Brian Micklethwait's Blog
In which I continue to seek part time employment as the ruler of the world.Home
Dent on The hottest day of the year (5): Old Citroens in Roupell Street
Melbourne House Check on Windows in bright light
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Jeff Weston on French animals from GodDaughter 2
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6000 on Some more anonymous photographers from May of this year
Darren on Another fine day at the Oval (2): Jason Roy – and an extreme contrast
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Most recent entries
- Views of Epsom and views from Epsom
- Sunny Croydon
- Bridge in Germany with houses on it
- A day in BMdotcom heaven (5): My belated photo-tribute to Kumar Sangakkara
- Quota Shard with quota cranes
- There’s a spiral staircase inside the Testicle
- Dernbach decisive again
- Windows in bright light
- When welfare means lavatories
- Another place to photo London’s Big Things from
- Crane with roof attached
- Another fine day at the Oval (4): Scoreboards old and new
- Street dogs
- Keeping their distance
- Millenium Bridge with boats
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Category archive: Signs and notices
Here in London, when a pedestrian sees a red light saying don’t walk across a road, it usually looks something like this:
Or like this:
Those being from the archives.
But yesterday, I was in a place where the corresponding red lights look like this:
Definitely horse-riding country. Although, perhaps strangely, I saw no real horses.
I was in that part of outer London known as Epsom. Having disembarked from a train at a station called Tattenham Corner, I found myself in … Tattenham? … and then kept on for a bit and emerged, just like that, into the open countryside. And I saw things like this:
That being, I’m pretty sure, in the foreground, the actual, original, Tattenham Corner, around which the horses and their riders go, in races.
But if, instead of making your way towards that big grandstand to watch the racing, you instead turn right, up a slight hill, through various clumps of trees, you eventually come out the other side of these trees, and you find yourself enjoying a distant view of London.
I did not come to Epsom in order to photo pedestrian lights or sporting architecture, although I did do this. What I came to Epsom to photo was scenes like this:
And like this:
And like this:
When I took these shots, the scenes I was shooting were so far away that it was very hard for me, with my ever more terrible eyesight, to work out what I was photoing. I only learned that I had photoed The Wheel when I looked at that shot on the screen of my camera and enlarged it, and hey, that looks like The Wheel.
As for Wembley Arch, I do vaguely remember thinking that I saw a shape that might be that, but I wasn’t sure until I got home.
And even then, these distant views of London weren’t that good, on account of being too distant and my non-SLR camera being too primitive. Epsom is a long way away from London.
The above explains, as not promised in the previous posting, why I was in Croydon yesterday. Getting by train from London to Tattenham Corner meant, for me, going from Victoria to East Croydon, and then changing to the Tattenham Corner train.
I half had in mind to break the journey back to Victoria at Battersea Park station, which also has fine views of London’s Big Things, but I slept through Battersea Park, and anyway, it was getting dark.
My blogging time this evening was totally bent out of shape by – surprise, surprise – a game of cricket. This went on for longer than I expected, and it seeed and sawed hither and thither. Sangakkara scored a brilliant hundred. Jade Dernbach also did important things for Surrey. And Surrey won. It was like I was there!
Sangakkara’s brilliance is well explained in this report of the game. But Dernbach deserves a bit more immortalising than his performance might otherwise get. First off, he took three top order Northants wickets, including those of Levi and Duckett, both dangerous, for small scores. And just as in that game in 2015 against Notts, the penultimate over that Dernbach bowled, and the contrast between it and the penultimate over of the Surrey innings, also involving Dernbach, proved crucial.
In the penultimate over of the Northants innings, Dernbach conceded just two runs, after the over before that one had gone for eighteen. And he got the wicket of his opposite number – the Northants number eleven, Azharullah – with the last ball of that penultimate over, thus ending a troublesome last wicket stand, and denying Kleinveldt one final over of tumultuous hitting, because thanks to Dernbach getting Azharullah there was no final over. Kleinveldt might have got a century, and Northants might have got three hundred. As it was, Kleinveldt had to be content with 76, and Northants with 276.
But whereas Northants had scored two off their last two overs, with one wicket left at the beginning of the second last over, Surrey, also with only one wicket standing, found themselves needing twenty four off the last two overs to win the game. Dernbach was batting alongside Sanga, and thanks in no small part to Dernbach, Surrey did win. Dernbach scored eight, including a much needed boundary during that penultimate over, and the rest of his runs in singles of the sort that got the strike back to Sanga. And Sanga did the necessary slogging and won the game for Surrey with an amazing six during the last over and a four off the last ball of the match. But Dernbach’s support was vital. He played a few shots and did not get out.
Here is a not very dramatic picture I took of Dernbach at the Oval, at the game I attended last month, just after he had taken three top order Gloucester wickets in that game:
And here is a rather better picture that I took, during that game in 2015, of a picture someone else took of him, along with the Shard and a crane and a gasometer:
Perhaps one reason Dernbach played so very well in this evening’s game is that he is now, what with being quite old, a one-day specialist. If Surrey had lost this game, I’m pretty sure that that would have been the end of his season, because Surrey would have been knocked out of this fifty overs tournament, and have already been knocked out of the twenty overs tournament.
I continue to hoover up White Van pictures whenever an interesting one presents itself. And this one, that I encountered yesterday evening in Victoria Street, is surely a classic of the genre:
What I enjoy so much about this van is how this enterprise clearly started out in a state of in-your-face honesty. Yeah, we do lavs. Our boss is Dave. Workplaces need lavs. You got a problem with that? Everyone needs to piss and/or shit every now and again.
But then, as business expanded, the euphemisms crept in. Changing the website was too complicated, but the surrounding verbiage got more polite and decorous. That’s my take, anyway. Have you ever seen the word “welfare” used like that? I haven’t. “Welfare Vans” sounds a bit like something laid on by the Japanese Army during the war, providing you-know-what to the soldiery, and for which they still refuse to apologise to the women thus made use of.
Go to www.davlav.com and it’s all explained:
These self-contained welfare vans offer independent diesel heating, washing, toilet and kitchen/eating facilities. Also included are auxiliary power microwave, hand wash and water boiler. Our welfare vehicles offer superior standards and are completely mobile, providing staff with all the facilities required by current employment law. All parts comply with the new legislation for Whole Vehicle Type Approval.
I might have guessed there’d be government regulations involved.
Proof that the day that Darren and I saw Surrey beat Gloucester was a great day out is that I have already done three postings about that day here, and have hardly scratched the surface of how much fun I (for only one) had, on that day.
Posting (1) about that day concerned vans. Posting (2) was about cricket, and in particular about the emerging cricket superstar that is Jason Roy. Posting (3) was about the Oval’s contrasting architectural Big Things, and about seeing (or not seeing) London’s biggest Big Things from one of the Ovals Big Things.
The final test match between England and Pakistan is now under way, at the very same Oval that I have been going on about. (England are getting stuffed, as I write this. Go here to be sure.) So it is appropriate that this posting takes us, those of us who are interested, back to cricket, and in particular to the photoing of a cricket scoreboard. Sporting scoreboards make for great photos, packed with memory-triggering information. Not just obvious things like the score of a particular game, but, as the years pass, forgotten names, and forgotten moments in remembered games.
I didn’t take many pictures of the old scoreboard that day, the one way off to the right of the Pavilion (as you look at it), but here is one of the pictures I did take of it, along with a lot of other stuff all around it:
You can’t really see the scoreboard there, unless you look rather carefully, so here is a close-up:
This looks to me rather like an eighties style computer screen, the sort that started you off with cryptic messages like: “A:>“. Such old screens often had orange letters or numbers on a black background. No doubt there have been suggestions that this scoreboard be replaced by something more twenty first century, but no doubt also, the old fogeys of the Surrey County Cricket Club drew the line at such vandalism. Cricket is, after all, a game typically played before an audience made up mostly of oldies. And as you can see from my pictures, this audience is too sparse for cricket people to be able to ignore the tastes of those who do show up.
I can remember scoreboards far more primitive even than this, where you hung the numbers on hooks. I even helped to operate such a scoreboard occasionally, when Englefield Green played nearby teams like Egham, Staines and so on, on … Englefield Green. Because yes, there really was an actual Englefield Green. There still is.
All that that old scoreboard showed was, as I recall, total runs scored, wickets down, batsman number this, this much, batsman number that, this much. And, if the other side had already batted, the other side’s total. Batsmen would not have been identified with numbers like 58 or 59, i.e. with the numbers on the backs of their shirts, because they wore no such shirts. Their number would be their place in the batting order, which is actually far more informative about the state of the game. If, say, there are seven wickets down, and batsmen 8 and 9 are batting, both with smallish scores, that’s one sort of game. But if batsmen 3 is still in with a decent score to his number, that’s a much better prospect for the batting side. “59” doesn’t tell you anything about whether the guy can bat or not.
Here is a much newer scoreboard, to be seen on the other side of the ground from the old scoreboard:
Here we learn who batsmen 58 and 59 actually are. Yes, they are the Curran brothers. They came together at the fall of the sixth Surrey wicket, and a lot depended upon them.
T(om) Curran is about twenty, and S(am) Curran is eighteen. On the day I took these photos, the Currans came together with the Surrey innings struggling for adequacy. There had been a flurry of wickets. More wickets now and not many more runs, and Gloucester would probably chase down the Surrey total easily. More runs now, and more wickets not so quickly surrendered, and Gloucester would have a fight on their hands.
For a while, the Currans “rebuilt” the innings, in other words scored rather slowly. But then the younger Curran (S(am)) stepped on the gas. Soon, this Curran partnership had become a …:
… and then, seemingly in no time at all. S(am) Curran had brought up his personal …:
… and the partnership was looking like this:
S(am) Curran got out soon after that, and was duly thanked by the scoreboard:
We can see the Surrey total on the old scoreboard …:
... the Surrey total being just about the only thing that the old scoreboard did tell us, during the interval. That’s the thing about old-school scoreboards. When they’ve nothing to tell you, they are unable to tell you anything else instead.
Surrey had done well. Although there had been no outstanding innings in the manner of Kumar Sangakkara, who scored 166 back in September 2015, Surrey had actually made more in their first innings this time around. Besides S(am) Curran’s fifty, there were also substantial scores from Davies and from Burns, and it all added up. The stand-out moment of the innings, the sort they call a “champagne moment” on Test Match Special, was when Surrey captain Gareth Batty hit a ferocious six that went smack into the middle of the new scoreboard. With no apparent harm done to it at all. Which was impressive on both counts.
Gloucester made a bad start:
That’s twice I’ve watched Surrey in a 50 overs game, and twice I have seen Jade Dernbach do decisive things.
There followed a promising stand, but it ended too soon, for Gloucester’s purposes:
I will end with a burst of horizontality. Darren was kind enough to say that he especially liked the posting I did after our previous Oval expedition which featured lots of adverts piled up in horizontal slices.
Here, which I hope Darren will also like, is another pile of horizontal slices, this time of Gloucester’s last six wickets falling in a rather humiliating heep, and the time at which each wicket fell:
As you can see, Surrey won easily in the end, with Batty again distinguishing himself with five wickets. Story of the day: Surrey got in a bit of a mess, but recovered. Gloucester got in a bit of a mess, never recovered and instead crumbled. If you’re there, your team winning narrowly may be better, but winning easily is pretty good also.
As I said yesterday, much socialising this week. Another do tonight, and yesterday, another visit with Darren to the Oval.
One of the advantages of my White Van fetish is that whenever I am waiting to meet someone in London, I can pass the time by photoing White Vans, of which there are invariably some and often many. So, while I waited to meet Darren, I photoed White Vans, and also a couple of not-so-White ones.
Before elaborating on the vans let me be clear that Darren was not late. He was spot on time. I was early. The trip to the Oval is not a totally familiar one for me, so I made sure I was not late by being early. Hence these vans.
Pride of place goes to the first van, light green in colour, decorated with the regalia of the Surrey County Cricket Club. I spotted this vehicle as I was making my way towards the Hobbs Gate, where we were due to meet. It was parked under one of the Oval’s huge stands. All the other vans were photoed outside the aforementioned Gate.
By the way, I love what I found when I followed the above link, to the Cricinfo Hobbs profile:
Jack Hobbs was cricket’s most prolific batsman. He finished with 61,237 first-class runs and 197 centuries, most of them stylishly made from the top of the Surrey or England batting orders. And he might have scored many more had the Great War not intervened, or if he hadn’t been inclined to get out shortly after reaching 100 to let someone else have a go.
Anyway, here are the vans:
1.1: The Surrey CCC van, as related above.
1.2: The first of two snaps with a bike angle. But, bicycle recovery? This van is for collecting bikes to mend, but not, alas, for recovering bikes that have been stolen. The bits where it says “We fix bikes” have, for me, an air of clarificatory honesty about them. Like they were added to lower falsely aroused expectations of daring do against the criminal classes.
1.3: This one I especially like, because I like White Vans and I like signs (by which I mean: I like to notice them). And here is an example of the former devoted to the latter. Note in particular: “Health & Safety Signage”. A big growth area in recent years.
2.1: I think this is my favourite one, of these. Usually, what I like about the White Vans I photo is the profusion of information that they supply. But in this case it’s the lack of information that made me smile. VOITH? Like: Everyone knows what VOITH is! But not me. Turns out it’s an enterprise that makes stuff for cars. When it says it “builds its partnership with Vauxhall”, this doesn’t mean with Vauxhall the place (which is very near to where I was standing when I took the photo), but rather with Vauxhall the car making enterprise.
2.2: A black van, devoted to cleaning. Very wise. One of the problems with White Vans is how dirty they can look, if only slightly dirty. And if you are a cleaning enterprise – and especially if you are a fantastic cleaning enterprise - you don’t want your vans looking dirty.
That’s enough vans.
The Park in question is Finsbury, the Park Theatre being near to Finsbury Park, and more to the point from my point of view, Finsbury Park tube station. I was there last night to see a friend perform at the Park Theatre, which she did very well.
That LIFE sign thing is just outside the smaller theatre space, where my friend was performing, at the top of the rest of the theatre. I do not know why it is there. Could it be that they hope that people will photo it, and then mention the Park Theatre on the internet?
I suppose the creator of this sign could also have been thinking of that old Blur tune. But that, I believe, concerns a different park.
That being the name I have given to this photo, taken yesterday afternoon:
Pride of place in all the temporariness goes to Centre Point, currently having some kind of makeover. But there are also cranes, crane shadows, flags, and all manner of urban thisness and thatness, including a big face on the back of a Boris bus, advertising Coca Cola.
Why the Union Jacks I wonder? Was the idea that, following the vote for Remain that was obviously going to happen, there would always be a Britain? Tourists, this place is still its good old British self? Leavers, bad luck, this is your consolation prize? Remaining doesn’t mean that Britain will be gobbled up by Europe? (Even though that is the plan.) Seriously, I wonder what the thinking was there.
Whatever, it makes for a pretty photo, I think. Also, good light.
Well, not quite a decade. I’ve been photoing photoers since well before this, but the first of these particular snaps was taken in July 2007. They illustrate that I have been concerning myself with the photoing of photoers while contriving, in one way or another, not to photo their faces, for a long while now. When I started taking photos of photoers, face recognition was a mere idea, used by implausibly attractive detectives on the telly but not yet a real thing in the real world. Now, with the social media and ubiquitous digital photography, faces (not just big faces but faces in crowds) can be dated and placed and identified, of everyone, and very soon by everyone.
I just picked out a few photos that I like (although, it soon became a bit more than a few). I like them because the pose is fun (6.2, 6.4), or because they’re strongly back-lit (1.1, 3.4), or because the screen is so clearly visible (6.1), or because the faces of photoers are hidden by bubbles (7.3), or by a coat (7.1), or by an orange bag with the Eiffel Tower on it (that one is the one snap of these that was not taken in London (that’s Paris, Feb 2012)), or because they’re photoing through some bars (in this case at the top of the Monument (1.3)), or because they were just too far away (in one of the pods of The Wheel and on the other side of the river (5.3)), or because they are simply facing the other way or holding their cameras (or their arms or their hands holding their cameras (1,2, 1.4, 4.1, 4.3, 5.1, 6.4, 7.2, 8.1, 8.2, 8.3, 8.4)) in front of their faces. My favourite face-blocking device here is the blue balloon (2.1) saying visit Mexico. The balloon goes very nicely with the Testicle (click and look on the blue square below if you are baffled). Happy times:
The most recent of these was taken when I was photoing that model of the City of London (8.4). Someone else was also.
After assembling these thirty two snaps, I did more browsing, and I soon realised that I could easily have found another thirty two more, and more, many more, of equal fun-ness.
Like with everything else, good photography comes from doing the same thing again and again.
I have already shown you some horizontalised signs that I snapped in France. Here is a selection of the more regularly shaped sorts of signs, in the order I snapped them:
I love the ambiguity of the very first (1.1) of them, with the French for bread being pain.
Whoever thought that theatre (1.3) could be so dangerous.
That T-shirt (2.2) is a reminder of how many Brits there are in these parts, and the “Tattoo and piercing” sign (3.4) of how French people think English is cool. The French go to England to work. The Anglos (apart from those going there to sing) go to France to unwind, as I was doing. I’m guessing that’s roughly how it is. France specialises in being nice. England specialises in being busy.
I like how the French for cul-de-sac, which you would expect to be “cul-de-sac”, is actually “impasse” (4.1), which in English means something rather different.
I like (4.2) how on building sites, everyone gets credit, like at the end of a movie.
And then there are all those street name signs, that double up as history lessons. 2.4 and 3.1 are too famous to need a date, but one (3.1) still needs a brief explanation. But I love how the guy who does need a date (3.2) would probably have been awarded dates no matter what, because look at those dates! I only just noticed this.
I like how the French for diversion is deviation (4.3).
That Crack sign (4.4) was actually not in France but in a big shopping centre in Spain.
2.1 is reminder that not all signs in France are as informative as most of them are.
Today I attended Deirdre McCloskey’s talk for the Adam Smith Institute. I know what you’re thinking. Okay, okay, photos, as per usual. But: What did she say? Fine. Go here, and you can find out. What I can find no link to is any information about the event – when, where, and so on. It’s all now gone. Maybe it was never there in the first place.
But the Man from the Adam Smith Institute told me to send in some of my snaps, and these are the ones I sent them:
McCloskey’s basic point was what is rapidly becoming the libertarian orthodoxy, to the effect that (a) the world started getting humungously rich in or around 1780 (Yaron Brook‘s preferred date for this is 1776 (to coincide with America starting and Smith’s Wealth of Nation’s getting published)), and (b) we did this. Our enemies tried to stop us and they failed. We know how to make poor people rich, and we’ve been doing it ever since. Our enemies only know how to make rich people less rich and poor people more poor. Bastards.
My recent favourite example of enrichment is a very tiny one offered at today’s talk by McCloskey, which is that you can now use your smartphone as a mirror. Better yet, McCloskey said, before the talk she was giving, she spotted Steve Baker MP doing this exact thing with his smartphone, while perfecting his appearance prior to doing his MP socialising bit.
The reason I particularly like this is that I just recently learned about this trick myself, when I saw someone doing it, and took a photo of it:
If you photo someone looking in a mirror, they can see their face, but you can’t. (Unless it’s a crap movie, in which case the audience sees the face and the person with the face doesn’t. I know. Ridiculous. But this is truly what often happens.) But, if you photo someone using their smartphone as a mirror, both you and they can see their face.
McCloskey’s point was that enrichment doesn’t only come in the form of more money, but also in the form of the ever more amazing things that you can buy with your money. Like a phone that is also a NASA circa 1968 supercomputer. And a face mirror.
Finally, here are a couple more photography-related photos. On the left is the official photographer for the McCloskey talk:
And on the right there is a photo which I also took at the venue for the McCloskey talk, which I will not name, because the people in charge of this place might then learn of this blog posting and see this picture and then who the hell knows what might happen? Are you wondering what I am talking about? Click on the picture and work it out. I only realised what I had photoed after I had got home.
Today I attended the Libertarian Home Benevolent Laissez-Faire Conference. Here is the text of the opening speech by conference organiser Simon Gibbs. And here is a selection of the photos I took, of the event and of the speakers:
Conference programme here.
1.1: An attender. 1.2: The venue, very good, with a big side window looking out to a small basement level garden. 1.3: Syed Kamall. 1.4 and 2.1: Janina Lowisz and one of her slides. 2.2, 2.3 and 2.4: Julio Alejandro. 3.1: Simon Gibbs and Yaron Brook. 3.2: Brook. 3.3: Kyril and Rob helping with the books. 3.4: LH info, lit up by the afternoon sun through the window. 4.1: Anton Howes. 4.2: Howes and Brook. 4.3 and 4.4: Gibbs, Alejandro, Howes, Brook.
I love signs. They communicate a lot, by their nature, but they are not considered Art, so they aren’t preserved. They come and go, and stuff that comes and goes is how a photographer who is only an okay photographer makes his photos count for something.
So, I gathered together all the sign photos I took, to do a big collection. But that was taking too long, so I picked out the long thin ones, and here are those ones, in chronological order. I really did take the first one first:
Click on each to get the bigger pictures.
No coincidence that two of them - arguably three of them - are in English. There’s quite a bit of English to be seen in French shops, just as there’s quite a bit of French in English shops.
Byrrh is the local drink of Thuir. It’s a lot like Port. I’d link to the website, but it makes noises that you have actively to silence. I hate that.
What “lefties” means, when on the front of a shop, I have absolutely no idea.
LATER: This was all done in great haste, and I neglected to mention that the “lefties” sign is actually in Spain, in a big shopping centre we visited (and got stuck in because of traffic jams all afternoon (don’t ask)). But, I still like the sign and am still baffled by it.
Indeed. Photoed by me yesterday afternoon:
Learn more about the service at one of the places featured on the van door, such as this one.
The early version of this posting had a title with the word “verbose” in it, but that was inaccurate. This is more words that you’d see on a van twenty years ago, but it’s all good stuff.
A new crossrail station is being completed, and Centre Point is being given a makeover. I doubt it will look any different, but you never know.
Any decade now, Centre Point’s exterior will burst into colour. But Centre Point right now, temporarily wrapped in this and that, is as colourful as it is likely to be for a decade or two yet. A generation of monochromist modernist architects still has to die, before colour can really start happening in London. At present (see the previous photo) Renzo Piano is the only fashionable architect being colourful.
While I’m showing you pictures of that rather angly station entrance, here is another, taken moments before the one above:
Lots of signage of various kinds there.
For another view, looking down Tottenham Court Road, of this strange station entrance, see photo 3.2 of these.
Circumstances had placed me at the Angel Tube. My business was concluded and the weather was wondrous. So, where to next? There is a canal near there, but I didn’t fancy another canal walk, so instead I just walked along whatever road presented itself to me, in the general direction of the Big Things of the City (one of them (the Heron Tower) having been turned blazing gold by the early evening sun). The road turned out to be Goswell Road. A place of slightly down-at-heal struggle, where you felt that for some, the struggle wasn’t worth it, but for others, maybe. That kind of in-between sort of a place. Not as affluent as you’d expect for something that close to the City, but trundling along as best it could. Big, shabby-modern university buildings. Building sites. Ethnic shops.
And then in amongst all this middlingness, a glimpse through what looked like a shop window, into a world of money-no-object designer gloss and nouveau riche ostentation. What is all this stuff?
It all looked rather Zaha Hadid, especially this shiny but strange object, presumably for sitting on:
And hey, look, there’s a picture of Zaha Hadid. This is obviously a place that takes Zaha Hadid pretty seriously, and is very saddened by her recent death:
Zaha Hadid, I should explain, is the world-renowned starchitect and designer, who recently died at the shockingly young age of 65. When a starchitect dies at 65, that’s like a rock star dying at 22. At 65, starchitects, rather like classical conductors, are just getting started. The thing is, starchitects need power, and their target demographic is old decision-makers, so they tend to be old too.
What was this rather strange place? I stepped back to see if there was any clue on the outside.
Here was a clue:
Good grief. This is an actual Zaha Hadid place of work.
I crossed the road, to photo the whole thing:
To be more exact, this is not the one place where Hadid and all her underlings did everything. This is the Zaha Hadid Design Gallery, which opened in 2013 (I now learn), which would perhaps have been open for me to walk into had I encountered it earlier in the day. The place displays many of Hadid’s numerous designs for Small Things, like furniture, lamps, sculptures, jewellery, paintings, and suchlike.
Considering what a wacky designer Hadid was, that’s a surprisingly prosaic building, isn’t it? I’m guessing that it was not built specifically with her in mind, but was adapted.
So, no wonder that this place now contains memorials to Zaha Hadid, like this:
There is some reflection of the outside in this next snap, but it gives you an idea of what the place as a whole is like, and what kind of stuff is in it:
Frankly, for me, all this indoor small stuff does not show Hadid at her very best. For that, I think, you have to go outside.
Her only building in London so far is the Aquatics Centre, which I photoed, very hastily, when I visited the top of the Big Olympic Thing. Had I know then that Zaha Hadid had been about to die, I would have taken more photos of this building, and more carefully:
I would, for instance, have placed it in a gap in that safety netting, rather than just randomly. Another time.
But notice that even in that casual photo, the beauty, I think, of the building still asserts itself. It’s like a sports helmet, of the sort worn by cyclists, and by some cricketers.
Even more remarkable is this amazing ancient-modern juxtaposition:
This is now, apparently, nearing completion. It might be worth a trip to Antwerp, just to see it.
Zaha Hadid’s underlings are going to try to keep the Zaha Hadid enterprise going, at least the architectural bit. Good luck people, but you’re surely going to need it.
The rumour I heard is that Hadid was “difficult” to work for. Maybe this was just an example of that law that says that bossy men are masterful, but bossy women are bossy. But maybe she really was difficult to work for. If so, this difficulty looks like it was all of a piece with the sorts of designs she created.
The thing is, Hadid was not some logical, everything-has-a-reason systematic, machines-for-living in, presider over a system of architectural problem solving. She was the kind of architect who unleashed drama, excitement, at vast extra expense, if what you’re comparing it all with is a big rectangular box. You only have to look at her stuff to see that any logic involved is just an excuse for a cool looking design. Why does it look that way? Because I, Zaha Hadid, say so, and I’m the boss, that’s why. I make beautiful shapes. Other people like them and buy them. Deal with it.
That’s going to be a hard act to replace.