Schemes include jobs in Liverpool, Bradford and NewcastleRachel Reeves has announced £15bn for transport projects in the north of England, the Midlands and the West Country to stimulate growth outside of the South-east. The chancellor unveiled a funding package this morning for a raft of rail, tram and bus projects ahead of the government’s spending review, due next week, which is expected to include cuts to many departmental budgets. It is also expected to be part of the government’s 10-year infrastructure strategy, which will be announced later this month. Rachel Reeves delivering her speech in Manchester this morning Tram schemes have been handed the biggest investments, including £2.5bn to extend Manchester’s network to Stockport and £2.4bn to expand Birmingham’s network to the city’s planned ‘sports quarter’. A long-awaited tram network in West Yorkshire will get £2.1bn to start construction of the first two lines by 2028, along with new bus stations in Bradford and Wakefield, while South Yorkshire’s tram network has been handed £2.1bn for renewal works and bus service. Liverpool has been allocated £1.6bn to improve links to locations in the city including the new Everton Stadium, and the North East will get £1.8bn to extend the Newcastle to Sunderland Metro via Washington. Other funding packages include £2bn for the East Midlands to improve road, rail and bus links between Derby and Nottingham and £800m for rail upgrades in the West of England. Some of these projects were part of former prime minister Rishi Sunak’s Network North plan, which backed schemes including the West Yorkshire tram system to compensate for the decision to scrap HS2 north of Birmingham. Network North was put on ice following Labour’s election victory last year after Reeves claimed the programme had not been fully funded. The money will be part of a five-year funding allocation from 2027/28 to 2031/32.  >> Also read: It’s time for trams – and Britain needs to catch up >> Also read: Traffic in Towns: 60 years on from Colin Buchanan’s prophetic report #government #spend #15bn #transport #projects

London King's Cross railway station is a passenger railway terminus in the London Borough of Camden, on the edge of Central London. It is in the London station group, one of the busiest railway stations in the United Kingdom, and the southern terminus of the East Coast Main Line to Yorkshire and the Humber, North East England and Scotland. The station was opened in King's Cross in 1852 by the Great Northern Railway, and has been expanded and redeveloped several times since. This panoramic photograph shows the western departures concourse of King's Cross station, which was designed by John McAslan and opened in March 2012 as part of a major renovation project. McAslan said that the roof was the longest single-span station structure in Europe; the semi-circular structure has a radius of 59 yardsand more than 2,000 triangular roof panels, half of which are glass. Photograph credit: Colin Recently featured: Daft Punk Eastern quoll Battle of Diamond Rock Archive More featured pictures #wikipedia #picture #day #june

I’m feeling a strange sense of pressure as I set up my first bus route in City Bus Manager. I want to get things right for the public transportation users of this city, probably because it’s the city I actually live in. City Bus Manager uses OpenStreetMapdata to populate its maps, so I can see all the familiar streets and points of interest laid out in front of me. These are my neighbors, who, like me, want an efficient transit service. I want to be able to provide it to them — even if only in a simulation.City Bus Manager is part of a small group of management sims that are using OSM’s community-generated database to make the whole world their game setting. Other examples include Global Farmer, NIMBY Rails, and Logistical: Earth. In these games, players can build farms, railways, or delivery networks all over the globe, using data about real fields, settlements, and infrastructure to inform their decisions.When the idea of using OSM was first raised at PeDePe, the studio behind City Bus Manager, “we had no idea if it would be technically feasible,” says Niklas Polster, the studio’s co-founder. But once established, the license gave them access to an entire world of streets, buildings, and even real bus stops. And these do more than just form the game’s world. They’re also used for gameplay elements like simulating passenger behavior. “Schools generate traffic in the mornings on weekdays, while nightlife areas such as bars and clubs tend to attract more passengers in the evenings on weekends,” ” Polster says.Typically, Polster says, people are drawn to playing City Bus Manager in their local areas.That personal connection appears almost hardwired into people, says Thorsten Feldmann, CEO of Global Farmer developer Thera Bytes. When they showcased the game at Gamescom in 2024, “every single booth visitor” wanted to input their own postal code and look at their own house.Global Farmer. Image: Thera BytesThere’s a specific fantasy about being able to transform a space you know so well, Feldmann says. In addition to your own home or town, the marketing for Global Farmer suggests using famous tourist locations, such as Buckingham Palace, as the beginning of your new agricultural life. “own stories around those places can be even more impactful than in purely fictional environments,” Feldmann says.There is something inherently fun about being in control of a place you see every day or one that is deeply iconic. In particular, tearing down a perfectly manicured gated garden from which the British royal family takes £510 million per year and turning it into land to grow food for a country where 4.5 million children live in poverty might not be a one-to-one political solution, but it is emotionally compelling.“We’ve heard stories of players who became interested in public transport as a career thanks to the game.”The quality — or lack thereof — of public transportation is another key political topic where I live. The local buses are currently in the process of being nationalized again after what South Yorkshire Mayor Oliver Coppard calls a “failed experiment” in privatization. Maybe that’s why, even though these might just be pixels on a screen, I want to do it right. That’s a feeling many players seem to experience. “Our Discord community is full of players who are passionate about public transport,” Polster says. “We’ve heard stories of players who became interested in public transport as a career thanks to the game.”Of course, game developers using OSM data are still making games, rather than exact simulations. The real world is not always a well-balanced game design space. “In smaller towns and villages, routes can be unprofitable with realistic numbers,” Polster says. City Bus Manager compensates for this by giving players more financial support, which is a straightforward and useful bit of game design. But when it comes to treating the games as direct representations of the world, it elides some complexity. For example, according to Polster, some players have reached out to their local transportation agencies with data they’ve gathered from playing in their local areas — despite the fact that the game is not actually designed as a faithful recreation of the real world, even if its map is.NIMBY Rails. Image: Weird and WryAnother challenge is that OSM data isn’t always fully reliable. Polster explains that there can be errors or missing data that break very specific areas in the game, requiring PeDePe to manually find the issues and fix them. But OSM is also a volunteer-run program, meaning players can correct the data at the source. “Many of our players contribute directly to OpenStreetMap,” if they find errors in their local area, Polster says, which improves the dataset for everybody, no matter what they’re using it for.Density of data is also a particular issue for the Global Farmer developers, who found that OSM has a lot more information about roads than field systems. There are plenty of areas where individual field boundaries aren’t mapped, making “total grey areas where gameplay actually couldn’t happen.” The developers compensated for this by making a map editor, where players can copy satellite images from other sources to correct the data, but it means that those who don’t want to build their own maps are limited to the places where OSM has detailed data or where other players have shared their creations.Management sims have often reached for a sense of realism, and OSM data is a useful tool in that toolbox. It also allows players to control environments they know well and can connect with. But it is not a perfect recreation of the world, and even if it was, that isn’t always what games need. According to Feldmann, navigating these factors “can be very frustrating.”But, just like players, developers are drawn to the idea of blurring the lines between places they know and places they simulate. “It is also super rewarding whenever you manage to find a solution and get great results that are connected to the real world,” Feldmann says.See More: #realworld #map #data #helping #make

Scene at UKREiiF 2025 outside the Canary bar UKREiiF is getting bigger by the year, with more than 16,000 professionals attending the 2025 construction conference in Leeds this week during three days of sunny weather, networking, panel discussions and robust amounts of booze. It has grown so big over the past few years that it seems almost to have outgrown the city of Leeds itself. A running joke among attendees was the varying quality of accommodation people had managed to secure. All of the budget hotels in the city were fully booked months in advance of the conference, with many - including at least one member of Parliament - reduced to kipping in bed and breakfasts of a questionable nature. Many were forced to stay in nearby towns including York, Wakefield and Bradford and catch the train to the conference each morning. But these snags served as ice breakers for more important conversations at an event which has come at a key pivot point for the industry. With the government on the brink of launching its 10-year industrial strategy and its new towns programme, opportunity was in the air. Networking events between government departments and potential suppliers of all sectors were well attended, although many discussion panels focused on the question of how all of this work would be paid for. And hanging over the conference like a storm cloud were the mounting issues at the Building Safety Regulator which are continuing to cause expensive delays to high rise schemes across the country. While many attendees eyed a huge amount of potential work to fill up pipelines, it was clear the industry is still facing some systemic challenges which could threaten a much-needed recovery following a long period of turmoil. How will the issues at the Building Safety Regulator be fixed? You did not even have to go inside an event titled “Gateways and Growing Pains: Tackling the Building Safety Act” to see how much this issue is affecting construction at the moment. The packed out tent was overflowing into the space outside, with those inside stood like sardines to watch a panel discussion about what has been happening in the high rise residential sector over the past year.  Audience members shared their horror stories of schemes which have been waiting for the best part of a year to get gateway 2 approval from the regulator, which is needed to start construction. There was a palpable sense of anger in the crowd, one professional describing the hold-ups which had affected his scheme as a “disgrace”. Others highlighted the apparent inconsistency of the regulator’s work. One attendee told how two identical buildings had been submitted to the regulator in separate gateway 2 applications and assigned to two separate technical teams for approval. One application had received no follow up questions, while the other had been extensively interrogated. “The industry should hold its head in shame with regard to what happened at Grenfell, but post that, it’s just complete disarray,” he said. More than 16,000 professionals attended the 2025 event While many are currently focusing on delays at pre-construction, others raised the looming gateway 3 approvals which are needed before occupation. Pareto Projects director Kuli Bajwa said: “Gateway 2 is an issue, but when we get to gateway 3, we’re committed to this project, money’s been spent, debt’s been taken out and week on week it’s costing money. It just keeps wracking up, so we need to resolve that with the regulator asap.” >> See also: Homes England boss calls on government to fix ‘unacceptably slow’ gateway 2 approvals Caddick Construction managing director for Yorkshire and the North East Steve Ford added: “I think where it will probably get interesting and quite heated I guess is at the point where some of these schemes get rejected at gateway 3, and the finger pointing starts as to why it’s not got through gateway 3.” Simon Latson, head of living for the UK and Ireland at JLL, offered a potential solution. “We will be dealing with the regulator all the way through the construction process, and you would like to think that there is a collaborative process where you get early engagement and you can say ‘I’m 12 weeks out from completion, I’m going to start sending you all of my completion documents, my fire alarm certificate’, and say ‘thanks very much that’s the last thing on my list’. That’s probably wishful thinking but that’s got to be a practical solution, as early engagement as possible.” How is the government going to pay for its infrastructure strategy? Ministers are expected to outline the government’s ten-year infrastructure strategy next month, outlining ambitions not only for transport but social infrastructure including schools and healthcare. At an event titled “A Decade of National Renewal: What Will This Mean for our Regions, Towns and Cities?”, a panel of experts including London deputy mayor Jules Pipe highlighted how much of this new infrastructure is needed to enable the government to achieve its housing targets. But how will it be funded? Tom Wagner, cofounder of investment firm Knighthead Capital, which operates largely in the West Midlands with assets including Birmingham City FC, gave a frank assessment of the government’s policies on attracting private sector investment. “There have been a lot of policies in the UK that have forced capital allocators to go elsewhere,” he said, calling for lower taxes and less restrictions on private finance in order to stop investors fleeing to more amenable destinations overseas.  “What we’ve found in the UK is, as we’re seeking to tax those who can most afford it, that’s fine, but unless they’re chained here, they’ll just go somewhere else. That creates a bad dynamic because those people are the capital providers, and right now what we need is capital infusion to foster growth.” The main square at the centre of the conference Pipe offered a counterpoint, suggesting low taxes were not the only reason which determines where wealthy people live and highlighted the appeal of cities which had been made livable by good infrastructure. “There are people living in some very expensive cities but they live there because of the cosmopolitan culture and the parks and the general vibe, and that’s what we have to get right. And the key thing that leads to that is good transport, making it livable.” Pipe also criticised the penny-pinching tendencies of past governments on infrastructure investment, including on major transports schemes like Crossrail 2 which were mothballed due to a lack of funds and a perceived lack of value added. “All these things were fought in the trenches with the Treasury about ‘oh well there’s no cost benefit to this’. And where is the major transport like that where after ten years people are saying ‘no one’s using it, that was a really bad idea, it’s never opened up any new businesses or new homes’? It’s absolute nonsense. But that seems to be how we judge it,” he said. One solution could be funding through business rates, an approach used on the Northern Line Extension to Battersea Power Station. But the benefits of this have been largely overlooked, Pipe said. “One scheme every ten or twenty years is not good enough. We need to do this more frequently”. What is the latest on the government’s new towns programme? Where are the new towns going to be built? It was a question which everybody was asking during the conference, with rumours circulating around potential sites in Cambridge of Plymouth. The government is set to reveal the first 12 locations of 10,000 homes each in July, an announcement which will inevitably unleash an onslaught of NIMBY outcries from affected communities. A large crowd gathered for an “exclusive update” on the programme from Michael Lyons, chair of the New Towns Taskforce appointed by the government to recommend suitable sites, with many in attendance hoping for a big reveal on the first sites. They were disappointed, but Lyons did provide some interesting insights into the taskforce’s work. Despite a “rather hairbrained” timescale given to the team, which was only established last September, Lyons said it was at a “very advanced stage” in its deliberations after spending the past few months touring the country speaking to developers, landowners and residents in search of potential sites. >> See also: Don’t scrimp on quality standards for new towns, taskforce chair tells housebuilders “We stand at a crucial moment in the history of home building in this country,” he said. The government’s commitment to so many large-scale developments could herald a return to ambitious spatial planning, he said, with communities strategically located close to the most practical locations for the supply of new infrastructure needed for people to move in. A line of tents at the docks site, including the London Pavilion “Infrastructure constraints, whether it’s water or power, sewage or transport, must no longer be allowed to hold back growth, and we’ve been shocked as we looked around the country at the extent to which plans ready to be advanced are held back by those infrastructure problems,” he said. The first sites will be in places where much of this infrastructure is already in place, he said, allowing work to start immediately.  An emphasis on “identity and legibility” is also part of the criteria for the initial locations, with the government’s design and construction partners to be required to put placemaking at the heart of their schemes. “ We need to be confident that these can be distinctive places, and that the title of new town, whether it’s an urban extension or whether it’s even a reshaping of an existing urban area or a genuine greenfield site, that it genuinely can be seen and will be seen by its residents as a distinct community.” How do you manage a working public-private partnership? Successful public partnerships between the public sector and private housebuilders will be essential for the government to achieve its target to build 1.5 million homes by the end of this parliament in 2029. At an event hosted by Muse, a panel discussed where past partnerships have gone wrong and what lessons have been learned. Mark Bradbury, Thurrock council’s chief officer for strategic growth partnerships and special projects, spoke of the series of events which led to L&Q pulling out of the 2,800-home Purfleet-on-Thames scheme in Essex and its replacement by housing association Swan. “I think it was partly the complex nature of the procurement process that led to market conditions being quite different at the end of the process to the start,” he said. “Some of the original partners pulled out halfway through because their business model changed. I think the early conversations at Purfleet on Thames around the masterplan devised by Will Alsop, the potential for L&Q to be one of the partners, the potential for a development manager, the potential for some overseas investment, ended up with L&Q deciding it wasn’t for their business model going forwards. The money from the far east never materialised, so we ended up with somebody who didn’t have the track record, and there was nobody who had working capital.  “By then it was clear that the former partnership wasn’t right, so trying to persuade someone to join a partnership which wasn’t working was really difficult. So you’ve got to be really clear at the outset that this is a partnership which is going to work, you know where the working capital is coming from, and everybody’s got a track record.” Muse development director for residential Duncan Cumberland outlined a three-part “accelerated procurement process” which the developer has been looking at in order to avoid some of the setbacks which can hit large public private partnerships on housing schemes. The first part is developing a masterplan vision which has the support of community stakeholders, the second is outlining a “realistic and honest” business plan which accommodates viability challenges, and the third is working closely with public sector officials on a strong business case. A good partnership is almost like being in a marriage, Avison Young’s London co-managing director Kat Hanna added. “It’s hard to just walk away. We’re in it now, so we need to make it work, and perhaps being in a partnership can often be more revealing in tough times.” #key #talking #points #ukreiif

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I started writing my own film scripts when I was ten, and I basically wanted to be Indiana Jones. Well, I wanted to be Indy, the director and the guy who did the stunts and the storyboards after seeing Temple of Doom with my dad at the Harrogate Odeon. He'd bought me the Official Souvenir Magazine – I knew it was important – which was full of colourful costume sketches, storyboards detailing some of the action I'd just seen, and glossy pictures of cast and crew in glamorous locations. I think that was the first time I had an inkling of what I wanted to do with my life, but growing up in a small Yorkshire town wasn't exactly conducive to being Indiana Jones: the most useful film locations there were my buddy Richard's back garden and the local woods, but we endeavoured and made a three-minute epic where I, as Indy, swung across imagined alligator-infested swamps and ran through not-so-dense forests pursued by invisible tribesmen. Growing up in the Eighties was a fertile time for the imagination of anyone, particularly anyone who wanted to follow in the footsteps of Lucas and Spielberg. By the time I'd left school prematurely at sixteen and worked as a film assistantbefore returning to higher education, my friend Derek had already worked on the new Star Wars film, rubbed shoulders with Robert Altman and Tim Burton, and slept on a lot of mates' sofas. That, I thought, was my next goal. Not the sofas part – the working on big movies part. World History Archive / Alamy Stock Photo But again, there's this persistent myth that one has to "break into" the film industry, as Spielberg himself did; all one has to do is occupy an empty office at a film studio and pretend one works there until one does. The sad truth is that the film industry doesn't want you. I mean, it might do – but it just doesn't know it yet. Either way, you hear all kinds of motivational and anti-motivational stories in the press: everything from "Just pick up a phone and make a film" to "You can't just pick up a phone and make a film." Or "don't ask permission: be a rebel and just do what you want" but then also "make friends with producers and nurture working relationships" to get your films made. So which is it? I'm here to tell you it's both. I had years of making my own feature filmswhere I didn't ask permission to do so, just found private investors and gathered a cast and crew each time, to different levels of ambition and difficulty. There's a Spielberg quote in the Official Souvenir Magazine of Temple of Doom that I always remember, and it's something like: "You look at the script and think, how are we going to do all this? But somehow or other, it gets done." That's been the driving force of every movie I've made to date: we found the money, we gathered the crew, we did everything. Sure, some of them played in cinemas and then didn't do anything else, but some won awards, and one even made it to Blu-ray. Score! But then came the pandemic, and I'd be lying if I didn't say it punctured the ambitions of just about everyone. It was not just the personal crises, loss, and fear it faced us with, but also the seemingly insurmountable heights to scale to get films made – which was already a challenge. In 2020, you might have thought things were picking up speed: we released our latest lo-fi feature film – the zombie comedy Zomblogalypse, which ended up on the aforementioned Blu-ray – in cinemas and film festivals, and I met with producers to sign a script deal for my ambitious action-horror. And then came about two years of "the market is dead" and "no one's making anything at the moment" and a hundred times the usual cliched setback talk of "it's not a good time right now…" except it was painfully, abundantly clear that this was in fact true. Zomblogalypse So during this time, all the while trying in earnest to get any movie off the ground, somewhere during the process, I decided to stop thinking of myself as a producer and director and just be a writer for a while. This was partly due to the amount of times I was told in producer meetings – both in TV and film – that they'd find a director for my script. And a co-writer. And a development executive. Now, I knew who all these people were because I'd read my Indiana Jones Official Souvenir Magazine, but the key point was that I needed to stop trying to do everything and focus on the scripts. A director, unless they're Mr Spielberg, can only direct every few years, while a writer can always write on a notepad by the bed, on the Notes app on their phone, on their laptop with half an hour to spare, and so forth. And yes, you're saying, but what if a writer doesn't have half an hour to spare because of their job or their family? And to that, I say yes, noted, but… you have to write. Find the time. In every minimum wage job I ever had, I wrote scripts. Sorry, former employers: you were all funding my screenwriting habit. I actually left secure andpaid employment fifteen years ago this very week and haven't looked back – but that's another story... Steven Spielberg– Pictorial Press Ltd / Alamy Stock Photo The pointis that I decided to double down as a writer and pen a movie trilogy. Why, you ask? As if it isn't hard enough getting one screenplay written and submitted to a producer. And it is hard: I submitted my action-horror to my producer five years ago, after five years of scribbling and re-drafting and working with a co-writer and trying to get the damn thing self-financed and finally getting an industry producer to read it… why would I now, while I wait for that one to bear fruit – through strikes and fires and other Hollywood nonsense – go and do something stupid like write a trilogy? It comes down to that rebellious notion of not asking permission. I've got a trilogy in me, so why not go for broke and write all three? Advice from my peers so far is a mix of "just write one and sell that first" because that's hard enough, and "f^&k yeah, go for it! No one else is writing a trilogy!" So, having written what has now evidently become the middle chapter, I've set to work on writing the first and drafting out the third. They're a mix of genres, but each one does stand alone, just in case I'm only able to get one into production. I don't know how wise it's going to prove to write three films at once, but so far, I'm enjoying the challenge. Pictorial Press Ltd / Alamy Stock Photo I'm a huge fan of the Back to the Future trilogyand how Bobs Zemeckis and Gale wrote the second and third as back-to-back projects, so I'm inspired by that and other well-made trilogies like Ginger Snaps and the more recent Fear Street. I like the format, and I've never written this way before. But after five years of stalled production and juggling one-off ideas, I'm doubling down for what, at age fifty, is my most ambitious project to date: writing a trilogy that may never get made, but which I'll do everything to try and get made. I'd rather make up for lost time than not make anything again. And as a writer, it's the ultimate project. Who doesn't love a trilogy? Hopefully, one day, a producer will agree with me that being this insanely ambitious is the way forward. Because I've been hiding in the shadows for too long as a struggling director, it's time to be a writer! #why #decided #broke #write #movie

The Jewish Museum in New York City is undergoing a significant renovation by a team including UNStudio. Set to reopen in October 2025, the project includes reimagined collection galleries and a state-of-the-art learning center. The million renovation spans half of the museum’s public space within the historic Warburg Mansion and is described by the museum as its most extensive overhaul in three decades. Image credit: UNStudioDesigned by UNStudio in collaboration with Method Design and New Affiliates Architecture, the project connects the third and fourth floors through a double-height gallery anchored by a large-scale installation of over 120 Hanukkah lamps drawn from the museum’s holdings. The third-floor collection galleries will debut a new exhibition, Identity, Culture, and Community: Stories from the Collections of the Jewish Museum, presenting over 200 works that explore Jewish experience across time and geography.  Image credit: New Affiliates ArchitectureAbove, the fou... #new #yorks #jewish #museum #unveils

Other winners include projects by OMA, Sheppard Robson and Cullinan Studio Vestige by Smith Young ArchitectsSource: Daniel Hopkinson Vestige by Smith Young ArchitectsSource: Daniel Hopkinson Vestige by Smith Young ArchitectsSource: Daniel Hopkinson 1/3 show caption Vestige, a house in Cheshire designed by Smith Young Architects, has been named RIBA North West Building of the Year 2025. The two-storey home comprises a rendered ground floor with a timber-clad upper volume and seeks to offer a contemporary reinterpretation of the suburban house. The jury praised the design as an “exemplary prototype for a modern suburban family home” that “delightwith clever details”. Source: Marco CappellettiOMA’s Aviva Studios, also known as Factory International OMA’s Aviva Studios, also known as Factory International, received a regional award for its multipurpose cultural venue in Manchester. The project features a large, flexible internal volume intended to accommodate a range of performances and public events. Source: Paul RafteryThe Catkin Centre and Sunflower House by Cullinan Studio with 10architect The Catkin Centre and Sunflower House by Cullinan Studio with 10architect was also recognised. Located in Liverpool, the project combines a children’s mental health outpatient facility and clinical spaces for Alder Hey Children’s NHS Foundation Trust. The design includes calm circulation areas, clinical zones and social spaces and was also the recipient of RIBA North West Client of the Year, awarded to Alder Hey. Source: Jack HobhouseThe School of Science, Engineering and Environment at the University of Salford by Sheppard Robson A fourth award was given to The School of Science, Engineering and Environment at the University of Salford by Sheppard Robson. The building houses technical laboratories and specialist teaching facilities alongside flexible learning environments and informal study areas. Project architect Matthew Taylor received RIBA North West Project Architect of the Year for his role in delivering the scheme. In a statement, jury chair Dominic Wilkinson, principal lecturer at Liverpool John Moores University, said the projects represented “a diverse example of the positive impact architecture can have on the lives of its users” and “demonstrate a positive future for architecture in the region”. Regional award winners will now be considered for a RIBA National Award, which will be announced on 10 July.  The shortlist for the RIBA Stirling Prize for the UK’s building of the year will be drawn from the RIBA National Award-winning projects later in the year. >> Also read: AHMM’s Tower Hamlets Town Hall wins RIBA London Building of the Year >> Also read: RIBA names winners of Yorkshire and South West awards #smith #young #architects #modern #suburban