Emma Henderson – författare

This collection interrogates relationships between court architecture and social justice, from consultation and design to the impact of material (and immaterial) forms on court users, through the lenses of architecture, law, socio-legal studies, criminology, anthropology, and a former senior federal judge.International multidisciplinary collaborations and single-author contributions traverse a range of methodological approaches to present new insights into the relationship between architecture, design, and justice. These include praxis, photography, reflections on process and decolonising practice, postcolonial, feminist, and poststructural analysis, and theory from critical legal scholarship, political science, criminology, literature, sociology, and architecture. While the opening contributions reflect on establishing design principles and architectural methodologies for ethical consultation and collaboration with communities historically marginalised and exploited by law, the central chapters explore the textures and affects of built forms and the spaces between; examining the disjuncture between design intention and use; and investigating the impact of architecture and the design of space. The collection finishes with contemplations of the very real significance of material presence or absence in courtroom spaces and what this might mean for justice. Courthouse Architecture, Design and Social Justice provides tools for those engaged in creating, and reflecting on, ethical design and building use, and deepens the dialogue across disciplinary boundaries towards further collaborative work in the field. It also exists as a new resource for research and teaching, facilitating undergraduate critical thought about the ways in which design enhances and restricts access to justice.

This collection interrogates relationships between court architecture and social justice, from consultation and design to the impact of material (and immaterial) forms on court users, through the lenses of architecture, law, socio-legal studies, criminology, anthropology, and a former senior federal judge.International multidisciplinary collaborations and single-author contributions traverse a range of methodological approaches to present new insights into the relationship between architecture, design, and justice. These include praxis, photography, reflections on process and decolonising practice, postcolonial, feminist, and poststructural analysis, and theory from critical legal scholarship, political science, criminology, literature, sociology, and architecture. While the opening contributions reflect on establishing design principles and architectural methodologies for ethical consultation and collaboration with communities historically marginalised and exploited by law, the central chapters explore the textures and affects of built forms and the spaces between; examining the disjuncture between design intention and use; and investigating the impact of architecture and the design of space. The collection finishes with contemplations of the very real significance of material presence or absence in courtroom spaces and what this might mean for justice. Courthouse Architecture, Design and Social Justice provides tools for those engaged in creating, and reflecting on, ethical design and building use, and deepens the dialogue across disciplinary boundaries towards further collaborative work in the field. It also exists as a new resource for research and teaching, facilitating undergraduate critical thought about the ways in which design enhances and restricts access to justice.

Shortlisted for the Orange Prize for FictionWinner of the McKitterick Prize 2011Runner up, Mind Book of the Year 2011 Shortlisted for the Commonwealth Writers' First Book Award, the Waverton Good Read Award, the Authors Club First Novel Awardthe Wellcome Trust Book PrizeThe doctors said no more could be done and advised Grace's parents to put her away.On her first day at the Briar Mental Institute, Grace, aged eleven, meets Daniel.Debonair Daniel, an epileptic who can type with his feet, sees a different Grace: someone to share secrets and canoodle with, someone to fight for.A deeply affecting, spirit-soaring story of love against the odds.

'Henderson's Grace Williams Says It Loud was shortlisted for the Orange Prize and this more than matches it.'Elizabeth Buchan, Daily MailIn June 1914, Sir Anthony Valentine, a keen mountaineer, arrives with his family to spend the summer in their chalet, high in the French Alps. There, for the first time, fourteen-year-old foundling Mathilde starts work as one of the 'uglies' - village girls employed as servants and picked, it is believed, to ensure they don't catch Sir Anthony's roving eye. For Mathilde it is the start of a life-long entanglement with les anglais - strange, exciting people, far removed from the hard grind of farming. Except she soon finds the Valentines are less carefree than they appear, with a curiously absent daughter no one talks about. It will be decades - disrupted by war, accidents and a cruel betrayal - before Mathilde discovers the key to the mystery. And in 1976, the year Sir Anthony's great-great grandson comes to visit, she must decide whether to use it. Vividly evoking the dramatic landscape that so enthrals the Valentines, this deeply involving, intriguing novel tells the story of an English family through the generations and a memorable French woman, whose lives seem worlds apart yet which become inextricably connected.

There was something else in the air that night which made usfeel that the flight we had just operated was somehow significant. Whether itwas anticipation of our impending doom or just a realisation that a tidal wavewas rushing towards us and we were trapped on the beach, unable to escape itsinevitability, I will never know, but ultimately, although I did not know it atthe time, this was a very significant flight for me because it turned out to bethe last flight in eleven years at my airline, in a career spanning more thanthirty years and five different bases.The fact that there are still fewer than 500 female airlinecaptains in the world today is part of the reason that I wanted to tell mystory.I have a voice, it is my responsibility to use it to benefitother people, I may be grounded, at the moment, but this isn’t necessarily theend of my flying story, it never is when you fly, because flying is notsomething you do, flying is something you are. “Emma’s journey will resonate with so many in and outside ofthe airline industry… A brilliant read.”Mandy Hickson First woman to fly the Tornado GR4 on the front line,leading TedX speaker and bestselling author