![]() Morning Call Quick and essential guide to domestic and global politics from the New Statesman's politics team. Sign up for The New Statesman’s newsletters Tick the boxes of the newsletters you would like to receive. He’s happy mocking his fellow rich people.” The point is, he jumps over the garden wall to hang out with his mates who are absolutely, horribly poor. “Lord Snooty isn’t this aloof figure at all. “The Beano has survived because it’s constantly reinvented itself over decades.” He explains to me how the comic prospered on a “radical, modern form of storytelling” when it arrived in the 1930s – dynamic, kinetic art with word balloons instead of fusty Rupert the Bear-style text at the bottom of pictures – and on unacknowledged social commentary. “These critics who haven’t read the Beano in decades, complaining that it shouldn’t change because it’s supposedly timeless – they’re completely misinformed,” said Colin Smith, a renowned comics blogger. The underlying complaint – you may notice a pattern here – is “why can’t things stay the way they were?” They seem not to have checked with any actual children or Beano readers, who now tend to take a dimmer view of bullying others for being fat, skinny, odd, ugly or a different colour than their grandparents did. This year, the comic renamed big-boned Bash Street Kid Fatty as Freddie, leading the Daily Mail and Express to run grindingly predictable wails about “Woke Street Kids”. He even has two female friends, Rubi, a wheelchair user, and JJ, a black girl who plays drums. Dennis lost his “Menace” suffix in 2017, no longer bashes Walter for being a softy, and is now “a flawed hero, a ten-year-old boy who fears nothing and sometimes gets into trouble as a result”. Though much has changed in the 83 years since, the exhibition proves that the magazine’s gleefully anarchic spirit remains undimmed.īeing the best of Britain – unruly, anti-authority, a vivid cartoonification of what we can still just about call working-class lives – and much more contemporary than your average columnist thinks, the Beano is naturally under attack for being “woke”. These and lines from other towering thinkers (Debussy, GK Chesterton, Dennis the Menace) hover on the wall at the entrance to “Beano: The Art of Breaking the Rules”, the dazzling exhibition now showing at Somerset House in London, exploring the 4,000-plus issue history of the children’s comic, first published in the summer of 1938. this is a house to slow down in, where spaces have been designed to contemplate and watch the leaves rustle in the trees, or to be social and embrace the joy of celebration with friends and family.“Know the rules well, so that you can break them effectively.” “The only rule is there are no rules.” Which of these comic-book speech balloons said it best? The first comes, according to popular opinion, from the 14th Dalai Lama the second from his equal in radical thought and the praxis of freedom, but perhaps his superior in feminist-situationist action, Minnie the Minx. the designers say, ‘ this is a home where memories can be made, spaces that have been designed to feel comfortable and welcoming. ![]() Sited within a holiday home community called lower mill estate, falcon house is envisioned as a relaxing retreat. koto creates simple, flexible and functional homes which embrace slow living.’ ![]() Koto co-founder, theo dales, continues, ‘we believe well-designed spaces can transform our environment. objects have been thoughtfully chosen with the mantra of ‘quality over quantity’. In addition to the textured plaster walls, the interiors are populated with a selection of organic fabrics and woven rugs to imbue the spaces with character and homeliness. the second floor features exposed CLT surfaces while the first floor walls are painted with st leo interiors plaster paint to create a ‘perfectly imperfect’ earthy texture. the blackened timber skin gives way to light-colored spaces. calm and considered sanctuaries that are both flexible and functional,’ says zoe little, koto co-founder.įor the interiors, koto embraced a minimal and timeless aesthetic that they call ‘quiet luxury’. ‘we create spaces which pay homage to stillness. the first floor is designed to be intimate and cozy while the second floor features large windows to create the sensation of living between the trees. In order to maximize views from the living spaces, the architects flipped the traditional residential program, putting the bedrooms on the lower floor and the social functions on the upper level. situated in the cotswolds, UK, the sculptural holiday home is composed of two black timber volumes, one of which cantilevers over the rural site. Specialists in prefabricated architecture koto design reveals its first completed two storey modular house. A SCULPTURAL HOLIDAY HOME WITH AN UPSIDE DOWN PROGRAM
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