Model Village houses handed over to owners

first_img… additional homes being constructed, infrastructural works ongoingBy Lakhram BhagiratThe Central Housing and Planning Authority (CH&PA) on Tuesday handed over the keys to the owners of the homes in its Model Village at Perseverance Housing Scheme, Providence, East Bank Demerara. The model houses were constructed for the CH&PA’s Housing Solutions Housing Expo in May.Minister within the Communities Ministry, Valerie Patterson, handed over the keys on site to the new owners and urged them to preserve it, while noting that their homes would be the center of attraction for a long time.Minister Valarie Patterson handing over the key toWinston PersaudThe homeowners, Deborrah Wilson and Winston Persaud, expressed their satisfaction with the units and noted that they are in the process of making minor modifications and installation of electricity before they move in.The residents of the Model Village cannot make any exterior changes to the homes until after five years. The residents were also called upon to work with the Community Development Department at the CH&PA to form a home owners association within the Perseverance Housing Scheme.Forty-six-year-old Wilson said she had been waiting 24 years to own her own land and home, and was elated to be afforded the opportunity to be a resident in the Model Village. Both Wilson and Persaud paid $6.8 million for their homes.Keys were also given to Gary Rowe and his family, who will occupy the $7 million single elevated home.Minister Valarie Patterson handing over the key toDeborrah WilsonMinister Patterson said they are currently doing road works within the scheme and added that they are also in the process of constructing 20 three-bedroom houses in the area.“We are going to build 40 flat concrete duplexes right here at Perseverance. It is going to be like three feet off the ground, land clearing is already in progress and that total construction cost will be like $540 million. This project of the 40 duplexes we are very hopeful that it would conclude by the end of December this year. Each apartment would be a total of $7.1 million – $6.8 million for the apartment and $300,000 being cost of land,” Minister Patterson said.She urges interested person to visit the CH&PA Brickdam Office next Tuesday and Wednesday, where they would be able to prequalify for the 40 duplexes so they could be able to source financing. She added that they are also in talks with the financial institutions to be more lenient with persons applying for loans to build or purchase homes.Some 758 units of 530 duplexes and 228 town houses will be built under this Government, to maximise land use and increase affordability, while building cohesive communities in 10 locations across six regions.Additionally, the Chief Executive Officer of the CH&PA along with a team is currently in China where they are testing conductors for the electrification programme at Farm, Eccles, Peters Hall and Barnwell on the East Bank of Demerara. The CH&PA said they are aggressively pursuing the programme and have already begun the infrastructure and preparatory works.“Already the poles are on the ground and the CEO and other technical staff are in China and they are doing the testing of the conductors and immediately after that is approved they will be shipped to Guyana. We already have the transformers and cable on their way to Guyana (from Colombia). We don’t want to have defective equipment coming here,” the Minister, informed.last_img read more

Sharks get ‘character’ win, beat Golden Knights in OT

first_imgLAS VEGAS — Logan Couture scored with 1:40 left in overtime to lift the Sharks to one of their biggest road wins this season, as they beat the Vegas Golden Knights 2-1 on Thursday at T-Mobile Arena.Couture scored on a breakaway after a pass from Marc-Edouard Vlasic. His first shot was stopped, but he followed it up and the puck trickled behind Golden Knights goalie Marc-Andre Fleury.Goalie Aaron Dell made 37 saves for the Sharks, including four in overtime. Fleury made five saves in overtime. …last_img

South African indie artist tackles homophobia

first_imgObie Mavuso is tackling homophobia head-on through her events company Queers on Smash. (Image and Video: Redbull Amaphiko)A seasoned indie musician and filmmaker from Cape Town is taking on gender inequalities in arts and entertainment by bringing together members of the LGBTI community to talk about their experiences.Obie Mavuso founded Queers on Smash, which she describes as “a queer and unorthodox lifestyle company offering fun and inclusive queer spaces”.At the core of her work is a desire to create a place where queer people can party, talk and hangout without all the discrimination that society projects onto LGBTI – lesbian, gay, bisexual, transgender and intersex – people.First eventIn April, Queers on Smash hosted its first blacks-only queer social event in Cape Town.“The response was amazing,” said Mavuso. “A lot of people came up to me on the day and told me they were happy to be at the social. That was the main point for me. It wasn’t really about me, but for people like myself. We needed a space where we could feel safe and belong.”At the event, they discussed what it means to be black and queer in Cape Town.Author and stage actress Buhle Ngaba gave a talk about her recently released book Girl Without A Sound, which is a fairytale written specifically for black girls.The 25-year-old also co-founded Jam That Session with fellow musician Andy Mkosi – a creative platform that showcases up and coming creative practitioners.“Art’s always been about personal expression for me,” said Mavuso in an interview with Redbull Amaphiko. “I just want to make a positive change through my art and shift people’s mindsets.”Next month, Queers on Smash will be hosting another blacks-only queer social in Johannesburg.last_img read more

Unfolding Community Resilience

first_imgUnfoldingMaking energy-efficient buildings — even net-zero energy ones — will not maintain our communities in the face of a radically different adverse conditions. Going forward, we must think and practice beyond the building by using whole-systems thinking to build resilient communities.“Unfolding,” a core idea of architect Christopher Alexander’s thinking, will serve as a useful guide to this discussion.(1)Unfolding occurs when one walks the land to discern what the land wants built. This process meanders and is nonlinear. It takes time. We can see ourselves as being in the same unfolding process with the shift from sustainability to resilience. We must observe and sit with the earth and the concept of resilience so we can determine what to do next.Sustainability has served as the NESEA mantra for many decades. I believe it is time to envision a new, more holistic mission. Sustainability is about limiting adverse impacts of people on the the planet through reduction of our natural resource use. By contrast, as C.S. Hollings said, “Resilience is a way of conceptualizing the ability to change and adapt. The best resilient systems don’t just bend and snap back. They get stronger because of stress. They learn.”We think most often about resilience in terms of our response to natural disasters. Andrew Zolli describes resilience as the product of the response of various professions. For the emergency responder, the focus is getting people safe and critical systems back up. The psychologist helps people deal with trauma. Businesses install redundant systems so the doors stay open for customers.Although their specific responses differ, these three professions — emergency responder, psychologist, and business person — employ a common approach. They adapt, aim to foster continuity, and learn from adversity. Resilience does not mean a community returns to its original state. Both people and systems must anticipate what to change so the community might better withstand future shocks. This blog was originally posted by the Northeast Sustainable Energy Association as part of this year’s BuildingEnergy conference in Boston. Robert Leaver has over 38 years of experience as a convener and facilitator. He will speak at sessions on March 4 and again on March 5.“May we live in interesting times,” goes the ancient Chinese saying, conveying both a blessing and a warning. In the face of extreme weather conditions — unusual and repetitive water, heat, and wind events — and severe depletions of natural resources, the landscape that NESEA practitioners face differs greatly from that of our predecessors. In these interesting times we think we know what to do — make tighter buildings — but in reality we must begin to address much larger issues in the resilience of the communities around our buildings.At the BuildingEnergy conferences in 2013 and 2014, I served as a co-chair for the Resilient Cities track. This article was inspired by those rich conversations, which made it clear that sustainability thinking and practice will not be enough to make our communities thrive.We must move beyond sustainability and embrace resiliency. Resilient buildingsWe face a central question when it comes to the resiliency of our building stock: rebuild on or retreat from land hit by a natural disaster? Going forward, we must learn from building performance in natural disasters, then use that intelligence to determine where to build. We should not automatically rebuild what was there before, because the risks of the past are not the risks of the future. Instead of rebuilding, we ought to analyze the conditions to establish criteria for retreating or rebuilding. RELATED ARTICLES Designing Homes and Communities That Can Survive a DisasterResilient CommunitiesIt Takes a Village to Be Resilient Designing Houses and Communities To Be Smarter and More ResilientResilience: Designing Homes for More Intense StormsMaking the Case for Resilient DesignGreen Building Priority #9 – Create Resilient HousesMaking Houses Resilient to Power OutagesLocal Food and ResilienceResilience as a Driver of ChangeDesigning for the Future Resiliency means not just rebuilding, but learning from disaster to create a better future. One disaster prepares a community for others. As the community leaders of Newtown, Connecticut, said: “Without the experience of the previous hurricane and snowstorm, the town would not have come through, with resilience, the shootings at the Sandy Hook elementary school.” What the town learned from severe weather, it was able to apply to an entirely different sort of tragedy. It was, in a word, resilient. Resilient communitiesResearch demonstrates that communities with tighter ties among people — regardless of age, sex, race, or class — survive threats of extreme weather, heat, or flooding better than those with loose ties.We must create people and neighborhoods that can survive and even thrive after a disaster. Yes, the buildings must be resilient, but so must the people living in and around them. As designers, we must keep asking: Where are the areas of public community refuge?Developing community resilience requires a network of local businesses that agree to stay open when disaster hits to provide for basic needs like food. We must develop an information infrastructure to disseminate this information.Think about your neighborhood. In the face of a disaster, does the social fabric come together or tear apart? What is the community connectivity rating or altruism index? (This can be measured by the presence of community gathering places such as farmers’ markets, spiritual places, and bars.) The presence of known community resources tempers hostile resource wars in the face of scarcity.Neighborhoods need known public places of community refuge that have the basic resources for survival, places where people know they can go in a disaster. Distribute lists of mobile phone numbers of people in your neighborhood. What is the walking score to reach the basic amenities of your place? If there is no gas for your car or transportation, where are the amenities you need that you can walk to?After a disaster, members of a community are the brains for directing and organizing recovery and learning. The recovery effort has to be collaborative and consensus-based or we all suffer. Communities can identify the natural neighborhood conveners and organize them in advance. Build community resilience peer-to-peer, one person at a time.In Connecticut, for example, volunteer Community Emergency Response Teams go house to house after a disaster to check on people’s well-being. Their work supports first responders and frees them for work requiring higher levels of training. In Boston, the Jamaica Plain New Economy Transition holds an emergency preparedness pie-eating party to inform community members about available resources. Resilient infrastructure and systemsA resilient community must have flexible infrastructure, both for information and services. Smart phones, for example, can be used in emergency communication mode by disabling data downloads and camera use. This emergency approach maximizes the life of the phone and provides access over a longer period of time.When designing, we can think about what utilities and resources are underground, and try to get them moved above ground. In an emergency situation with limited fuel and electricity, getting to underground utilities becomes very difficult. We should consider all hazards such as wind, heat, and flooding in both buildings and communities. How does a building operate? How does its landscaping interact with the forces of nature? We should look at the vulnerability of assets in the face of multiple hazards. Resilient soul of the worldSoul is a slippery notion. It is murky, squishy, and even, at times, dark. One might say soul is what is underneath our culture: the underground, muddy, the underbelly. But soul holds up the culture; it keeps us unfolding in community. With soul comes intimacy and reflection.Our experience of soul might occur as we walk on the street and stop in our tracks, arrested by the face of an elder or the patina of an old building. Soul does its work when it slows us down to experience another face or look at a parking meter. It is the continuous layering of memories, of our collective stories as well as our tales of rogues and community leaders.Memories are honored in what was built at different times, for different purposes, and with different architectural styles. A building does not have to be classical or traditional to reveal soul. Soul is what is unknown, either longing to be revealed or to remain unknown, or what is unfinished, what is to come next in a place.To experience soul, we must let go of our rational minds and drop into it. We can’t fully know the soul of a place through our head. To glimpse the richness of soul in a place, we must feel it. The soulful way is slowly attending to the particulars of a place: —that lamp post, this curb, that storefront—all arresting us in profound imagination.The door into soul is not the mind, but aesthetics. Here we are, at the root of aesthetics, breathing in through our senses, noting an arresting image or experiencing the presence of another person on the street. The heart is opened, the body tingles—that is the aesthetic response. Beauty is present.Soul reveals beauty, which is what must be present in a neighborhood for us to bond with the place and each other. Resilience requires these tight bonds. And without a deep sense of soul, community resilience is a fleeting potential. Four moves toward resilienceWe can explore our move toward resilience in four areas: community, buildings, infrastructure, and the “soul of the world.”Already part of our practice, the areas of buildings and infrastructure will come easily to NESEA members. Fostering community and soul, although harder goals to grasp, are vital for improving the human condition. These two areas are discussed in depth below, as they are the least familiar to most of us and arguably the most important to understand. CodaAs practitioners and thinkers we have much to learn about resilience of communities, buildings, the infrastructure, and the soul of the world. It will be a whole system in action. We are in for bigger and bigger shocks. Right now we need less science and a bit more art until the science beyond building science is better known. And even as we evolve the science, art and aesthetics must be present shaping our places.last_img read more

Playboy model Candice is Aishwarya fan

first_imgI am a big fan of Aishwarya Rai, says Playboy model Candice Boucher, who is set to make her Bollywood debut with Aazaan and describes it as an opportunity of a lifetime.”I did know about Bollywood before doing this film because while growing up in South Africa, we did have a few Indian movies showcased on the TV. I was aware a little bit about the industry that it’s very colourful and has a lot of music and dance,” Candice told IANS in an interview.”I don’t remember the names of the film right now, but as far as the actors are concerned, I am a big fan of Aishwarya Rai. She is gorgeous and a great actress too. The fact that she has made a mark not only in Bollywood but also Hollywood, speaks a lot about her. She is beautiful,” added the model who visited India six times earlier and loves the family bond people share here.The 27-year-old, who also modelled for magazines like FHM, GQ, Cosmopolitan, Sports Illustrated and Elle, is excited about director Prashant Chadha’s “Aazaan”. Entrepreneur-turned-actor Sachin Joshi plays the male lead in the film, while Candice is roped in as a sand artist and as Sachin’s love interest in Aazaan, slated for an Oct 14 release.The model says being a part of a Hindi film was nerve-wracking for her. “Prashant got this project to me. He gave me a call when I was in New York last year and told me that he has a part that is perfect for me. I was little nervous because it was a Hindi movie. I don’t speak the language and my dancing is also not really up to the mark. “But Prashant kind of scripted the role around me and my personality and then he changed all my dialogues to English. It was a fun experience, but equally nerve-wracking,” said Candice.Will she stay and make a career in Bollywood? “Prashant just gave me an opportunity of a lifetime and I couldn’t say no to it. It was a learning experience. If I think about going in the Bollywood direction, I have to see my Hindi definitely.advertisementIt has to be a lot better and also the dancing. So at the moment I’m happy that I got this opportunity and I’ll keep on trying to learn Hindi. But Bollywood isn’t something I’ll only concentrate on.”However, if something great comes up, I’m open to the idea,” said Candice who has done an item song in the film, which was choreographed by Ashley Lobo.last_img read more

All Cultures – Tony Eltakchi

first_imgEltakchi shares his story on how he became involved in the sport of Touch Football. Tony is from a Lebanese background and talks about how his parents didn’t understand what sport in Australia was and how he is helping to attract people from a multicultural background to the sport of Touch Football.To view the story, please click on the following link:http://www.youtube.com/ausport#p/u/5/INYh3PeDZ00 To learn more about the Australian Sports Commission’s All Cultures initiative, please visit their website:http://www.ausport.gov.au/participating/all_cultureslast_img

10 months agoEverton boss Marco Silva explains halftime shake-up for Lincoln FA Cup win

first_imgAbout the authorPaul VegasShare the loveHave your say Everton boss Marco Silva explains halftime shake-up for Lincoln FA Cup winby Paul Vegas10 months agoSend to a friendShare the loveEverton boss Marco Silva admits beaten FA Cup opponents Lincoln City forced him into major halftime changes.Silva took off Tom Davies and Dominic Calvert-Lewin at the break and replaced them with Andre Gomes and Cenk Tosun, in a sign of how tough Lincoln were making it.”In that moment, I felt we needed a player like Andre,” Silva said.”We completely controlled the game with the ball and were creating problems for them but when they score we started to have some doubts in our build-up and we needed Andre in that moment.”About the situation with Dominic, it was the moment for us to give Cenk the chance to show his quality.”Lincoln brought nearly 5,500 fans to the tie with Goodison almost sold-out and Silva thanked the home support.”Some words for our fans also,” he said.”When you play against Lincoln at home, and with big respect for our opponent, we nearly sold out the stadium and that shows us how important the competition is.”We knew that before the match and they proved and show to us again that is important and the enthusiasm they have when we play in this competition. Congratulations to them.” last_img read more

August 29 2007 In 1994 prominent artist John W

first_imgAugust 29, 2007 In 1994 prominent artist John Waddell created a bronze bust of Paolo Soleri. Just recently, John Waddell visited long-time friend Paolo Soleri at Arcosanti to present his gift of eight sketches, drawn in preparation for the bronze sculpture. [Photo & text: sa] John Waddell (b.1921) was raised in the Midwest and studied at the Art Institute of Chicago and had his first solo show in Peoria, Illinois at age 21. He was in the military and the G.I. Bill financed the remainder of his formal education, which was two M.F.A.’s in Fine Arts and Art Education. He and his wife, Ruth, a close partner in his professional as well as his personal life, moved to Arizona in 1957. Here he headed the art education department at Arizona State University (then Arizona State College) for several years. During this time Waddell made sculpture his primary art form. The 1963 church bombing in Birmingham, Alabama, in which four young girls died, became a pivotal event in his development as an artist. The monument he created in response to that tragedy, “That Which Might Have Been”, Birmingham, 1963, resides in the garden he designed for it at the Unitarian Universalist Church on Lincoln Drive in Phoenix. His sculptures are exhibited in many places in Phoenix, including Civic Plaza and the Phoenix Art Museum. The Waddells have lived in the Verde Valley since 1970 and make frequent visits to Grand Canyon, where they sketch and paint. [Photo & text: sa] The Soleri bust is 48.2 cm [19 inches] and is featured on page 96 of the book “John Henry Waddell, the art and the artist” by Michel F. Sarda, published by Bridgewood Press, Phoenix, AZ in 1996. See our previous report about John Waddell on 10/27/06. [Photo: from ‘John Henry Waddell, the art and the artist’ by Michel F. Sarda & text: sa]last_img read more