stone and the Intertwinement with the Here and Now. A Methodology of Artistic Research, Amsterdam: Valiz, 2016.
— Wesseling, Janneke, See it Again, Say it Again. The Artist as Researcher, Amsterdam: Valiz, 2014.
— Zijlmans, Kitty, Robert Zwijnenberg, and Krien Clevis (eds.), CO-OPs. Exploring New Territories in Art and Science, Amsterdam: De Buitenkant, 2007.
PhDArts, international doctorate programme in visual art and design at Leiden University, is a collaboration between Leiden University Academy of Creative and Performing Arts (ACPA) and the Royal Academy of Art (KABK) in The Hague. PhDArts offers a high-level research environment and supervision for artists and designers who are in the vanguard of their field and who aim at obtaining the doctoral degree in artistic research. PhDArts, and the aforementioned collaboration, are unique in The Netherlands. PhDArts has gained wide international recognition for the high level of its research and of the training programme that it offers to artists and designers.
Creating 010 is a research center on art, design and information technology. Its practice-oriented research professorships ('lectoraten') serve both Willem de Kooning Academy (including Piet Zwart Institute) and the School of Communication, Media and Information Technology of Rotterdam University of Applied Sciences. It is a cross-disciplinary research unit where art and IT researchers collaborate. Creating 010's art and design research focuses on the transformation of creative disciplines through today's globalized and networked visual culture. Past projects include the Hybrid Publishing Toolkit for the Arts (which developed a combined print and e-book design methodology for small publishers) and 'Free?!?', a conference on Open Source in art and design at Het Nieuwe Instituut.
For over twenty years, Waag Society has operated at the intersection of science, technology and the arts. Waag's work focuses on emergent technologies as instruments of social change, and is guided by the values of fairness, openness and inclusivity. Waag's dedicated team of sixty thinkers and makers empowers people to become active citizens through technology. Waag is a middle-ground organisation composed of research groups that work with both grassroots initiatives and institutional partners across Europe. The collective has a shared attitude of public concern and civic activism, which is manifested in our public research agenda. Working with emergent technologies, Waag conducts research in both imaginative and practical terms, addressing its fellow citizens from a position of equality and collaboration.
Art centre West Den Haag presents contemporary art in the historic environment of a city palace in the heart of The Hague museum district and in a seventeenth century townhouse. The art centre focuses on the most relevant international developments in the field of visual arts. West offers artists space and opportunities to develop new work, and places it – through a broad dialogue – in a social context. West is researching new critical practices spanning design and technology from within the arts. Recent projects include exhibitions and symposia on artists such as Gustav Metzger and Gary Hill, and the Kunstgeschenk 2018 Please Touch by Christiaan Weijts.
Het Nieuwe Instituut consists of three pillars: a museum for architecture, design and digital culture; an expertise center for creative industries; and the national archive for architecture. Through its activities Het Nieuwe Instituut aims to increase the appreciation of the cultural and social significance of architecture, design and digital culture and to strengthen the interaction between these disciplines. In a period characterised by radical change, Het Nieuwe Instituut wants to moderate, stimulate and facilitate debate about architecture, design and digital culture through research and a public programme. The broadening and deepening of the public's appreciation is a fundamental starting point.
An archive of works created during the Critical Making project thus far. You can filter for document type, title, or date range and download your selection in various formats.
This is a process-oriented class. Therefore, it is crucial to document your research and prototyping as you progress through the module. Include in the process log some documentation of the experiments along the way (e.g., sketches, photographs, audio, and/or video), notes from the workshops, lectures, and assigned readings, as well as documentation of your final (group) projects. The aim of all...
How Smart is a Contract? The limits and potential disasters of legal bots: Blog post of Bot Club Evening and Critical Making Session at het Nieuwe Instituut 15 February, 2018. Shailoh Phillips, Research fellow Critical Making. Should we let robots take over the legal system? No way! If we put it like this, the potential dangers of semi-automatic legal processes seem obvious. Who would want to...
publication list Florian Cramer selected publications (relevant to this research project) Castro, Liz, et al. From Print to Ebooks: A Hybrid Publishing Toolkit for the Arts. Institute of Network Cultures, 2015. Open WorldCat, http://networkcultures.org/blog/publication/from-print-to-ebooks-a-hybrid-publishing-toolkit-for-the-arts/. Cramer, Florian. "$(Echo Echo) Echo $(Echo): Command Line...


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Regina Gray DPT, OMPT is a Traverse City native. She earned her Bachelor's degree in Human Physiology from Michigan State University and Doctorate in Physical Therapy from Oakland University. Gina found her niche in manual therapy and continued on to receive her OMPT certification also from Oakland University. As a runner and fitness enthusiast, Gina stays active with her three sons and husband, enjoying all that Northern Michigan has to offer.
Betsy Boyce DPT, FAAOMPT earned her Doctorate of Physical Therapy from the University of Washington. She is a Fellow of the American Academy of Orthopedic Manual Therapy and received her advanced training through the Ola Grimsby Institute. Outside of the clinic, Betsy enjoys combining her interests in bikes and physical therapy by performing bicycle fittings, which help people better fit their bikes and maximize their cycling experience. Betsy was trained to perform bike-fittings by Michael Sylvester, a nationally-recognized bike-fit innovator based out of Portland, Oregon.
After spending the last ten years in Seattle, Betsy is happy to have returned to Northern Michigan to be closer to family. When she is not in the clinic, she enjoys spending time with her husband and two young children.
Catherine Veeser PT, WCS is a physical therapist board certified in Women's Health and certified in the treatment of pelvic floor dysfunction through the American Physical Therapy Association (APTA). Catherine has been working in the field of pelvic health for over 10 years. She is passionate about helping men and women heal from abdominal and pelvic dysfunction and strives to provide compassionate, cutting edge physical therapy care that empowers her patients and restores their quality of life. Catherine is very involved in the pelvic health community and works hard to stay current on best practices and treatment. In her spare time, she enjoys spending time with her husband and two young sons, skiing, hiking, swimming, and practicing yoga.
Tiffany Broering-Robbins DPT, MA(ExerSci) is a physical therapist certified in the treatment of pelvic floor dysfunction through the American Physical Therapy Association (APTA). She is a member of the APTA Section on Women's Health and the International Pelvic Pain Society. A native to northern Michigan, Tiffany decided to pursue a career in pelvic health after having to travel hours away from home for treatment herself. Tiffany has the experience and expertise needed to treat men, women, and children with pelvic floor dysfunction. She is committed to evidence-based therapies and strives to deliver personalized care for an exceptional healing experience. Tiffany is passionate about improving the lives of her patients and works tirelessly to provide them with the tools needed to restore function, reduce pain and rejuvenate their health and wellbeing. In her free time, Tiffany enjoys staying active with running and workout classes at Modus45 and CrossFit.
Casey Willour is Ortho 360's Office Manager. She is happily married and a busy mother of four. If that doesn't sound like enough, she also is the owner of a successful photography business, Casey Marie Photographie.


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Just under 3,700 square feet
Beautiful restoration with a superior interior
5/6 double bedrooms, loft room
David Chipperfield, Mark Newson and Vitra bathrooms
Period features
Well stocked gardens
Excellent schools
Close to Zone 2 trains and London Overground links
Beautifully curated Victorian semi-detached home of 3,700 square feet with kitchen/breakfast, sun room, double reception, 5/6 double bedrooms, 2 bathrooms, 2 en suites, loft room, roof terrace, cellar and 70ft rear garden. Camberwell Grove Conservation Area, close to zone 2 trains/Overground services.
Beautifully curated Victorian semi-detached home with kitchen/breakfast, sun room, double reception, 5/6 double bedrooms, 2 bathrooms, 2 en suites, loft room, roof terrace, cellar and 70ft rear garden. Camberwell Grove Conservation Area, close to zone 2 trains/London Overground services.
When they bought this house, our clients took on a project. Being designers themselves, choices made during the renovation were made to enhance aesthetic as opposed to being built around budget; in fact the refurbishment costs matched the value of the house. This house was stripped right back to basics and has been carefully adjusted to improve its layout.
To optimise living space, ground-floor reception rooms were opened up, a sun room was added behind the kitchen/breakfast room and a top-floor room has been created in the attic. The loft conversion cleverly included the addition of a rear roof terrace which takes full advantage of the woodland views behind the house. All windows have been carefully replaced and some Victorian glass was saved during the process; where new windows have been added, sash and casement were chosen and contemporary skylights are fitted in the loft room. The central heating system is by Hudevad, highly efficient and has flat-sided radiators. Two hot water tanks and a Keston boiler in the cellar ensure the two bathrooms and two en suite shower rooms are served well. Incidentally, both bathrooms and en suite shower rooms have fittings designed by renowned architect David Chipperfield, designer Mark Newson and furniture design company Vitra.
The front garden is planted to give year-round interest (magnolia, cherry, euphorbia among others), has a tessellated path, original tiles line the front porch and the original door remains. More Victorian tiles line the inner hall, floorboards are stripped back in the double reception, intricate cornicing was restored, high skirting rejuvenated and twin solid marble mantelpieces (nineteenth century Florentine) were fitted into chimney breasts. The rear kitchen/diner has a solid oak floor, maple units and two types of marble as worktops - lighter marble tops the wall units and a darker shade sits atop the island. A double stainless steel sink is cut into the worktop and the freestanding Mercury stainless steel range has a double oven and grill.
You step into a rear conservatory/sun room with oak clad glazing, concertina doors and solid oak flooring. There's also a useful downstairs cloakroom. Outside, the extra-wide side return (there's gated side access) provides ample outside dining space, with Greystone paving that sweeps round to the front terrace. The garden is designed around a circular path and has three seating areas. It's beautifully planted (magnolia, Torquay palms, plum, Indian bean, forest pansy) and has been opened three times for Yellow Book Open Gardens, a charity event.
The upper floors split into mezzanine 'half-floors' at the rear, all are doubles with high ceilings and many have Belle Epoch cast iron fireplaces. The master bedroom is colossal, with a huge bay window and en suite shower room. The further up the stairs you climb, the better the rear views get. When you reach the top floor of the house, two bedrooms have been knocked through to give a sweeping room that would make a wonderful child's bedroom/playroom or excellent teenage den.
Grove Park is an entirely desirable address whose homes have a fantastic range of architectural styles. Denmark Hill station is a short walk, in zone 2 and has regular services to London Bridge, non-stop services to Victoria and London Overground links (Clapham Junction, Canada Water, Shoreditch, Hoxton, Dalston Junction and Highbury & Islington). Peckham Rye station is very close, in zone 2 with regular trains to London Bridge, Victoria, Blackfriars, City Thameslink, Farringdon and St Pancras and London Overground links as listed before.
Peckham is superseding Shoreditch as a super-hip destination; the bars, restaurants and cafés are very, very good. South London Art Gallery is local and has a superb restaurant/café and nearby Bellenden Road has some remarkable eateries - Artusi was recently endorsed by local food critic Jay Rayner. The Villa nursery and pre-prep is an excellent independent on Lyndhurst Grove, while nearby state primary schools include Dog Kennel Hill and Lyndhurst Grove. Some of the UK's top public schools are within 10-minutes' drive (Alleyn's, Dulwich College and JAGS). A large Sainsbury's is found at Dog Kennel Hill and the organic butcher and grocer in nearby East Dulwich both deliver.
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- Home
- About us
- Investment Portfolio
- Investor Centre
- Corporate Overview
- Company Charter
- Corporate Governance
- Principle 1: Lay solid foundations for management and oversight
- Principle 2: Structure the board to add value
- Principle 3: Act ethically and responsibly
- Principle 4: Safeguard integrity in corporate reporting
- Principle 5: Make timely and balanced disclosure
- Principle 6: Respect the rights of security holders
- Principle 7: Recognise and manage risk
- Principle 8: Remunerate fairly and responsibly
- Share Registry
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- Contact us
Mr Kevin Dart
Executive Chairman
Mr Dart has been on the Board of public companies for over 25 years. He has extensive experience in capital raisings, new listings, mergers and acquisitions, as well as cross border transactions in the United States, United Kingdom, Asia, India and Mauritania.
He is a member of the Australian Institute of Company Directors.
Mr Steven Cole
Mr Cole has over 25 years' experience as an executive officer of listed and unlisted companies. During this time, he has been involved in mergers and acquisitions, company restructures, management buy outs and cross border transactions across a wide variety of industry sectors. Mr Cole has extensive experience establishing new public companies, undertaking initial public offerings, public capital raisings and listings on the Australian Securities Exchange, and has been associated with the NASDAQ listing of Australian companies.
He is a member of the Australian Institute of Company Directors.
Mr David Selfe
Mr Selfe is the founding director of Saewulf Geologica providing geological consultancy services to the mining and exploration industry. He has over 20 years' experience as a Geologist with experience in Australia, Indonesia and Africa and in commodities such as nickel, gold, base metals, manganese and iron ore.
He is a current director of unlisted public company Morpheous Resources Ltd, a gold focussed explorer in West Africa. Prior to Saewulf Geologica, Mr Selfe spent 14 years with Minara Resources Ltd/Glencore International plc, a world ranked top 10 refined nickel producer, where he gained extensive experience in laterite nickel via the Murrin Murrin Project and manganese, iron-ore, copper and nickel sulphide via regional exploration projects. David gained valuable patent management experience at Minara resources Ltd
He is a Member of the Australasian Institute of Mining and Metallurgy (MAusIMM) and holds a Bachelor of Science from the West Australian School of Mines (Curtin University).


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Product Details
ShopResponse time: Over 3 daysResponse rate: 50%
Listing categoryMaterialHow it's madeHandmadeOriginJapanQuantityDown to the last 2
- Listing summaryBlack Leather Strap with Ivy Furoshiki by Eley Kishimoto
Black Leather Strap with Ivy Furoshiki by Eley Kishimoto
Size: 400 x 30 mm (Strap) , 900 x 900 mm (Furoshiki)
Material : Leather, Metal (Strap), Cotton (Furoshiki)
The handmade leather strap is easily attached, letting you use your furoshiki as a shoulder bag. It's just as easy to take off again, and doesn't damage the cloth in any way. This thin furoshiki and leather strap take up very little space when folded, making them ideal for traveling. This makes a great gift.
You can change strap colour. Please add comment on the note when you purchase.
-About Furoshiki-
Furoshiki (風呂敷, fu-rosh-ki) is a traditional Japanese wrapping cloth. It can be used in multiple ways, for bundling or gift-wrapping all sorts of things – from lunch boxes or books, to watermelons and bottles of wine. You could even tie it into a handbag or use it as a scarf, a baby blanket or even a wall hanging. One simple and beautiful piece of cloth and the list is endless. Tie it and see!Manufacturing location(s)/process(es)Handmade in Japan
- Int'l shipping
Ship from: Japan Ship to: 1st item 2nd item Japan US$ 2.26 US$ 0.00 Other countries/regions US$ 8.12 US$ 0.00
The shipping fee to United States is counted under "Other countries/regions".
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text:
|Separate WCs
|Property type
|Minimum Stay
|5 - 7 nights
The charming Villa Gialletti is perfect for nature lovers, as it is located by the virgin sandy beach of Almyros, one of the most beautiful of North Corfu. From the villa you can see the rolling hills of Albania opposite and the country side around
This cosy villa is set on a flat grassy area completely fenced around offering full privacy
On the ground floor are the living area with the fireplace, a fully equipped kitchen and a small toilet with shower. On the first floor are two bedrooms with large closets and a shower room. The private pool is the place where everybody will meet for sunbath !!!
A delicious sensation of freedom and calmness is experienced as the extent of the beach reveals itself for the first time, but yet those who need a little 'civilization' will find in Acharavi all the entertainment that offers a resort.
The villa has all the facilities that you could need in a holiday home.
The nearby beach is fantastic with wonderful views across to the stunning Albanian mountains, but the pool is so secluded and sunny with great views to the Corfu mountains that we didn't move from the garden very many times..
There's also a great selection of excellent, reasonably priced tavernas just a short stroll away. Just watch out for the local dogs!
Villa Gialetti is ideal for families with children as it is set on a flat grassy area offering full privacy and security around the private pool. It is also perfect for beach-lovers as Almyros Beach is a long sandy beach with shallow waters at just at a few meters It is the most fantastic sandy beach in the north of Corfu an 8 km huge and unspoilt swathe of beach with gently shelving crystal waters, ideal for children or for persons looking to spend their beach time on a massive untamed area. This wild natural coastline has a Blue Flag status. Along the beach there are some small tavernas and bars. A 7 kilometres coastal path stretches all the way from Roda to Acharavi and on to Almyros, passing a salt lake and nature reserve and ending finally at Aghios Spyridon Beach.
In Almyros itself you can find just six tavernas, all serve good quality food in good prices and one mini-market.
Near Almyros, there are many beautiful and peaceful bays for people who like swimming in small bays. The area is full with many butterflies and wild flowers. Behind the hamlet, there is a small freshwater lake with wildlife and some smaller, even quieter beaches. Acharavi and Kassiopi are both busier villages 10 minutes? drive away, and of course, Corfu town, with its unique architecture and ambience is worth a visit. At the back the lower slopes of the Mount Pantokrator drop gently till the shoreline, while the upper slopes hide some very old and beautiful mountain villages with stone built houses that will surprise you.
|No additional mandatory fees
PACKAGE WITH CAR RENTAL AT VERY LOW PRICE in MAY/JUNE & SEPTEMBER /OCTOBER