Although originally conceived for Manchester, I believe that Park+Jog may be adapted to any city worldwide and serve as an example for how Cycle Space could lay the ideological foundation to change our cities for the better

whilst it may not be possible to ban the car outright, it ought to be possible to keep HGVs and delivery vans out during the day, when their impact on the physical environment and the safety of pedestrians and cyclists is most evident.

we have unprecedented levels of health problems - obesity, diabetes, etc - all associated with our sedentary lifestyles

Corbusian Modernism

he objective was to report back to the UK and London in particular on American city-cycling culture and the political initiatives that are emerging in the US.

I believe that cycling might just be the catalyst for a 21st Century urban renaissance

Dr Steven Fleming

There are now more than 8,000 Boris Bikes and 550+ docking stations in Central London

Boris Bike

Whilst acknowledging that over the last decade such gender concerns have begun to be readdressed by historians, educators and the design profession at large, much more can still be done.”

“Problems still perpetuate if the media only represents those with the highest profiles, if conference organisers don’t do their research to discover new and relevant voices, if education doesn’t look at a range of role models, if teachers ignore discussions on gender and representation; then, we are not taking our responsibility as designers, as a profession, as educators, and our duty to the public, seriously enough.”

She names a few: oversights in the organization of jury panels, lack of female representation in anthologies and survey publications and a propagation of blogs reinforcing strict ideas of gender

People forget how the change comes about. Critical mass is necessary. I have always thought about feminism as making new ways of working and thinking about people all along the spectrum from male to female — and that is happening

TypoBerlin (2009: 5% female presenters) or Atypl (2009: 12%), as well as in various type foundries (Linotype 2005: 12.3%; Myfonts.com 2008: 14%). Today an equal number of women and men are studying type design—so we can expect or at least hope for a levelling of the playing field.

Margaret Calvert

“[Look at] salary discrepancy between males and females in education. Almost every institution I’ve looked at, the women earned on average anywhere from $5,000 to $10,000 less in the same positions [held by men]

“I know I have to make good work for clients and myself, but on top of that I feel the stubborn need to prove that I belong in this industry at all

Paula Scher

Sheila Levrant de Bretteville states

“Right now, my classroom is probably filled with 80% women. And yet when I go out into the world, or when you hear from business owners or from creative directors, it’s not the same percentage. What is that, why is that? We can only guess.”

“Not enough women designers are given the recognition that they deserve,

 Astrid Stavro

That was only 6% of the overall canon

It is often discussed, academically and informally, that the presence of female designers missing from the history of graphic design is a sore oversight of the profession.

The uneven textures and faded iridescence of Freer’s collection yield a modulation of tones that makes up for the wonted éclat of the glossy blues and whites.

Christina Spartali

altered the décor of the London dining room of his patron

Fra Angelico

Whistler missed the express train to modernism

Impressionists

a sun-dappled Chinese pavilion

Frederick Leyland

The Peacock Room

James McNeill Whistler

“The crossing was a pivot point in a crucial campaign that rescued the revolution from failure,” Professor Fischer said, adding that it burnished not only Washington’s reputation as a leader, but also brought foreign support for the rebels’ cause.

noticed an image of the Leutze painting in a dramatic gilded frame dominated by a 12-foot-wide American-eagle crest at the top.

The frame “is a tour de force, absolutely the most creative and involved surround for a painting that I have ever seen,” Mr. Wilner, the frame expert, said.

Leutze

Nearly all the most adventurous artists in Whistler’s generation responded avidly to Japanese aesthetics

Freer’s highly varied, largely age-worn authentic pots are better art than Leyland’s china, which was, for the most part, export ware from the Kangxi period of the seventeenth and eighteenth centuries.

The Peacock Room,” which, since 1923, has been the star attraction of the Freer Gallery, a museum rich in Asian and Islamic art, in Washington,

50,000 people had paid to see the painting before it was bought for $10,000 by a collector,

It is heavy too, and will be getting heavier, because curators are currently assessing the best way to carve an elaborate new 3,000-pound basswood frame that would replicate the original, missing for more than a century.

But some experts said the project could not be accomplished for less than $500,000.

frame

“But this is the centerpiece of the American collections.”

The monumental work by Emanuel Leutze is ranked among the top five artworks in the museum’s visitor-popularity surveys