Latest news with #studio
Telegraph
3 days ago
- Business
- Telegraph
Pole dancer can keep garage studio despite neighbours' complaints of ‘grunting'
A fitness instructor can use her garage as a pole dancing studio after winning a fight with neighbours. Samilou Saunders has been running the studio from her £700,000 bungalow in Christchurch, Dorset, for the last five years, but faced having to close it after neighbours complained. They said the business had 'devastated' their lives, causing problems with parking, and complained about the sound of 'grunting and loud music'. Meanwhile, the studio's clients, said to include doctors and teachers, accused elderly neighbours of 'generational bias' against pole dancing. Ms Saunders, a mother in her 40s, had to submit a retrospective planning application for a change of use of the garage into what she called a 'modest and sustainable' small social enterprise. She is the only employee of the business and generally works about 20 hours a week, with small classes of up to eight. But residents expressed concerns that the business hours – 9am to 9pm Monday to Friday and 9am to midday at weekends – could mean classes running 66 hours a week, with 500 cars blocking the street in that time. The planning committee voted to approve the application, with seven in favour, none against and two abstaining, with a condition that no amplified music be played in the garage during business use. They restricted the business use to indoor sport and fitness and ruled the building must revert back to a domestic garage if the business ends. 'No personal animosity' Rita Raynor, who spoke on behalf of objectors at a planning committee meeting of Bournemouth, Christchurch and Poole council, said most of the letters of support were from people outside the area who did not have to live with the business. Ms Raynor said after the meeting she was 'disappointed', adding: 'We accept that people have to make a living, there's no personal animosity.' ' We are not against it because it's pole dancing, if it had been anything else, like a children's party business, we would feel the same.' Mrs Saunders said she had no further comment. But she previously told reporters the row had led her to ignore neighbours in the street, saying: 'This has been going on for nearly two years. It's been a lot of stress and I've been really down about it. 'Horrible and shocking comments' 'Some of the things neighbours said were quite horrible and shocking. I don't feel like I can wave and smile at people any more. I feel intimidated. They [objectors] will stand and stare at me when I leave the house.' Neighbours also had the backing of Margaret Phipps, a local councillor, who said the studio was 'unsuitable' for a residential area. She said: 'This is a seven-day-a-week operation. It is overwhelmingly being used for the unauthorised business which commenced as soon as the permission [for the garage] was granted.' She denied the hours were 'limited' and said locals had 'no respite', adding: 'There is potential if this application is granted for 528 people a week, with no suggestion of a cap on the number of people. 'This is a full-scale commercial business in a residential area. It was granted in good faith as a garage by this council.'
Irish Times
4 days ago
- Entertainment
- Irish Times
Creative escapes: ‘A studio isn't a luxury – it's a necessity'
Settings don't get much more scenic than watercolour artist Edel Treacy's studio in Inistioge, Co Kilkenny. Dating back more than 300 years, the small stone outbuilding is located on a dairy farm, which has been in her husband Luke's family for generations. 'It's looking particularly beautiful this morning,' says Treacy, who has dropped her three sons (aged nine, seven and five) at school, made a coffee and taken 'about five steps to the art shed', from her house to work on a commission. 'There's inspiration everywhere around here. Beside my studio there's a lane full of hedges, greenery, bluebells, primroses, bees and birdsong.' Inside the single-storey building, there's a vaulted ceiling, small traditional windows, plus new roof windows installed by a neighbour. The walls are made from exposed stone, native to the area, and the concrete floor allows for paint spillages. READ MORE Artist Edel Treacy at her home studio in Coolraney, Inistioge, Thomastown, Co. Kilkenny. Photo: Bryan O'Brien / The Irish Times 'It's not the brightest space, but there's a softness to the light and it gets a lot of sun,' says Treacy. 'When my dad saw it, he said, 'You can mess away in there to your heart's content Edel.'' Working from home is nothing new for many artists, who were operating from kitchen tables, spare bedrooms and draughty garages long before lockdown. A rented studio space seems increasingly out of reach for a lot of Irish creatives, with the housing crisis, rising costs and the closure of a number of shared workspaces in recent years. But despite the challenges, carving out space to make art is as vital as ever; whether it's in a 'room of one's own', to borrow Virginia Woolf 's phrase, or just a quiet corner. Work of artist Edel Treacy at her home studio in Inistioge, Co. Kilkenny. Photograph: Bryan O'Brien/The Irish Times In winter, Treacy prefers to work in the warmth of her house. But she enjoys the separation between the two buildings. 'I can walk out the front door, leave housework or laundry behind, and just get engrossed'. Rural life has also aided her creative practice. 'The farmer shows up every day to the farm, no matter what's going on, so I show up every day to my art,' she says. 'Even if it's for five or 10 minutes, that discipline has made me better.' There are some drawbacks to living in a rural idyll. 'I'm incredibly lucky, but sometimes you miss the city as an artist – the people, cafes, galleries and art shops,' Treacy admits. From the sounds of things though, the art shed can be fairly bustling. Treacy shares it with her husband if he's working remotely, and her sons pop in to paint or draw at a little picnic table beside her. Edel Treacy's home studio in Coolraney, Inistioge, Thomastown, Co. Kilkenny. Photo: Bryan O'Brien / The Irish Times 'The boys sometimes knock something over and run off, but they usually leave me to it. Once or twice, they've signed a piece with their own name and I have to start again. But they're actually very inspiring,' says the remarkably patient Treacy, who also job-shares as a primary schoolteacher. 'They enhance my creativity because they're so playful.' Spare bedroom studio Georgina O'Hanlon's illustration, which she produces in a room in her Dublin home. At first glance, illustrator Georgina O'Hanlon's studio is very different from Treacy's rustic outbuilding. A converted spare bedroom in the artist's semidetached house in Whitehall, Dublin 9, its view isn't of flower-filled lanes, or rolling valleys, but other homes in a quiet cul-de-sac. North Dublin might seem like a less romantic location than Inistioge, but O'Hanlon has created a light-filled, joyful workspace, adorned with her nature and folklore-inspired designs. She hand-draws at a desk by the window, scans the illustrations into her computer, and sends them to be printed or woven in Europe. Seamstresses in Stoneybatter then turn the colourful fabric into Italian silk kaftans, cushions, hair accessories and blankets. Georgina O'Hanlon O'Hanlon's latest collection, Fairytales on Silk, recalls magical childhood summers with her grandmother in Co Clare. But she insists she has plenty of access to nature in her urban location, wandering through the park or nearby Botanic Gardens when she needs 'brain candy'. 'I'm close enough to the energy of town when I need it, but day to day, I get to enjoy the slower pace of local life,' says the artist, who purchased the house last year with her husband. The couple are expecting their first child in July. Cushions based on Georgina O'Hanlon's illustrations O'Hanlon does miss meeting fellow creatives in shared studios, and with no commute, 'there's no clear line between where your day begins and ends'. The National College of Art and Design graduate previously worked in shared spaces such as Moxie Studios, which closed in 2014. She then rented a studio space in the city, which proved expensive. She's fully aware of how fortunate she is as an artist to have this workspace – 'a haven' – and her own home in the capital. 'Compared to artists in regional areas, the pressure in Dublin is particularly acute. The cost of living, the scarcity of space, and the absence of long-term support mean that many have simply had to leave the field,' O'Hanlon says. 'A studio isn't a luxury – it's a necessity. It's a space to spread ideas out, to see them fully, to build on them. Yet the infrastructure just isn't there. The whole situation feels deeply disheartening. Artists are expected to leap without a safety net, and for many, that leap is simply too far.' Garden room art Lorraine Coll's garden studio For the Derry-based contemporary abstract artist Lorraine Coll, the challenges of working from home can be seen in her livingroom – but only if you look very closely. 'I've scrubbed the walls, the blinds – and don't lift the rug!' laughs Coll, whose beautiful, striking paintings can take a month to create and employ a range of techniques – such as burning paint with a hot gun to add texture. A graduate of Manchester School of Art, Coll worked as an artist in Manchester 'from the kitchen table in our flat'. She returned to her hometown in 2013 and got a job with the local library service. After taking a career break due to baby loss, Coll took up painting again. Returning to her passion proved therapeutic, and demand for Coll's pieces began to increase. Working from home made sense from a cost perspective, but as an artist who loves to 'work big', and with prospective customers wanting to view the paintings, the small, dark livingroom wasn't fit for purpose. In 2022, garden rooms were enjoying a surge in popularity post-lockdown. Coll decided to invest, enlisting a local company to build the stand-alone structure in her back garden. Hedges were cleared, Coll's son gave up his trampoline (happily – 'football was taking over anyway') to make space, and her husband installed the electrics, plastering and flooring to save money. Lorraine Coll works in her garden studio The 3.8m x 3.2m space has large double doors to let in plenty of light, low-maintenance vinyl flooring, and paint-splattered walls which currently display two large canvases with moody burgundy hues, florescent pinks and oranges. 'They're at the 'ugly stage' where I'm building up vibrant colours underneath,' Coll says. 'I'll layer them up and they'll look totally different at the end.' The traditional model of selling at art fairs, or to galleries, is changing. Most of Coll's sales now come via social media and her website. She has recouped her spend on the garden room, and it's also added value to her home. 'I've sent pieces to Australia, America, and connected with people all over the world,' Coll says. 'It's lovely to be able to do that from my back garden in Derry.' ; ;
BBC News
5 days ago
- Entertainment
- BBC News
Elis James and John Robins #443 - Mockproof Robins, Medium Cod +1 and Good Black Eps
After a week when John offered apology texts to Elis, Dave and the production team for being in a bad mood, he's back to his Billy best. There's a bright ray of sunshine in his heart and nethers which clears the studio air. No black eps today and Elis can leave the studio without an impending sense of worry. But there are challenges afoot for our hero, as he contends with holidaying with one whose administrative approach sits in bleak contrast to his own. Luckily he's superchillathon, and amidst such admin fears there's a decision to build a harvesting coop for the nation's Good Eggs. Plus Elis's mocking of a reaction to some quality snap bags sees the Welshman hoisted by a double sealed petard. Check out this week's Bureau bonus on Saturday, only on BBC Sounds, where rumour has it there's a very special guest joining the chaps. Want to get in touch with everything from bons oeufs to packaging retention, well send it to elisandjohn@ or WhatsApp it over on 07974 293 022.
Forbes
6 days ago
- Business
- Forbes
New DT 990 PRO X Pro Studio Headphones From Beyerdynamic
The new beyerdynamic DT 990 PRO X are open-back headphones designed for comfort and a wide ... More soundstage, making them suitable for editing and mixing. The German audio brand has announced the launch of its latest pair of open-back headphones for critical listening and studio editing work. The beyerdynamic DT 990 PRO X offer advanced comfort levels and the kind of clarity that has made the headphone brand a firm favorite in studios and with broadcasters like the BBC. The DT 990 PRO X dynamic headphones have an open-back design featuring a detachable cable, high comfort levels and beyerdynamic's renowned STELLAR.45 driver system. The lower impedance rating of 48Ω makes for improved performance across a wider range of devices. The original DT 990 PRO has been used in recording studios since way back in the 1980s. The headphones are known for their detailed sound, affordable price, good comfort levels and the kind of durability that's essential for day-to-day use in the recording studio. In recent years, the DT 990 PRO has earned a following from musicians and producers, including the likes of Flume, Martin Garrix and Metro Boomin. The unmistakable styling of beyerdynamic can be seen in the new beyerdynamic DT 990 PRO X open back ... More headphones. The new DT 990 PRO X headphones are for critical listening use such as editing and mixing. Thanks to an expansive soundstage, beyerdynamic claims these headphones will complement studio monitors by offering the kind of precision and clarity that helps audio professionals identify small sonic details or any errors in a mix. 'Most at-home producers have studio monitors that they use to listen back to their mixes, says Kevin Nietsch, Product Manager at beyerdynamic. 'With the DT 990 PRO X, we wanted to create a tool that modern studio professionals didn't already have. The DT 990 PRO X headphones are engineered to magnify subtle mix imperfections that might otherwise go unnoticed – a true companion for studio monitors.' Designed with home studio workflows in mind, the DT 990 PRO X have a 48Ω impedance so they can work with a wider range of playback devices, from professional audio interfaces to portable devices. They also have a detachable 3m mini-XLR to 3.5mm cable with a 6.3mm adapter that makes the headphones compatible with almost any listening device. With a nominal impedance of 48Ω, the beyerdynamic DT 990 PRO X can work well with a wide range of ... More devices. At the heart of these new headphones is beyerdynamic's STELLAR.45 driver system. Engineered in Germany, these drivers have a wide frequency range that runs from a rumbling 5Hz up to a bat-squeaking 40,000Hz. They offer high resolution, low distortion and a full dynamic response. Additional features with the DT 990 PRO X include soft velour ear cushions and an ergonomically padded headband to alleviate pressure on top of the listener's head. The headphones also use serviceable components for an extended working life. The beyerdynamic DT 990 PRO X studio headphones are available now and priced at $199 from and other authorized retailers. Each pair includes a 3m Mini-XLR to 3.5mm jack cable, a 3.5mm to 6.3mm adapter and a drawstring carry bag. Driver: STELLAR .45 dynamic. Operating principle: Open. Wearing style: circumaural. Frequency response: 5 – 40,000Hz. Nominal impedance: 48Ω. Weight: 292g (without cable).
CNA
20-05-2025
- Entertainment
- CNA
How this Australian interior decorator turned her passion for design into a successful business
Growing up in Melbourne, Simone Haag spent plenty of time in the Australian city's galleries and vintage markets. This helped shape her storytelling instinct, which comes through in her distinct styling and interior decoration of luxury homes and hospitality spaces. 'I feel incredibly fortunate to have grown up in Melbourne – a city that quietly fosters creativity. There's an ease to the way Melbournians live, with a respect for individuality and a reverence for design that is deeply rooted in the city. There's also a gentle eclecticism to Melbourne that has always encouraged me to explore the interplay of old and new,' reflected the forthcoming and affable 46-year-old. Haag's job scope is to give the finishing touches and nuanced touch points to spaces crafted by architects and interior designers through the thoughtful selection of furniture, lighting, objects, textiles and artworks. Thus, she needs to be attuned to the overall intention of her collaborators, as well as the lifestyle and personalities of the people who live in and use the spaces. Judging by the accolades and features of her projects in many top design magazines, Haag does this very well. She has a knack for telling visual tales through marrying textures, patterns and forms across myriad eras and craft techniques. Since opening her studio in 2014, laurels include the IDEA Award for residential interior curation and the Interior Design Magazine for best country residence in 2024. Haag is also a sort-after television host and curator in the field. A recent achievement was being invited to participate in the third instalment of L'Appartamento by Artemest this year during Milan Design Week, held from Apr 8 Apr13 April in 2025. The much-anticipated showcase highlighted Italian craftsmanship and design through the lens of six renowned creatives and studios. This opportunity made Milan Design Week particularly special for Haag. Each collaborator was tasked with dressing a space in the 19th century Palazzo Donizetti from the inventory of Artemest. Haag was in familiar territory, having sourced from the online gallery since her studio's early days. She set a memorable welcome tone in The Foyer with sculptural and artistic pieces like Cini Boeri's Papero table lamp, designed in 1971 and made with impact-resistant opal polystyrene, as well as the Almond console table by Oscar Torlasco, covered in high-gloss parchment. 'Designing The Foyer was a study in contrast – on how to honour the ornate, classical architecture of the space while introducing contemporary collectible design in a way that felt both elevated and harmonious.' She added: 'What I took away from the exhibition, beyond the joy of curating, is just how fearless Italian design can be; there's a confidence in material silhouette and scale that I find endlessly intriguing. Italian makers have a way of being both avant-garde and anchored in tradition. I came home thinking about how that duality could continue to inform my own work.' As a somewhat treasure hunter and stage designer, seeking inspiration from other cultures is important for Haag. She finds much of this through her travels, with one 'recent love affair' being Mexico City. 'It's a city that wears its history with such confidence, where ornate, colonial buildings sit alongside modernist masterpieces,' she enthused. 'There's also a warmth to the craftsmanship that's incredibly seductive. I found so much joy wandering through local design stores, meeting makers and collecting pieces that felt both soulful and slightly surreal.' This connection could come from similarities Haag finds between Mexico City and her hometown. 'Like Melbourne, Mexico City has that beautiful tension between restraint and exuberance – something that I try to emulate in the spaces I create,' she explained. Her own home embodies that feeling of old-meets-new, tempered-meets-joy. Christened Light Well House, it is a modernist gem designed by architect Ian J Smith in 1972. Haag described the architecture as having a 'quiet confidence'. The internal courtyard – 'the namesake light well' – was what truly captivated her. 'It draws light into the centre of the home, creating a softness and serenity that permeates every room. It's rare to find a house that feels like a gallery without ever becoming austere, and I was drawn to that sense of openness and potential,' Haag explained. She styled the house to be both aesthetic and suited for family living. 'The dining chairs are a beautiful example of form-meeting-function. They are elegant enough to feel considered, but comfortable and robust enough for daily family meals,' pointed out the mother of three school-going daughters. View this post on Instagram A post shared by Simone Haag - Interior Decorator (@simonehaag) The home is warm and inviting; it is design-led without feeling too dressy. To do this, emotion is an important ingredient in her methodology 'My personal approach to styling is rooted in emotional resonance; I'm drawn to pieces that have soul, whether they are vintage, sculptural, handcrafted or unexpected,' said Haag. For her, styling is not about filing a space, but rather 'about composing a visual language that tells the story of the people who live there,' Haag elucidated. It takes time to develop this sensitivity. And sometimes, it means saying no. 'One of the greatest lessons I've learned is the value of intuition, trusting that quiet, inner knowing when something feels right – be it a piece of furniture, a collaborator or a business decision,' shared Haag. 'I've also learned that growth doesn't come from saying yes. Often, it comes from protecting your creative energy and being intentional about the projects you take on.' One of these 'intentional' decisions was Capella Sydney, which was her first major hospitality project. Haag worked with Make Architects and Bar Studio in styling the interiors of the former Department of Education, built in 1912. This led to Capella Manor – her second collaboration with the Singapore-born hotel brand. The manors are Capella Singapore's most luxurious offerings, featuring 10 standalone buildings in the luxuriant grounds of Sentosa. Capella Manor was one of three recently refurbished manors, with the other two Colonial Manors in heritage buildings dressed by Matthew Shang Design Office. Foster and Partners designed the two-storey Capella Manor; its interiors are by the late-Jaya Ibrahim. Haag layered on tactual objects of pewter, ceramics, rare timbers and glass. These mix with sculptural lightings and unique seating, such as 1930s Swedish Carved Monk chairs and Vidigal armchairs with cattail fibre backs resembling porcupines, designed by Lattog for Rio de Janeiro company Vimoso. The living room is crowned by a Lure Lantern from Pelle Design and softened with a topography-like rug from Halcyon Lake, which reflect the tropical context and bring about a relaxed ambience. Many sculptures and artwork on plinths also give definition to corners. The project is an example of Haag's curatorial knowledge drawn from around the world. But pieces like a print from Tasmanian artist and designer Laura E Kennedy, as well as twin Modernist Pyramid chairs from Sydney interior designer Tasmin Johnson also reflect her support for Australian creatives. This is amplified with her curatorial debut in the final 2024 main gallery exhibition of Craft Victoria, titled Fables & Folklore. It highlighted the country's creative culture through almost 90 new works from 36 creatives that had never been seen before prior to the showcase. 'There's an increasing confidence in how our designers and craftspeople are expressing a uniquely Australian voice that's sophisticated yet soulful, and still a little under recognised on the global stage,' said Haag. Australian craft and design has a unique 'sense of authenticity, materiality and narrative – whether it's in the visible hand of the ceramicist, the natural imperfection of a timber grain or the boldness of a colour palette drawn from our landscapes,' she observed. 'It's less about trend and more about truth, with pieces that are deeply rooted in place but not afraid to push boundaries.' This can also be said of her own ethos, which embodies the tenacity and rigour of someone who has had to fight hard to forge her own path. Indeed, Haag did not start out in the creative world. Her past life includes being a flight attendant on a private jet, a snowboarding instructor in France and handling events in a London hotel. But her love for the creative world had her returning to Australia and needling her way into the industry with an entry-level job at a reputed interior design firm before she went solo. Very quickly, her singular, magpie eye brought her clients who appreciate her ability to marry subtle luxury without being staid. Haag has her hands full, with current residential projects in New Zealand and Sydney. One project is highly personal. She is building a holiday home called The Mountain House, located in Tolmie (a few hours north of Melbourne). Haag and her husband – both avid skiers – fell in love with the scenic place. 'It's remote, peaceful and steeped in natural beauty. There's a rawness to the landscape that called for a home that could feel both grounded and soulful, and I've been slowly collecting pieces for it over the years with that vision in mind,' shared Haag, who is partnering with Healy Ryan for the architecture and CJH Studio for the carpentry. The Mountain House, which Haag is styling as a cosy abode is actually for rent, will be available for rent. She elaborated: 'While it will be available to rent as a luxury accommodation, the intention isn't for it to feel styled in a conventional sense. The pieces will be emotive – tribal, vintage, textural – drawn from markets, travels and makers I've long admired.' It will be a project that truly embodies the Simone Haag spirit. 'It won't be something precious but layered; a space to retreat, reflect and connect to something deeper,' she described. 'Watch this space – it's still evolving but I can already sense it will be a very special place.'
