Literature Review WM9: Part II - light goods vehicles in urban areas, carried as as part Work Module 1, Green Logistics Project

LGVs are of ever-greater importance in terms of the final delivery of many time-critical, high value goods and are also widely used in industries that provide a wide range of critical support services. There are almost five times as many LGVs as there are HGVs (goods vehicles over 3.5 tonnes gross vehicle weight) currently licensed in Britain. The LGV fleet in Britain is growing at a faster rate than the HGV fleet, and the LGV fleet travels more than twice as many vehicle kilometres each year than the total HGV fleet. LGVs perform a far greater proportion of their total distance travelled in urban areas than HGVs, and consume 25% of the total diesel and 3% of the total petrol used by all motorised road transport vehicles in Britain.

The PTA: Promoting Swiss Tours, 1888-1939

This research examines the development from educational to commercial tourism in Britain between the late-nineteenth and early-twentieth century by questioning whether this reflected a transformed understanding of the role of travel within society. It focuses on the Polytechnic Touring Association (PTA), a London-based originally philanthropic travel organisation that became a commercial firm. During this period the PTA moved from the project of contributing to the education of citizens to the market-led imperative of ‘harnessing’ a consumer desire. In examining this transformation via the PTA’s changing approach to the visual promotion of its Swiss tours, we suggest that the development of the tourism industry in Britain should also be explored in relation to changing ideas about travel’s contribution to social formation.

Nagaland: Borders, Boundaries, Belonging: Contested spaces and disputed narratives

In 2011 I travelled to three of the ‘Seven Sister’ states of old Assam, Nagaland, Meghalaya & Assam. My journey to this remote and politically sensitive region, bordering Chinese occupied Tibet, Bangladesh and Myanmar was prompted by my father’s experiences in the region during WW2 in the Burma Campaign and brought into sharp relief on-going themes in my work, the impact the past has on the present, the relationship of time and place, identity and memory and the transcultural experiences caused by war, colonisation and migration. The drawings I made on location, the objects I collected and the notes and photographs I took formed the basis of the bookwork: NAGALAND borders boundaries belonging. When making the finished work the material quality of the object and the processes by which it was made become very important. The historical resonance of the medium and the time consuming nature of the process reflect the embedding of form and idea, and paid homage to the material culture of the Naga hill tribes. The bookwork was hand-bound, handset and printed by letterpress. Some spreads were printed in 6 colours and the book took over a year to produce. I see my practice as echoing that of generations of Lady travellers; embracing the need to journey, be in a liminal space, to have a plan but not be afraid to divert from it. To be alone, take a sketchbook and make images is, for me, the definition of the itinerant illustrator; one who travels widely in geographic space, visual forms and ideas, in order to get lost and find the unlooked for.