
Plan to transform Newport shopping centre into 'bustling hub'
The plans, submitted by Boyce Group Ltd, and outlined in a Design & Access Statement, aim to expand the centre's range of services on all floors, from the lower ground to the roof.
The proposed reorganisation would accommodate a variety of uses: retail, leisure, hospitality, non-residential institutions, food and beverage services, and professional services.
This expansion reflects the shifting demands of Newport's city centre as it grapples with underused commercial spaces due to the surge of online shopping.
The plan builds on a prior planning approval for the Lower Ground Floor (Ref: 24/0644) and is a direct response to the closure of major retailers like Debenhams at nearby Friars Walk.
Developers stress that this increased flexibility is crucial for bolstering the local economy and providing opportunities for independent businesses.
The Kingsway Centre, situated near Newport Museum and Central Library, is poised to regain its status as a civic and commercial hub.
Developers see the project as a driving force for regeneration, aligning with the Newport Local Development Plan's goals for revitalisation and economic resilience.
The proposal also includes commitments to enhance urban biodiversity.
While no immediate physical alterations to the building are planned, future installations of bird boxes, insect hotels, and pollinator-friendly plants are included in the plans.
These additions not only bolster Newport's status as a Bee Friendly City but also align with the national sustainability aims outlined in Future Wales: The National Plan 2040.
A spokesperson for Sustainable Studio Architects said: "By embracing flexibility, the Kingsway Centre can adapt to future trends while strengthening its community value.
"Our vision is for a dynamic space that serves both residents and visitors—reviving the city centre for years to come."
If green-lit, the proposal is expected to increase footfall, generate jobs, and stimulate local businesses, all while celebrating Newport's cultural heritage.
The decision date for the application is yet to be confirmed.
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North Wales Live
16 minutes ago
- North Wales Live
One thing Amazon Prime Day shoppers must do to get the best deals
Amazon Prime Day is set to commence next week, but there's one thing shoppers need to do before the global shopping event kicks off on July 8. The sales bonanza will see thousands of products discounted until the event concludes on July 11, however these deals are exclusively for Amazon Prime Members. This includes those with Amazon Prime monthly, annual and free trial memberships, Prime for Students, and Amazon Family. Shoppers who aren't yet Prime members can sign up for a free 30-day Prime Trial here to ensure they can participate in the four-day sale. Customers who aren't Prime members can still purchase Amazon products throughout next week, but they'll have to pay the standard retail prices. Prime Video members must upgrade to a full Prime membership before they can take advantage of the deals. As reported by the Mirror, Prime members not only get exclusive deals during Prime week, but they can also bag great discounts all year round. Members can also enjoy free next day delivery on a variety of products, plus they have access to Prime Video and Music. Shoppers with a Prime membership can also set up app notifications to ensure they don't miss out on deals on products they have recently searched for. Members can also set up a Wish List containing their must-have items, and if they go on sale, they will be the first to know. That's not all, as Amazon's AI shopping assistant, Rufus, is on hand to help. This handy bot helps members shop smarter and plan better by providing product details, expert advice, and personalised suggestions. Amazon isn't the only retailer currently offering deals via a sale, with Debenhams' blue cross sale offering up to 75% off on garden, home and fashion items. Dunelm is offering a massive clearance sale that includes discounts on bedding, curtains, and various homeware items, plus some garden furniture. Although this year's summer Prime Day sale is yet to kick off, there are already some fantastic offers available. Amidst the recent UK heatwaves, consumers may find relief with the Shark FlexBreeze HydroGo Portable Fan now available for £99, down from £129.99. This gadget features an airflow range of 20 metres and can be used indoors or outdoors in several colour options. An Amazon customer praised the fan, saying: "Lightweight, powerful, the misting function works better than expected. Sleep easily with it on speed setting three - quiet running. Like that it's handheld and runs on a battery. Well worth the money." However, they also expressed disappointment: "Only disappointment was the fact I paid £129.99 and then the next day Amazon reduced the price to £99.99. I was tempted to send this one back and reorder it to save £30." Another impressive discount on Amazon is the £100 off the Samsung Galaxy S10 FE Android Tablet, now priced at £399, which boasts a 10.9-inch display, 128GB storage, 8GB memory, and includes an S Pen. One buyer was disappointed with the preinstalled software on their new tablet, remarking: "I really don't like a lot of the software already installed on it." Yet another purchaser is overjoyed with their gadget, sharing: "It's fast and the screen is very clear. I'm a huge fan of Samsung products and I am thrilled with this tablet." The Tefal Easy Fry Dual Zone Digital Air Fryer is the latest item Amazon has slashed in price. For a brief period, savvy shoppers can get their hands on the 8.3L air fryer for £99.99, down from the standard £179.99. This kitchen gadget offers multiple settings such as roast, bake, and dehydrate. Users have the flexibility to operate both the large and small baskets simultaneously or separately. However, one consumer was not pleased with the air fryer's 'very loud beeping' and thought it was 'not user friendly', contrasting with a delighted buyer who left a five-star review and stated: "Incredible value for money compared to alternatives. "Very even cooking, high heat, great crispiness and extremely convenient. The two different drawer sizes are great and add up to a considerable amount. The sync and flip reminder features are great too." For all of today's hot deals on Amazon, click here. Not a Prime member yet? Sign up for a free 30-day trial here and enjoy bagging a bargain from July 8 to 11.


Times
9 hours ago
- Times
Story of banknotes is full of funny money
If you hold strong views about the design of Britain's banknotes, your moment has come at last. The Bank of England intends to relaunch the £5, £10, £20 and £50 notes, and in a predictable nod to our populist age, it has appealed to the public for suggestions. Very little, it seems, will be off limits, since the Bank's statement suggests that great historical characters could give way to images of 'food, film, television or sport'. So out will go Winston Churchill, Jane Austen and JMW Turner, and in might come, say, Luke Littler, chicken tikka masala and Adolescence. And to think people doubt the idea of progress in history. • Churchill may be dropped from banknotes for diverse designs As Bank officials are surely aware, though, no conceivable combination will please everybody. Indeed, no less a figure than Sir Jacob Rees-Mogg has already condemned the 'Bank of Wokeness' for its 'supine kowtowing to the gods of political correctness'.(this, remember, before a single image has been chosen). Yet even though this story seems like a gift to the permanently outraged community, no venerable tradition is in danger of being sullied, since pictures on banknotes are a modish innovation. Until the late Queen Elizabeth made her debut on March 17, 1960, no British shopper had ever seen a face on a pound note, unless you count the image of Britannia. Indeed, if Sir Jacob wants to take a properly conservative position, he might argue that banknotes themselves are a dangerous innovation. There are suggestions that the ancient Carthaginians issued promissory notes on scraps of leather or parchment, but most historians agree that the first proper paper money originated, inevitably, in China. This was a note called a jiaozi, issued by private merchants in the city of Chengdu some time around the year 1000. Printed in black ink on an early version of paper, jiaozi often showed images of merchants. Each had a different value, depending on the buyer's needs. Over time they became standardised, and eventually the imperial government took over production, stamping notes with seals to prevent counterfeiting. But the problem with paper money, as the Chinese emperors soon discovered, is that it is very tempting to keep printing it. Inflation inevitably followed; then came the first of innumerable currency reforms. Paper money, however, never went away. 'All these pieces of paper,' marvelled the Venetian traveller Marco Polo at the end of the 13th century, 'are issued with as much solemnity and authority as if they were of pure gold or silver … [and] wherever a person may go throughout the Great Khan's dominions he shall find these pieces of paper in use, and shall be able to transact all sales and purchases of goods by means of them just as well as if they were coins of pure gold.' By contrast, most European countries were slow to embrace the paper revolution. Although late medieval bankers in Florence and Flanders, such as the Medici, issued promissory notes, it wasn't until 1661 that a central bank, Sweden's entertainingly named Stockholms Banco, issued notes known as kreditivsedlar. Alas, when ordinary Swedes tried to cash in their notes, the bank ran out of money, and after just ten years the whole thing collapsed. There was a lesson there in overpromising and overprinting, though we can all think of finance ministers who never learnt it. What, though, of Britain? The new central banks of England and Scotland issued their first notes in the mid-1690s as part of William III's financial mobilisation to fight the French. Neither had a monopoly, though. English private banks had the right to print their own notes well into the Victorian period, and the very last private banknotes were issued as late as 1921 by the little Somerset bank of Fox, Fowler and Company. As for Scottish banknotes, the Royal Bank of Scotland and Clydesdale Bank still print their own notes to this day. (But are they legal tender in England? The short answer is no. I look forward to Scottish readers' letters.) Back, though, to the wider story of paper money. Given the Swedish debacle, many people were deeply suspicious of this flimsy substitute for the real thing. And during the early 1790s they gazed in horror at the economic chaos in France, where revolutionary printers were churning out colossal quantities of notes known as assignats. Within just two years of the fall of the Bastille, almost 2.5 billion assignats were in circulation, and all the time the value was plummeting. As food prices rocketed, Jacobin radicals blamed the royal family, aristocratic exiles and British politicians — all implicated, they claimed, in a nefarious conspiracy to debauch France's currency. The chief printer was arrested and executed, while the finance minister, Étienne Clavière, took his own life before he could be dragged to the guillotine. Yet although the assignats were economically disastrous, they did at least look good, with illustrations interweaving eagles, Roman iconography and revolutionary bonnets. By contrast, British banknotes were remarkably plain until the 20th century. Clearly the Bank of England felt no need to show off, preferring to project an image of sobriety, simplicity and solidity. As a result, it was not until 1960 that Bank of England notes displayed the monarch's face, while the first commoner, William Shakespeare, didn't appear until 1970. He was followed by the Duke of Wellington, Florence Nightingale, Sir Isaac Newton and Sir Christopher Wren … and so the faces have changed over the years, leaving us with Churchill, Turner, Austen and Alan Turing today. But who comes next? Most readers will surely agree that the sane choices would be Harold Godwinson, Horatio Nelson, General Gordon and Agatha Christie. Alas, we live in strange times, so who knows whom the Bank will choose? Even the prospect of a John Lennon banknote, which would mark the lowest moment in our history, can't be ruled out. But if the Bank does make such a terrible choice, there is one consolation. Since cash payments now account for barely a tenth of all transactions, most of us will only rarely have to gaze upon the consequences. And if the alternative is to hand over a little portrait of the man who wrote Imagine, the ding of a contactless payment will sound sweeter than ever.


The Guardian
12 hours ago
- The Guardian
Gerard Taylor obituary
Britain has never been entirely clear about how to understand what it is that designers do. Are they offering a service, or is design a form of cultural self-expression? Gerard Taylor, who has died aged 70, always believed that it can be both. The Scot learned this early on in his career, when in 1981 the great Italian designer Ettore Sottsass invited him to join his Memphis collective, not long after Taylor had graduated from the Royal College of Art in London. A kind of anti-Bloomsbury group based in Milan, Memphis turned the conventional idea of good taste upside down with a series of deliberately transgressive collections of furniture, glassware and domestic electronics, using cheap materials such as plastic laminate and a vibrant colour palette. The self-initiated work that Taylor did for Memphis, as well as under his own name in those days, such as his sculptural ceramics or, later, with Daniel Weil, the Quasimodo chair, which looked like the physical realisation of a cafe chair in a Cubist painting, are in museum collections now, or sought after at auction. But Taylor also enjoyed working for clients, designing beautifully crafted shops for the Esprit brand that had little in common with the conventions of mass-market fashion at the time. He would later be responsible for the architecture of half a dozen of Habitat's most interesting stores when it was run by Vittorio Radice. When Radice moved to Selfridges, Taylor worked there too, and later for the Irish fashion designer Orla Kiely. Taylor's sketchbooks, overflowing with pencil drawings and analytical watercolours, reflect the commitment that he put into all his work whether they were personal projects or not. 'I believe that a designer should never work for their client, they have to work for themselves,' he told one interviewer. 'They have to serve their client, they have to be rigorous and professional, [but] your vision has to go way beyond what the client is asking for. You always have to be pushing yourself to do what you think is interesting.' Taylor's longest-lasting client was Orangebox, an innovative manufacturer of office furniture that began as a start up in the Glamorgan village of Hengoed. In the 20 years that Taylor was the creative director, helping to shape its products, Orangebox grew into a worldwide business, employing 400 people, and successful enough to be acquired by the American giant Steelcase. 'We weren't selling chairs, we were selling stories,' Taylor said. At the time of his death Taylor was working on an exhibition at the Modern Institute gallery in Glasgow, planned for next year. According to Taylor's brother-in-law, the artist and author Edmund de Waal, it will include both early furniture designs and more recent sculptural work that explores the relationship between colour and space. Born in Bellshill, a former mining town in Glasgow's Lanarkshire hinterland, Gerard was one of six children of Mary and Michael Taylor, a buyer for the industrial manufacturer Honeywell who in latter years bought a sub-post office. After St Saviour's secondary school in Glasgow, Gerard considered studying art at Glasgow School of Art, but instead chose product design, where, following graduation, one of his tutors encouraged him to apply to the RCA for a master's. He spent his summers working on set designs at the BBC, including for the Two Ronnies, and used some of his earnings to go to New York to see the painter Agnes Martin installing a museum show of her work. When he graduated in 1981, design in London had momentarily become neither service nor art, but big business. Based on the profits that they made rebranding state-owned industries such as British Airways and British Telecom as they were prepared for privatisation, design consultancies were being floated on the stock market. It was not a version of design that appealed to Taylor. He was determined to work for Sottsass, Memphis's founder, and the designer of beautiful machines for Olivetti, the Apple of its day. Taylor, who described himself as a 'ballsy Scotsman', had heard Sottsass speak in London while at college, and met him again in his final year. After showing him his portfolio of sophisticated drawings, and projects that ranged from a stage set for Timon of Athens to a hi-fi system, Sottsass invited Taylor to Milan to work in Sottsass Associati, the new design studio he was setting up. Taylor became a partner for five years (1982-87), then set up a studio in London with Weil, a fellow RCA graduate. Their partnership was dissolved in 1992 and Taylor subsequently practised on his own. Having begun his career early enough to take part in Memphis, Taylor worked long enough to see the practice of design utterly transformed by the digital explosion. Four decades ago it was still possible for a designer to shape technology, as well as convey how it worked. 'Usually [the product] comes in bland boxes that are a hopelessly inadequate reflection of the marvels which they contain,' Taylor then wrote. Smartphones have since taken over so many everyday functions that entire categories of object are redundant. Those that are left are not easily influenced by an independent designer. Taylor focused instead on furniture design, on which it was still possible to have an impact, in particular at Orangebox, which he joined in 2002. 'Human dynamics are the same. That is the beauty of furniture – a chair from 1920 is essentially the same as a chair of today,' he said. 'The chair is consistent and the table is consistent but what is not consistent is the dynamic of the context around them, what happens at the table, all the paranoias and ideas of the people sitting at the table, that's what changed unbelievably dramatically in ways we never thought of.' When it comes to technology, Taylor believed that if designers can't shape it, they should try to humanise it: 'The role of design has to be the creation of more engaging, softer, kinder and more humane work environments as a counterpoint to the continuously accelerating demands of technology and its increasing control of our workplace. We have to use design to help balance the tsunami of ever-shortening tech cycles of change and obsolescence.' Taylor was married twice. His first marriage, to Sue Minter, an interior designer, ended in divorce. In 2023 he married Clare Chandler, a psychologist and coach, and she survives him. Gerard Taylor, designer, born 3 March 1955; died 20 June 2025