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Glenview man arrested for aggravated battery, hate crime

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Glenview man arrested for aggravated battery, hate crime

GLENVIEW, Ill. – A Glenview man was arrested for beating a person with a pipe and uttering a racial slur toward his victim.

The Glenview Police Department said at around 9:20 a.m. Friday, officers arrested 69-year-old Randy Velleff for an incident of aggravated battery on June 30 in the 1700 block of Grove Street.

‘This has been really painful’: Suburban family left with mounting medical bills after-hit-and-run crash

The investigation revealed Velleff used a metal pipe to batter the victim during an argument in the parking lot. The victim was taken to Glenbrook Hospital where they were treated for bruising and released, according to investigators.

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Police said Velleff also used a racial slur toward the victim.

Velleff has been charged with aggravated battery with a deadly weapon and hate crime. He is scheduled to appear in court Saturday.

Copyright 2024 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.

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Delta to launch Salt Lake City-Seoul Incheon route

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Delta to launch Salt Lake City-Seoul Incheon route

This will be the airline’s fifth service from South Korea to the USA

Continue reading Delta to launch Salt Lake City-Seoul Incheon route at Business Traveller.

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‘My liquid BBL was safe – I still regret it’

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'My liquid BBL was safe – I still regret it'
Cairo Nakhate-Chirwa A woman with blonde hair sitting on a white sofaCairo Nakhate-Chirwa

Cairo, 26, had a Brazilian butt-lift just one day after finding a practitioner on Instagram

Cairo Nakhate-Chirwa had a non-surgical Brazilian butt-lift (BBL) in June.

She’s happy with the results – but says that she now regrets it after finding out the procedure was unregulated and potentially risky.

This comes after arrests were made following the death of Alice Webb, who is thought to have undergone the procedure.

A non-surgical BBL most often involves filler being injected into the buttock to make it bigger, more rounded or lifted, and is not regulated in the UK.

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Experts have called the lack of rules in the UK the “wild west” while NHS England has warned against the procedure entirely.

The Department of Health and Social Care says it is currently exploring regulatory options of the non-surgical cosmetics sector and says it will provide an update in due course.

Cairo used Instagram to find someone to give her a liquid BBL – another name for for a non-surgical BBL – in late June.

She found one page that was advertising the procedure for £1,200.

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Twenty-four hours later, she arrived at a London flat for her appointment.

She did not check whether the person performing the procedure was a qualified medical professional.

“When they’re advertising themselves, you just assume they are [qualified],” Cairo said.

But non-surgical cosmetic procedures are not regulated in the UK – this includes liquid BBLs.

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Family handout Alice Webb, a young woman with black hairFamily handout

Two people have been arrested on suspicion of manslaughter after Alice Webb, 33, died on Tuesday

The BBC contacted the person who performed Cairo’s BBL for comment, but they did not respond.

Cairo said the only drawback, aside from the “pain” of the procedure, was some leaking from the site of the injections two weeks later.

She said she looked into the risks for the first time after hearing about Alice Webb’s death – and that while her experience “wasn’t all negative”, she regretted it and wished she had done more research.

“I’m happy with how I look.

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“It made sense, it was cheaper. But now I’m questioning.”

What is a non-surgical Brazilian butt-lift?

Non-surgical BBLs can be done using local anaesthetic and generally take place in a clinic room – rather than a sterile operating theatre.

There are even reports of procedures taking place in hotel rooms.

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Recent research by organisation Save Face, suggests many people don’t know what is injected into their bodies.

The filler used could be hyaluronic acid & PLLA (Poly-L-lactic acid), for example.

NHS England strongly advises against having a non-surgical BBL “because it is unregulated”.

Surgical BBLs meanwhile often involve transferring fat from one part of the body into the buttock.

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This most often happens under general anaesthetic in an operating theatre, and can involve extensive liposuction, with large volumes of fat being transferred.

In 2018, because of concerns around high death rates linked to surgical BBLs, the British Association of Aesthetic Plastic Surgeons asked for a four-year pause on its members carrying out the procedure.

In 2022 it published new guidelines, encouraging surgeons to use a different technique – called superficial gluteal lipofilling (SGL).

While it uses fat collected from the body, this is only injected below the skin whereas BBLs insert fat deep into the muscles.

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It also recommends surgeons should only carry out SGLs while simultaneously using ultrasound scans so they can see where the cannulas are going.

This procedure carries its own risks.

‘We’re known as the wild west’

Mr Marc Pacifico of the British Association of Aesthetic Plastic Surgeons said the lack of regulation meant the UK was “known as the wild west”.

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In the UK, the filler injected during non-surgical procedures is not classed as a medicine, and so it does not need to be prescribed. Instead, it’s classed as a device.

“That’s one of the biggest loopholes we have in the country,” Mr Pacifico believes.

“And that’s why anyone and everyone could have access to get hold of them.”

This makes the UK “the most outlying country” in Europe, he said.

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Cairo Nakhate-Chirwa A young woman takes a selfie in the mirrorCairo Nakhate-Chirwa

Cairo hadn’t researched the risks of a liquid BBL before having the procedure

Dr Sophie Shotter, who runs her own private clinics and is a trustee of the British College of Aesthetic Medicine, said “a lot of people don’t have a clue” about the risks before signing up for a liquid BBL.

She says she does not offer non-surgical BBLs because of the potential risks – and although Cairo was OK, this isn’t the case for everyone.

A serious concern is that the injection can cause a blockage in a blood vessel that can in turn lead to a blood clot travelling to the lungs – what is known as a pulmonary embolism.

This can be lethal.

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Infections, scarring, significant deformities and reactions to local anaesthetic, including toxicity, are also risks.

There is no data on the death rate of liquid BBLs, but the British Association of Aesthetic Plastic Surgeons said the procedure was associated with a higher complication rate than other non-surgical procedures.

Dr Shotter said regulatory action had been slow “because the people in power don’t take it seriously”.

“I think it’s because of a little bit of inherent misogyny,” she said, since the procedures are more popular with women.

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She said she wanted to see regulation of who can administer fillers and where this is allowed to take place.

“It feels like it’s spiralling and spiralling.

“Alice’s case is absolutely tragic – but many of us feel like we’ve been expecting it for a while.”

NHS England advises against having a non-surgical BBL altogether.

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“There is no guarantee that the right safety measures are being taken,” the NHS’s National Medical Director Prof Sir Stephen Powis said.

Referring to all cosmetic procedures, a Department of Health and Social Care spokesperson said: “The safety of patients is paramount, and we would urge anyone considering a cosmetic procedure to consider the possible health impacts and find a reputable, insured, and qualified practitioner.”

‘Women are meant to be curvy’

Cairo, who performs as rapper Lavida Loca, said she wanted a BBL because of pressure to look a certain way: “In the hip hop world… women are meant to be curvy.”

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“I fell into the pressure. I tried to do it naturally and it wasn’t working, and I didn’t have enough fat on my body for a surgical BBL.”

Professor Elizabeth Daniels A woman with grey hair and glasses smiles in front of a grand wooden doorProfessor Elizabeth Daniels

Prof Elizabeth Daniels says we shouldn’t judge people who choose to have procedures like a liquid BBL

According to Prof Elizabeth Daniels, director of the Centre for Appearance Research at the University of West England, people who have cosmetic procedures often feel dissatisfied with their body image.

But she stressed that relationships and societal factors, like laws and mental health resources, also come into play.

“It’s important not to pathologise people or make assumptions about their motivations and instead think about – this is a big social issue and how can we make the situation better?”

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New towns are back. But can we still build them?

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Stevenage Museum was closed when I visited. But the church above it was open. St Andrew & St George, an airy Modernist concrete structure with a huge stained-glass window completed in 1966, the year England won the World Cup, was hosting a pantry to help locals out with a free cup of tea and a meal. The atmosphere was welcoming but restrained, a few people chatting, an older man eating a sandwich on his own, perched on a plywood pew.

Stevenage was once the future, a model for a new way of living. Its Modernism, mostly low-rise, functional and compact, looks almost quaint nowadays: an expression of a paternalistic era of state-sponsored building and council housing. In the 1950s, architects and urbanists came from all over the world to study the bold experiment that it embodied. Now it has become a kind of Modernist heritage, a version of a future that might have been.

Situated 27 miles north of London, Stevenage was the pioneering manifestation of the New Towns Act passed by parliament in 1946. It would be rapidly followed by Basildon and Bracknell, Corby and Crawley and, later, Runcorn, Ravenscraig, Cumbernauld and Telford — some successful, others a little less so. London had been devastated by bombing in the second world war, with more than a million dwellings damaged or destroyed, and the energetic new Labour government wasted no time in planning for a future dispersal of residents to beyond the war-torn, ragged and still industrial capital.

A black and white photo from the late 1950s or early 1960s showing a sunlit view of cyclists on a cycle path and pedestrians on a footpath, well away from the motor traffic in the background
Stevenage in its early days, with dedicated paths for cyclists and pedestrians © Heritage Images/Getty Images
A black and white photo of families out shopping in pedestrianised streets of functional late 1950s architecture
Stevenage’s pedestrianised town centre shopping area in 1958 © Getty Images

Now new towns are back as another new Labour government touts them as part of the solution to the UK’s housing crisis. The last government’s ambitious housebuilding targets were stymied by its own rural and suburban MPs, fearful of their constituents’ ire. Nimbyism has been a powerful force in politics. Almost everyone agrees on the need to build more houses — just not near where they live.

The new government’s legislative programme, set out in the King’s Speech this summer, suggested that communities would get a say on “how, not if” new homes are to be built. If the government is to confront the issue, new towns such as Stevenage must surely be back on the agenda. But are they, ultimately, a good thing?

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Five people, four of them in high-vis jackets, walk up a street, past a row of houses and parked cars
Labour leader Keir Starmer and deputy Angela Rayner on a visit to Derby during the election campaign earlier this year, when one of the party’s key pledges was to build more affordable homes © Getty Images

Just before the election, the now deputy prime minister Angela Rayner revealed new visions of today’s towns of the future, renderings apparently created using AI that showed mistily nostalgic Edwardian-style red-brick mansion blocks, tree-lined streets and pavement cafés. Rayner, whose ministerial brief covers housing, suggested that only “attractive” homes would be built. Who, after all, objects to “attractive” housing? David Milner, director of the lobby group Create Streets (responsible for those images) writes: “We believe beautiful and sustainable design helps to boost housing delivery by winning over residents.”

The historicism of those machine hallucinations is a revealing echo of lingering British anxieties over style and modernity. The nation (or at least its developers) proved a little resistant to Modernism in the early 20th century, its public buildings veering between Neo-Georgian or Art Deco and its housing dominated by Artsy-Craftsy, half-timbered semis with the occasional stab at a more “continental” Modernism. 

Stevenage represented a clean break. At its heart was the UK’s first Modernist town centre. Its design remains largely intact today; strolling through its streets, with their canopies, benches, green spaces and play areas, gives a little blast of postwar urban utopianism. The pedestrianised streets (also the nation’s first) might be a little shabbier than in mid-century photos; there are plenty of charity shops, slot-machine joints and a few big empty hulks (a defunct BHS and Poundland) but the centre is still lively. 

One focal point is an abstract, sculptural clock tower, a ghost of that most municipal centrepiece of the Victorian city, here transformed into a Modernist monument to the place itself: a ceramic map of the new town on one side, on another a portrait of Lewis Silkin, the minister responsible for establishing new towns. When Silkin arrived in the small old town of Stevenage next to the site in 1946 he was confronted by protests about the 10,000 new council homes in the Hertfordshire countryside. “It’s no good you jeering,” he shouted over the crowd. “It’s going to be done.”

New developments provoke huge resistance and the UK’s planning system is immensely amenable to objections. It follows that the government’s plans are heavily skewed towards reform of the planning system. The quasi-religious sanctity of the greenbelt is sensibly being questioned, and areas identified as “grey belt” (which might consist of car parks, derelict buildings, transport sidings, agricultural structures or petrol stations) could be freed up. Analysis by estate agents Knight Frank suggests such sites might accommodate up to 200,000 homes, mostly in the south and particularly the areas surrounding London.  

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New towns, though, are something else. Although the government is consulting on potential locations, one of the most obvious sites is the Oxford-Cambridge corridor, a long-mooted plan for a “knowledge-intensive arc” that would have, more or less at its centre, the last and most successful of the UK’s new towns: Milton Keynes. This band of development could accommodate up to a million new homes and be planned around a revived Oxford-to-Cambridge rail line. One upside is employment and desirability — tech, biosciences and pharma are all well rooted here. The danger is proximity to London and the university cities — new towns could become dreary dormitory suburbs with little life of their own.

But whatever the risks, the need is there. According to a report by Schroders, the average house now costs nine times average earnings; in 1999 it was half that. If Britain is to house itself in the future, something will have to give.


Back at the church in Stevenage, I talked to rector Karen Mitchell. She introduced me to Jan and Mike Wilson who, she said, were the “real locals”.

“I’d been married for a year and I got a council house here after being on the waiting list for two weeks,” Mike told me. “When Stevenage was built, it was all council houses. Everything.” 

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Jan adds: “Now our granddaughter has been on the waiting list for years. And it’s hopeless, there’s always going to be someone more needy.” This is not just perception. There are currently 1.3mn households on local authority waiting lists.

Unlike the similarly cash-strapped postwar Labour government — which facilitated a huge programme of slum clearance, prefabrication and council housing (along with founding the NHS and the welfare state) — this government appears to suggest that the new housing will be delivered largely by the private sector. 

Is this really the best route? There is little incentive for developers to flood the market with new homes and risk lowering prices, while huge public investment is needed in creating a new town. The postwar new towns were built by development corporations, government-established bodies that oversaw their planning and infrastructure. But this kind of large-scale planning has faded away as local authorities have been successively starved of cash in the post-austerity years. The 300 extra planners the government has promised will barely make a dent.  

In 1946, as in 2024, a Labour government had to introduce legislation to create new towns. The question is whether we still have the same ambition and confidence. Stevenage was a determined statement of intent, of faith in modernity expressed through building. This was a town designed for the automobile age but with a pedestrianised centre and a station half an hour from London. What do we want towns to be now? Those twee pictures of Edwardian-style streets suggest a certain timidity. 

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A map of the new towns built in the three phases of post-war development

Just as important as how they look is how they work and how they are financed. One economic tool used to great effect after the second world war — and is being considered again — is land value capture. The change in designation of land from agricultural to residential use can result (according to a recent report by the Centre for Progressive Policy) in an uplift of around 275 times the original value. Land speculation in the UK has had a crushing effect on new development, with landowners sitting on land until its value soars through change of use. 

For the postwar wave of new towns, land was compulsorily purchased at its agricultural price — not including what is known as “hope value”, the expectation of uplift created by the proposals. The towns were then able to use that increase in the value of their holdings and reinvest in the community. Government assumed the risk and communities reaped the rewards. This method has faded away in the UK, yet the Dutch new town of Almere (often dismissed as dull but which I think is absolutely fascinating) managed to capture an astonishing 90 per cent of the uplift in value of its land for public infrastructure.

A black and white photo from 1912 shows a horse-drawn cart on an empty street with a thatched cottage on one side and bigger houses in the background
A street in Letchworth in 1912 © Getty Images
A black and white photo shows a sunlit view of a tree-lined residential street with semi-detached houses and a pair of parked cars
A 1950s view of Welwyn Garden City © Alamy

The vision of an enhanced community with the private house and garden at its centre also characterised earlier versions of the new town. Stevenage is sandwiched between Letchworth and Welwyn, two experiments in that much-studied English phenomenon, the garden city. The addition of the word “garden” has sometimes been used to appease objectors, as if sounding a little greener will assuage neighbours’ fears about the horrors of urbanity. The term is the invention of Ebenezer Howard, who wrote the short but enduringly influential Garden Cities of To-morrow (1898) — a book that emerged precisely from a fear of London as a traffic and smoke-choked hellhole.  

Garden cities were to be limited in scale, surrounded by inviolable green belts; to be walkable, connected by public transport; and to contain all the elements required for a productive and civilised life: factories but also theatres and social clubs, market gardens, back gardens and even forests. They employed Community Land Trusts (non-profit corporations that held the land on behalf of the community while also acting as long-term stewards of public space) to keep control and maintain a stake in future success. They were gently ridiculed at the time as priggish places of self-consciously Arts and Crafts cottages, socialist sandals and skittles, towns with no pub. Letchworth’s main industry was a corset factory and it boasted the world’s first traffic roundabout (1904).

But the idea proved astonishingly influential. It spread to Australia (Canberra was planned as a garden city), Singapore, Zelenograd near Moscow (Lenin was rumoured to have visited Letchworth), the US (Augusta, Georgia, Reston, Virginia and the New Deal Greenbelt communities), to Christchurch in New Zealand and Jardim América in São Paulo.  

If British garden cities are often mocked for their gentle suburbanity, you might also point to Milton Keynes, once derided as the zenith of late modern dullness but now a thriving city of more than 280,000 with an eccentric mix of architecture, landscape (influenced by prehistory and Stonehenge as much as by Los Angeles), “car-centricity” as well as walkability.  

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The confidence in the future that spawned Milton Keynes in the late 1960s has faded. As prime minister, Gordon Brown attempted to launch a new generation of new towns in 2007 and, to generate more enthusiasm, christened them “eco-towns”. David Cameron’s coalition government  jumped on the garden city bandwagon and attempted to build one at Ebbsfleet in Kent, though it still it looks suspiciously like any other estate of executive homes. It remains, however, one of the most promising sites for a major new town with its connections to high-speed rail and the capital. Then chancellor George Osborne subsequently downgraded his ambitions to the painfully quaint notion of “garden villages”. 


Building by decree is rarely straightforward. Take Palmanova, a garrison town established in 1593 by the Venetian Republic and intended as a model city. There are rumours that Leonardo da Vinci was involved and, even if he wasn’t, its form was certainly influenced by his designs, planned in a star shape for optimal artillery defence. It was a disaster. No one wanted to live there. The climate was wrong, the location dull, metropolitan life absent. In the end the authorities resorted to populating it with convicts who were gifted free homes in a desperate attempt to keep it alive. It is still a soporific rarity, an unattractive Renaissance town.

An aerial view of a city planned in a star-like shape with streets radiating outwards in concentric rings
The planned fortified city of Palmanova in northern Italy © Alamy

Cities thrive on unpredictability, culture and commerce but also a pinch of vice. That cocktail is difficult to plan for and utopian regulation often kills it. While sometimes lovely, ideal settlements founded by well-meaning industrialists (Titus Salt’s Saltaire, Cadbury’s Bournville or Czech shoemaker Bata’s Zlín) are tainted by worker-capture; the same idea as giving tech employees free snacks to keep them on campus.

2.8mnResidents currently housed in the UK’s postwar new towns

Then there is Poundbury, Britain’s own retro-royalist utopia — a future that looks like a feudal past, only with parking garages and a branch of Waitrose. Built on land outside Dorchester belonging to the Duchy of Cornwall, this new town/extension was built in a vernacular style with a touch of classical, a little Georgian and a sort-of-medieval picturesque street plan. It’s undeniably popular. 

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Meanwhile, our confidence in the future seems to have been hijacked by Big Tech billionaires with their missions to Mars and Moon-shots. For a while, “smart cities” seemed to be the future but these began to sound suspiciously like data-mining operations.  

If we have lost that faith in the future that characterised Stevenage, and the ability to build the necessary large infrastructure (see the sorry HS2 high-speed rail saga), what is left is to expand existing successful cities. This is where the “grey-belt” reappears, the easing of the urban corset. But there are problems in even agreeing to what a city (or a city extension) of the future might look like. 

A colour photo of modern houses built of red brick against a sunny blue sky
Poundbury in southwest England, a recent vision of old-world architecture © Universal Images Group/Getty Images

The recent extraordinary reaction of the political right, in both the US and the UK, to the idea of “15-minute cities” — spinning the notion of a walkable, dense and well-distributed conurbation into a conspiracy theory about state control limiting citizens’ access to neighbourhoods in their cars — hints at these problems. Urbanists want compact quartiers, Paris-style, with local bakeries and surgeries; many homebuyers want double garages, driveways and big gardens. And the big developers that operate something close to a cartel in the UK market (their influence is unique in Europe and the results have been dire) like these better too — easier to build, and no problems with pesky infrastructure.  

Perhaps to counter the pervasive presence and influence of the housebuilders, there might also  be space to accommodate self-builders and eccentrics, places designated for experiments in new ways of communal living, new forms of ownership, new kinds of architecture. The rhetoric at the moment leans towards design codes and control, which is fine. But if the government is revising planning law, it could revisit rules facilitating residents to build their own more individual homes, suited to their particular needs. Almere allowed residents to design their homes any way they wish, with no aesthetic controls. The results are occasionally bizarre but they also accommodate eccentricity and individuality. Are these not a critical element of the English sense of identity? 

The postwar British new towns now house 2.8mn people and were, in retrospect, an audacious and incredible success. If there is a lesson to be drawn from them, it might be that government needs to take a central role. This is not something that can be left solely to a private sector that demands short-term profit. There is also an opportunity to revisit the commodification of housing that has led to the crisis. There are other forms of tenure beyond home ownership.

Cities take time to build. If there are a few mistakes along the way, they can be rectified in the future. And we can take heart in one thing: this has been done before.

Edwin Heathcote is the FT’s architecture critic

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Wales ‘should get a lot more’ rail funding from UK government

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Wales 'should get a lot more' rail funding from UK government
Getty Images Picture of Cardiff Central Station platformGetty Images

Wales’ rail investment is run from the Department for Transport in London

The Welsh economy is losing out because of a lack of rail investment, a transport expert has said.

Prof Mark Barry said Wales should be getting a lot more money, but because spending was controlled from Whitehall, England was more of a priority.

The first minister said she was doing everything she could to get more cash for the country’s railways.

The Welsh Conservatives said Wales should be getting its fair share of HS2 funding.

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The Labour UK government said investment was key to its priorities, but rail investment was run from the Department for Transport in London rather than the Welsh government.

Prof Barry, from Cardiff University, said that meant Wales was down the queue for cash.

He said: “We get about 1 to 2% of the funding available but should get a lot more.

“In an ideal world you’d be looking at 5 or 6% of the total UK investment in rail enhancement, but if you don’t invest in essential economic infrastructure – specifically in energy, transport and housing – then you can’t really expect your economy to turn a corner.”

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He said the amount of cash Wales was asking for was tiny compared with what had already been committed to English railways.

“The TransPennine Express Group Upgrade is a £10bn capital programme over 15 years,” he said.

“In Wales we’ve worked up over the last five years £2-3bn in very good business cases for rail investment, and the challenge is how is that going to get funded?”

PA Media HS2 trainsPA Media

Earlier this year Welsh ministers confirmed they would not go to court to seek billions of pounds extra to spend following high speed rail investment in England

In recent years the biggest argument has been about extra funding for Wales from the HS2 project.

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In opposition, Labour said the HS2 rail link should be an England only scheme and Wales should get money as a result.

First Minister Eluned Morgan said she had spoken to the UK chancellor about a dividend for Wales.

Opposition parties want to see Wales press for the cash, an estimated £4-5bn, which they have said would pay for much improvement.

The leader of the Welsh Conservatives in the Senedd, Andrew RT Davies MS, said: “We need to make sure that happens so that we can spend it on infrastructure and improvement in our transport operations here in Wales, and that needs to happen, and we were told that it was a turning of the page if Labour came into government on 4 July.

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“Well if that page is turned, let’s have that money, and let Eluned Morgan live up to what she’s professing to do, which is to stand up for Wales.”

‘Investment in Welsh rail’

But the UK government’s Welsh secretary Jo Stevens seemed to close the door on that idea when she was asked about it in Parliament earlier this month.

Plaid Cymru’s parliamentary leader, Liz Saville-Roberts, told the Commons: “The truth is that the railways are broken and Labour’s plan fails to address the chronic underfunding that is the cause, particularly in Wales.

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“In 2022, the secretary of state – then the shadow secretary of state – said that it was ‘utterly illogical’ to designate HS2 as an England and Wales project, and called on the Conservatives to ‘cough up’ the billions owed to Wales.

“Will she cough up now?”

In response, Ms Stevens said: “We cannot go back in time and change the way a project was commissioned, managed and classified by the previous Conservative government.

“They need to accept responsibility for the chaos, delay and waste on their watch.

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“What we can do though is work closely with our Senedd and local authority colleagues to develop and invest in transport projects that improve services for passengers right across Wales.”

In a statement, Ms Stevens’ department the Wales Office reaffirmed what she had said in the Commons and added: “Following years of neglect, this new UK government recognises the importance of investing in rail infrastructure in Wales.

“The Welsh secretary has already met with the transport secretary to discuss investment in Welsh rail.”

It added that Ms Stevens was working closely with the Welsh government to identify a range of improvements.

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“Alongside this the transport secretary is currently carrying out a review of the previous government’s transport commitments which will ensure our transport infrastructure portfolio drives economic growth and delivers value for money for taxpayers.”

In just over a month, the Chancellor Rachel Reeves will deliver a Budget which is expected to set the course for what the government plans to do on investment.

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‘You’re buying not just a physical work but a little part of me’

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Before he was known in the art world, Slawn set a challenge to his Instagram fans. If they wanted one of his customised T-shirts, in demand among his Gen-Z fan base, they should go to the Saatchi Yates gallery in Mayfair and ask for “an original Slawn” work. If his followers showed him a video of themselves doing this, he’d give them a shirt for free. The Saatchi Yates gallerists had never heard of Slawn before. But after this stunt, they would remember his name.

Two years later, Slawn has just completed his paintings for his first major solo exhibition, which is taking place at . . . Saatchi Yates. It’s as if he manifested the whole thing. Sitting in his north London studio, surrounded by canvases, Slawn looks like he has just rolled out of bed, in a green camo T-shirt and pyjama trousers, his grey beanie pulled low on his head, clutching a vape. He’s discussing the after-party for his exhibition’s opening night with a gallery employee. She says they need a list of names for the guest list soon, “to keep the randoms out”.

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“You can’t do that,” Slawn, 23, replies. “You won’t be able to keep people out. I know this, because I always used to find my way into places where they didn’t want me. They say you’re not going to be able to, but I always found my way inside.”

Over the past couple of years, Slawn has set his sights on finding his way inside London’s art scene. His graffiti-style work has been sold at Sotheby’s and he was asked last year to design the trophy for the Brit music awards, putting him in the company of artists such as Damien Hirst, Tracey Emin and Anish Kapoor. Then there is the trendy café he runs near Brick Lane with his girlfriend, where he can often be found hanging out with his two sons, Beau and Baby.

Slawn’s studio is buzzing today. One woman sketches jewellery designs at a table, dreaming up future Slawn bling that he thinks might interest rappers. Another is painting a portrait by the wall, part of the community of friends Slawn invites to use his space. A flow of people come in and out chatting, joking, painting and rolling joints. Slawn’s phone vibrates constantly — his mum calls from Nigeria, then his two-year-old son appears on FaceTime to say hello. In the middle of the room, a 15-year-old boy Slawn met while skateboarding is doing pull-ups from a beam under the ceiling. He can only manage one at the moment, but Slawn encourages him: “Yeah, two now. Go ahead, three. That’s how you build strength, bro.”

The painting shows a cartoon-like figure with blue skin and hair and a bright-red mouth and nose is wearing a blue T-shirt and holding up a fist
‘Bully’ (2024), by Slawn
The painting depicts two cartoon-like red-skinned figures with pointy ears, bright-blue lips and large eyes in an embrace
‘First Kiss’ (2024), by Slawn © Courtesy Saatchi Yates/the artist (2)

He says the kid reminds him of his hyperactive younger self. Born in Lagos as Olaolu Akeredolu-Ale, Slawn’s artistic imagination was nourished by a spell working for the country’s first skateboard company, Wafflesncream. When he was 18, he and some friends started the skatewear brand Motherlan, which attracted the interest of designer Virgil Abloh. Moving to London in 2018 to study graphic design at Middlesex University, Slawn began painting during the pandemic. This is when he arrived at his signature style, a free-flowing series of playful doodles, like Keith Haring by way of streetwear brand Obey.

Despite the myriad influences, his work, which generally uses acrylic and spray paint on canvas, regularly features the same ominous face. When asked who this is, Slawn says he wonders if it might be himself, and whether that makes him a narcissist. His style sometimes plays with caricatures resembling racist imagery, which he frames vaguely as social commentary but which has attracted criticism online.

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Slawn doesn’t claim to be a technically gifted painter. “I’m not conventionally the best artist, I’m not trained,” he says. “I barely know how to draw a face.” What he is undeniably good at is grabbing attention online and keeping it. He first gained popularity on Instagram (where he now has 312,000 followers) with a series of stunts where he gave out his artworks, culminating in a run of fight clubs where fans came to his studio and boxed each other for the chance to win an original piece. It is clearly his large social media following as well as his artistic reputation which has led to brand collabs with companies such as Rolex, Louis Vuitton and Rimowa.

A young man wearing a white and black T-shirt stands in front of a blue bus whose windows are spray-painted in blue, white and red
Slawn’s 1-54 installation coincides with his first major solo exhibition, at Saatchi Yates
A young man wearing a white and black T-shirt, white jogging bottoms and tan-coloured work boots stands at the top of a red step ladder in front of a blue double-decker bus adding blue eyes onto faces spray-painted on the windows
“I’m not conventionally the best artist, I’m not trained,” he says © Kemka Ajoku (2)

What does he think attracts people to his art? “A lot of times it’s your personality or the idea of yourself that you’re selling. That’s what makes it valuable. I might have spent less than an hour doing the painting, but you’re taking my whole life as well . . . You’re buying not just a physical work but a story, as well — a little part of me.”

Slawn’s next project is an installation at the 1-54 contemporary African art fair in Somerset House, London, for which he will customise two red double-decker buses with spray paint — though at the time of our interview, he hasn’t decided exactly what he’s going to do yet. “You know what, actually — ” he sits up, clicking his fingers, suddenly excited. “I should get a Tube train. How can I get one?” He starts googling Tube trains for sale and finds one for £8,000. “Yo, you can buy them! This is insane!” What would he do with a Tube train? “I could make a sculpture with it, or just paint it.” Is he actually going to buy one? He doesn’t pause: “I think so. I’ll just need to find somewhere to put it.”

A young man wearing a brown patterned fleece top, white jogging bottoms and tan-coloured work boots is seen through a graffiti-ed window. He stands next to a red bus holding a can of spray paint and a mobile phone
Slawn started the skatewear brand Motherlan with friends before moving to London to study graphic design © Kemka Ajoku

October 10-13, 1-54.com

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I built my three-bed dream home for £180k – how to do up a house on a budget

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I built my three-bed dream home for £180k - how to do up a house on a budget

SAM Jackman would never have been able to afford to build her own home had she not inherited a derelict bungalow and plot.

Back in 2014, the 41-year-old was extremely lucky to have the run-down property in Calstock, Cornwall, where she grew up, gifted to her by her parents.

Sam Jackman managed to build a dream home for £180k

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Sam Jackman managed to build a dream home for £180k
The bungalow was turned into a 3-bed home with a balcony

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The bungalow was turned into a 3-bed home with a balcony

When Sam was given the plot of land by her father as an early inheritance, it had a run-down prefab bungalow on it, along with a dilapidated workshop space.

The former teacher and art museum worker, who now owns her own business, We Wear Boost, told The Sun: “My father was not keen on doing up a property himself, given the effort required, so wanted to pass it on.

“As I’m an only child, he gave me the opportunity to do it instead.

“As I didn’t have to purchase the plot, this saved me a major expense, meaning all money could be channelled into the self-build.”

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Sam’s original plan had been to completely gut the bungalow and renovate it.

But, once she discovered there were asbestos issues and after speaking to some experts, she realised it would cost roughly the same to tear it down and build a new home from scratch.

It took Sam around 12 months to build her own home on a budget after planning permission was granted, costing around £180,000 in total.

She has now lived there for just under a decade along with her partner, David, and their son, Charlie, 14 – and she absolutely loves it.

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Financing the project

But financing the project was no mean feat.

“Initially, I thought I’d just get a self-build mortgage,” she said. “But trying to get this over the line turned out to be really difficult.”

The couple also contemplated selling their home to release equity. At the time, Sam, her partner and son were living near Callington, just a few miles away from Calstock.

“I soon realised that I’d need to sell our home to help fund the build, because the mortgage kept falling through,” she said.

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“I put it on the market expecting it to take a few months to sell, but we received a full asking price offer within two days – and were asked to move out within a week.”

As Sam needed the money from the house sale, she agreed.

“But I’d effectively made us homeless,” she said. “Then suddenly, the stars aligned, and we found out my aunt had a rental property nearby that we could move into.”

This allowed Sam to sell her home and release around £30,000 in equity. In addition, she then took out a bridging loan for around £100,000. 

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“The rate on this was quite expensive, but it was only temporary, so it was affordable in the short term,” she said.

“Fortunately, as the self-build took shape, getting finance became easier.

“Once the property had bathrooms and a kitchen it became possible to get a ‘normal’ residential mortgage with a much more competitive rate.”

Breaking down the costs

One of the biggest expenses for Sam’s project was site clearance.

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“I reckon I paid out about £45,000 on the preparatory work,” she said.

“This included things such as asbestos surveys, which came in at around £6,000, and landscaping, which cost around £20,000. Then, once the actual build began, things felt as though they were progressing.”

Specialists had to be brought in for jobs such as the electrics and plumbing, too.

How Sam saved money on her build

But, Sam was very efficient when it came to buying fixtures and fittings, which massively brought down her costs.

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And a key part of Sam’s success in keeping costs down throughout the build was budgeting very carefully.

She said: “I was very honest with myself about the amount I had to spend in total, and therefore very disciplined about only choosing fixtures and fittings that were affordable.

“I decided not to go for high-end, and instead, opted for things like a ‘ready-made’ Howdens kitchen and Karndean vinyl flooring, which is easy to install and really hard-wearing too.”

She also focused on making it energy-efficient from the get-go to save money on her bills once she started living there.

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“We opted for an air source heat pump,” she explained.

“As the property didn’t have gas, I thought the pump was worth investing in.

“We got solar panels installed, too, which have helped us save on our electricity bills.”

Another of Sam’s clever money-saving ideas was to host ‘painting parties,’ where friends and neighbours came to help with the decorating.

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“When you’ve got to paint a large three-bed property entirely from scratch, you realise it’s going to take ages,” she said. “But with everyone chipping in, the job got done far more quickly and cheaply.”

She also opted to just have three larger bedrooms rather than more smaller bedrooms, which was actually more cost-efficient.

Instead, she spent that money on things she really wanted.

“The house also has a beautiful fireplace, underfloor heating and huge windows to enjoy the far-reaching views,” she explained.

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Having land around the property has meant Sam has had room to expand over time, too.

How to keep costs down on a self-build

Marc von Grundherr, director of property firm Denham and Reeves, said it’s important to prioritise spending money on more difficult tasks, while tackling easier tasks yourself to cut costs.

“Painting, clearing, even basic landscaping of the garden are all achievable tasks that can be accomplished with time and effort,” he said.

“The more important aspects of a home, such as gas, electric and plumbing are always best left to a professional.”

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Meanwhile, Tarquin Purdue, CEO of HaMuch.com, said materials can make a huge difference to how much a build costs.

“Materials make a huge difference to cost, especially during a property renovation, and the professionals will always ensure they use the right materials based on the budget they are given – so why wouldn’t you do the same? 

“Researching local suppliers, compare prices and look for deals, discounts and sales. It all adds up and it will give you a comprehensive view of what you can get from where and for the lowest price.

“If you are tight for cash, consider the next best alternative. Laminate flooring over hardwood, tiles flooring over marble, granite kitchen tops instead of quartz, composite decking over real wood or matte paint over expensive wallpaper.”

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Inside the ‘saddest’ Grand Designs house

Savills’s listing reads: “The property represents a once-in-a-lifetime opportunity to take on and finish the specification and fit out of one of the UK’s most spectacularly situated coastal homes.

“The bespoke design has been brought to life through impressive engineering, with the building being anchored to the bedrock, blending whitewashed elevations with steel and glass, culminating with a lighthouse feature at one end giving almost 360-degree views of the coastline.

“The position combines privacy with a diverse range of breath-taking views, all set in around 3 acres, which includes a large area of foreshore, a private tidal beach area and coves.”

The property is set in three acres of land and is equipped with an infinity pool and a hot tub as well as a spacious driveway.

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Nic Chbat, director of Match Property estate agents in North Devon, who previously assisted with finding a buyer last year said at the time the sale stalled after the timeframe for the sale “expired”.

He added the previous buyer was “still wanting to buy the property,” and the sale was still expected to proceed.

The new listing though would suggest the purchase was never made with the sale now being handled by London-based estate agents Savills.

A spokeswoman for both Savills and the receivers Bellevue Mortlakes said: “The sale represents a once-in-a-lifetime opportunity to purchase one of the UK’s most spectacularly situated coastal homes and for the buyer to put the finishing touches to the property’s interior to their own specification.

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“The current sale price (offers in excess of £5.25m) represents fair value noting the prevailing economic and heterogeneous nature of this opportunity.

“The property has panoramic sea views and is set in grounds of over three acres, including foreshore and a tidal beach, with accommodation extending to over 6,260 sq ft.

“The detached guest lodge/holiday let accommodation extends to about 1,270 sq ft and is included in the sale price.

“Subject to registration with the agents, the receiver has provided an extensive suite of information and supporting documentation relating to the building’s history, construction and title, which are available via an online data room.”

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