Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Javier on Droneverts
Alastair on Wembley Arch lighting contrast
Rob Fisher on What does Thames "RIB" Experience mean?
Heathrow Transfers on Miguel aligns his message with his van
Brian Micklethwait on So shiny it looks fake
Patrick Crozier on So shiny it looks fake
Patrick Crozier on So shiny it looks fake
Natalie Solent on Wooden Citroens and black baby dolls
Brian Micklethwait on Miguel aligns his message with his van
Natalie Solent on Miguel aligns his message with his van
Most recent entries
- The internet is for telling me what’s on the telly
- Pavlova under wraps
- Batman consults his smartphone
- The art of taxi advertising
- Drones are not toys
- Snake on a car
- A particularly good panoramic view of central London
- Coastline politics at Samizdata
- Wembley Arch lighting contrast
- A blown up airplane and a dodgy internet connection
- Rereading a Rebus
- Rod Green on Boys and Men at the time of Magna Carta
- More birds on a TV aerial
- Van – grey but very interesting
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Category archive: Design
Friday was the day here for cats, but now I have widened it to all kinds of creatures, cats included.
This week, a snake! On a vintage car!
I took these pictures in the square next to Quimper Cathedral, in the summer of 2008:
The snake is most clearly to be seen in pictures 1.2, 2.1, 2.2 and 3.3. I think it must be some sort of air intake, for the engine, or for something. But what do I know?
Berliet seems to be an enterprise that makes lorries these days. But if you scroll down through the images you get when you type “berliet” into google images, you start to see vintage cars, in among the more recent lorries.
If you scroll down at this site, you get to something that looks like the above vehicle. And if it is the same vehicle, or something very similar, then it is a 1907 Berliet C2 Double-Phaeton, or something very similar.
There’s a number plate on the front of my Berliet, which says: 1909 VS 29. I thought that might be a clue, rather than, you know, a number plate, so I tried “Berliet 1909 VS 29” with google images, and guess what I found. A Berliet “Double Phaeton” at a car museum in Malaga.
I even found a photo of the car in question, with a ludicrously long internet address attached to it, which I now offer you, in the hope that it works
Well, the link does seem to work, but if it doesn’t, take my word for it. Although this is not the same car as my one above, it is very similar. So similar that the car in the Andalusian museum also has, just like my car has, attached to its side, with its mouth wide open, sucking in air, … a snake. Weird.
This time last week, it was birds on an aerial. Today, more birds on another aerial:
It been very aerial here of late. What with yesterdays aerial videoers, and another aerial on Tuesday.
It’s the bright blobs of light on the TV aerial that gets me putting that here. Taken in Quimper in June 2008.
TV aerials in France appear to be exactly the same as in England.
As with cranes, what I like is the absolute functionality of aerials. They are as they are because that does the job best. Aesthetics has nothing to do with it. Yet, the result looks, to me, aesthetically most pleasing. See also: pylons.
I recently photoed this van:
What intrigued me about it was its minimalist propaganda message. “GREY MOTH”.
My original thought was that, in the age of google, you don’t actually need a mass of information to find out all you want to know about an enterprise. That’s what this posting was going to be about. (I still remember fondly that van outside the Oval, which just said “VOITH”. I quickly learned all about VOITH.)
Trouble is, if the name of the enterprise is “GREY MOTH”, and you google “grey moth”, well, in addition to the GREY MOTH enterprise, somewhere in there, you get lots and lots of grey moths. (If you google “voith”, all you get is VOITH. A voith is not a regular thing, from which the VOITH enterprise merely took its name.)
Luckily, however, there was a website on the van, front and back. This website was back to front at the front, ambulance style, but I was still able to decypher it as: www.grey-moth.com, crucially including that all-important hyphen. Which, as you see, gets us where we need to be. And it turns out to be a very interesting business. I was thinking that it would be some dreary fashion enterprise, but not a bit of it. Turns out, it’s an aerial videoing business, using drones.
I’ve been keeping an eye on drones for a while. And after initially wondering if I might ever buy one, I eventually concluded: no. If you get a drone, then you will either have to take it very seriously and learn all about how to do it, and become a full-time droner, mastering not only all the technical problems of drones but also the many legal minefields that droners must walk across (safety and privacy to name but two). Or: not. And I decided: not.
Drones, in other words, are not toys. But, they are a huge business opportunity, both for businesses that can make serious use of them, like farms or pop concert promoters or movie-makers, and for people willing to master drone use for a living and to hire themselves out. Like Grey-Moth does.
Speaking of minimalist propaganda, those Guys & Dolls Unisex Hair Stylists look like they are ("UYS DOL S") on their last hair curlers, if not already gone.
Click at will, to get bigger, less square pictures.
Displayed in chronological order. Taken between May 2011 and August 2014. When I took that last one, of the bikini-wearing bottle openers, that got me collecting all the others. That last one is definitely the one where the Union Jacks are having the most fun.
Whenever I see an old car, of the sort that was the latest thing when I was a kid, I photo it, or I try to.
See, for instance, those delightful old Citroens in Roupell Street. Which were there, I have since learned, not because someone in Roupell Street is collecting them, but because someone in Roupell Street is repairing them.
And see also, this ...:
… which I saw earlier this week, while on my way to a violin and piano recital at the Romanian Cultural Institute in Belgrave Square. A Rolls Royce, on the way to what turned out to be a Rolls Royce performance.
I used to have a Dinky Toy version of that car.
I am increasingly coming to believe that many of our most powerfully felt aesthetic prejudices are formed in the nursery. And that a lot of Modern Art is the recreation of those happy sensations, in an enlarged form, suitable for the enlarged people that the nursery dwellers turn into.
But Dinky Toy cars don’t have to be enlarged, because they already have been. Enlarged Dinky Toy cars are called: cars.
Come to think of it, I also had a couple of Dinky Toy Citroens, a DS19, and a 2CV. Yes, this explains a lot.
This photo was taken in 2008, in France. I took it myself, and though I say it myself, I think it’s great.
There’s a particular sort of car you see in France which is old school in its styling, but so beautifully shiny that you suspect it may be a brand new reproduction rather than the genuine old article:
Those big buses behind don’t spoil it. The flowers in front don’t spoil it. This is my blog, and I decide about such things.
Alas, you can’t tell what sort of car this is, and hence get agoogling about whether it really is a real vintage car or merely a pretend one. My bet would be: real. Which only makes its shininess more shiny.
Yes, another quota photo, but this time I’m doing it in the small hours of the morning for tomorrow, rather than for yesterday.
I like this photo, of Daniel Hannan, at the top of a Guardian piece about him, and about how he was and is “The man who brought you Brexit”:
I like this photo because it is exactly the sort of photo that I try to take of photoers myself. A smartphone with interesting graphics, held over the eyes of the photoer (which of course often happens) to preserve anonymity. Or it would if there were no other photos of Hannan in the world and no article underneath the photo, telling the world all about him.
While browsing through my archives recently, I came across those pictures I took of Brexiteer Kenny, doing his rehash of a Hannan piece in Trafalgar Square, with white chalk. And what I discovered was that, to revise that Abba song, I never thought that we could win. The pictures brought back the feeling I had when I took them, which was: gallant failure. Brave effort. Well done mate, going down fighting. But, we won’t win.
I told myself that we might win, but mostly what I thought was that although the majority for Remain had slimmed down a bit over the years, it was still there.
As for the Brexit arguments now (quick versus careful), I am reading this guy. He is for careful. Every post he does says (a) that he is the cleverest person in the world and that everyone else is at best not so clever, and at worst stupid stupid stupid; and (b) something worthwhile, carefully and persuasively explicated.
I never thought that we could win, but just to be clear: there’s no regret.
Sunday was a good photography day. After lunching with a friend in the Waterloo area, I made my way, as reported yesterday, to the Tate Modern Extension. When up at the top of this I took many photos, and some quite good photos.
But none, for me, was better than this, which I spied just before getting into the lift from Floor 10 back to the ground:
I can’t remember exactly when the change happened from plaster casts to … that, but happen it did, and I am impressed. I’m guessing that one of the many advantages of this system is that you can take it off and put it back on again, to do things like assess progress, or deal with skin discomforts.
I’m further guessing that you can dismantle one of these things, give it a good wash, and then use it again.
More from me on the subject of plastic and its newly devised applications in this at Samizdata earlier today.
Recently I came upon another for the collection:
This is a footbridge at the back of the Strand Palace Hotel. I could find nothing about this footbridge on the www, but luckily I had already taken the precaution of asking someone local, just after I had taken my photos. This local was entering an office in the same street with the air of doing this regularly, and who therefore seemed like someone who might know. And he did. What about that bridge? - I asked him.
Yes, he said. That used to be the bridge that conveyed the servants from the Strand Palace Hotel, on the left in the above photo, to the servants quarters, which is what the dwellings on the right in my photo, behind the scaffolding, used to be. These servants quarters had, quite a while back, been turned into mere quarters, for regular people to live in. So, the bridge then got blocked off at the right hand end as we here look at it. But, the bridge continued to be used by the Strand Palace Hotel as an elongated cupboard. These old servants quarters are now being turned into luxury flats, which is why the scaffolding. But the bridge stays.
That the original purpose of the bridge was to convey servants, as opposed to people, is presumably why the bridge has no windows. Wouldn’t want to see servants going to and fro, would we. Fair dos, actually. A hotel of this sort – this one being just across the Strand from the Savoy - is a lot like a theatre, and the point of a theatre is not to see all the backstage staff wandering hither and thither. So, I do get it. And I doubt the servants minded that there were no windows. I bet they minded lots of other things, but not that.
I will now expand on the matter of the exact location of this obscure footbridge. As you can see from the square to the right, it is in Exeter Street, London WC2. I took other photos of this Exeter Street street sign, because I have a rule about photoing information about interesting things that I photo, as well as photoing the interesting thing itself, which is that I do. Sometimes, as on the day I took this photo, I even follow this rule. But I thought I’d try extricating a detail from the above photo, and see how I did. I blew the original up to maximum size, and sliced out a rectangle, tall and thin, with the street name in it. I then expanded (see the first sentence of this paragraph) what I had, sideways, lightened it, contrasted it, sharpened it, blah blah blah, and I think you will agree that the result is unambiguous. My point here is (a): Exeter Street, WC2, and (b): that such photomanipulation is not merely now possible. My point (b) is that it is now very easy. Even I can do all of this photomanipulation, really quickly and confidently.
I can remember when the only people who could work this sort of magic were spooks in movies, and then a bit later, detectives on the television.
Talking of spookiness, I included the surveillance camera in that little detail. In London, these things are now everywhere. Because of my sideways expanding of the photo, this camera looks like it sticks out more than it really does.
He of course shows the whole thing. Me, I am more and more coming to see that the quality I most value in these Big Things is their instant recognisability. Hey, look at that. That can only be … That!
So here is another photo of the Big Olympic Thing from my archives, showing hardly any of it, but still (for me anyway) instantly recognisable:
Click to get the bigger original. Rather artistic, I think.
Taken the same day, and from the same place, that I took this photo of the Shard and the Gherkin directly in line.
If you reckon that the two van designs referred to in my previous posting are both as much of a muddle as each other, on account of the ins and outs of the surfaces of the vans colliding with the pictures, well then, I give you a van design that you will surely prefer:
What Miguel did was make sure that everything he said was aligned with the van’s design. The frames on the van became frames for the pictures Miguel wants us to see. And the writing all fits in perfectly.
It helps that he chose a van that was all horizontals and verticals, rather than indentations at weird angles, like you see on lots of vans.
Question: is the fact that vans double up as complicated adverts causing the actual vans to be designed differently nowadays? To suit people like Miguel, who want the van and the message to line up? It would make sense it that was happening.
I notice that Miguel doesn’t seem to have a website. I’m guessing that, from where he sits, his van is his website.
I refer honourable readers to the posting I did earlier, about a pink van (miniature version of this pink van on the right there). And I ask you to note, again, the difficulties that this pink van’s decorators had in making what they had to say fit in with the indentations on the side of the van. The roller-blading fox has a big kink just under his midriff. The website information is written in letters too big to fit in the space chosen for it, but they have to be, to be legible. It all adds to the general air of amateurishness.
But now, let’s see how the professionals deal with similar problems:
I was all set to write about how this very “designed” piece of design made all the same mistakes as the pink van, but actually, I don’t think it does.
The thing is, the pink van is decorated in a way that says: this is a flat surface. Therefore, the fact that, actually, it is not a flat surface is a real problem.
But what the Sky van says is: you are looking through the surface of the van, to this three dimensional wonder-world beyond and within. Yes, it’s a van, and its outer surface has strange and random rectangular indentations and even stranger horizontal linear interruptions. That’s because it’s a van. Vans are like that. But all these vanly banalities merely happen to be in front of the real picture that we are showing you.
So, for me, this Sky van is a great success.
As for the world it depicts, the show in question is this. I’ve not seen any of it, but I do recall Karl Pilkington with fondness from that chat show he did with Ricky Gervais, which I seem to recall watching on television, in the early hours of the morning, even though it was supposed to be a “podcast”. Pilkington himself also remembers this earlier show with fondness, it would seem.
Yes, I photo a lot of white vans, but fewer pink ones. So, at the end of last month I was able to correct this imbalance a little:
I also try to photo roller-bladers, and the fox on that pink van is a roller-blader, which speeds up the service he is offering.
One of the quite numerous things that I like about white vans, or in this case not so white vans, is the great variety of styles in which they are decorated, all the way from ultra-refined to ultra-trashy, with this one being a bit on the trashy? - well, make that amateurish - side. (This is another thing vans have in common with websites.) But, trashy or amateurish or whatever, this van certainly got my attention.
Talking of websites. Fantasy Cleaners had a particular problem deciding where and how to put www.fantasycleaners.com. The website is where all these graphics originated that they had such trouble fitting on the van. They changed nothing. The roller-blading fox is there, with the pink background. Everything. In general, many more professional van decorators than whoever did this van have problems aligning their messages with the indentations on the sides of the vans.
I think it looks like they’re giving someone two fingers, rather than two kangaroo ears. At least it’s not pointing at us. It’s more like we’re doing it. Weird. It will be interesting to see if it survives. Quite apart from anything else, I just think it is extremely ugly, in the same kind of way that the 2012 Olympics logo was ugly.
And in other bridge news …
I earlier linked to a Dezeen report which reported:
But now comes this:
The more appealing the bridge, the more of a muddle its opening is liable to be, so this is not a particularly terrible thing. This bridge, for instance, has opening problems because many more people than they expected want to walk upon it:
Thousands flocked to the attraction when it opened on 20 August 2016, but less than two weeks later its popularity has led to its closure.
The bridge is designed to hold up to 800 people and receive up to 8,000 visitors in a day, however demand has far outstripped capacity.
“We’re overwhelmed by the volume of visitors,” a spokesperson from the Zhangjiajie Grand Canyon’s marketing department told CNN.
The spokesperson said that 80,000 visitors had attempted to visit the bridge each day, leading to its closure for improvement works on 2 September 2016.
There are no reports of when the attraction will reopen.
Whenever. There’s nothing as cheap as a hit. Especially if your target demographic is: China. And then, when the word gets around, which the above story will hugely help it to: The World.