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Category archive: Bridges
Photographer on the upstream Hungerford Footbridge, me not on any Hungerford Footbridge:
Photographer on the downstream Hungerford Footbridge, me on the same Hungerford Footbridge:
Me on the downstream Hungerford Footbridge, photographer not on any Hungerford Footbridge:
The first picture is the most visually dramatic, but the third is the most mysterious.
Deck chairs on a deck makes sense, but why is there a pretend lawn on the deck? And why did the man need to be in the middle of the pretend lawn to take his photos?
I do not know.
Fantastic weather anyway. I’m still not feeling a hundred per cent. (Perhaps I never again will. (This is one of the facts about getting old. When bodily functions malfunction, they may never well-function again. (And it feels like that even more often.))) But I went out anyway to do some shopping, and then went out again with fewer clothes on, to enjoy the first real warmth and sunshine of this year instead of getting too hot in it.
Here are some snaps I took that show what a good day it’s been.
On the top left, the top of the tower right opposite me, seen from Vincent Square, through the leafless trees. Top middle, the Wheel (through more leafless trees) and that four-pointed Parliament Tower thingy that nobody knows the name of, with the Vincent Square cricket pavilion in the foreground. Top right, the new and rather crass (but I’ll probably end up liking it (perhaps after some clutter has arrived on the roof)) apartment building going up next to Vauxhall Bridge.
The bottom three snaps show what the sun, when it’s out and when evening approaches, does to the buildings on the other side of the river from me.
As you can see, from the all cranes, there is lots of new building activity in my vicinity.
Here is a piece I did here about how Modernism got associated with whiteness. And for most would-be Modernists, Modernism still is white. But, here is another piece I did about coloured Modernism, in the form of Renzo Piano’s very colourful buildings near Centre Point. (Renzo Piano also designed the Shard.)
Here is another photo I took of these, I think, delightful edifices:
And here is a faked-up picture I came across not long ago, which suggests that Piano’s colourfulness may have struck a chord with other architects:
That picture adorns a report about the footbridge that you can see on the right of the picture, the very same one that I saw being installed last August. But I think you will agree that the towers on the Island there are a definite echo of that Pianistic colour.
The great thing about coloured architecture is that you can build the most severely functional lumps, and only worry about brightening them up afterwards. Form can colour function, and then colour can cover up the form and make it fun.
But it need not stop at just having one plain colour. Soon the artists will join in, and there will be giant murals.
If I had to place a bet about how different London will look from now in thirty year’s time, this would be the change I would bet on. Both new buildings and dull old ones will be much more brightly coloured.
I’m guessing that outdoor paint is a technology that has had a lot of work done on it in recent years, and that such work continues.
I will be interested to see if those Piano office blocks become faded, or if the colour stays bright for a decent time.
Interestingly Le Corbusier was a great one for colour being slapped on Modern buildings, but the notion never really caught on. Or rather, it is only now catching on.
As is illustrated in this posting at Material Girls. Where the point is also made that another huge influence on the monochrome association with Modernism was early and black-and-white photography. Even colourfully painted buildings didn’t look coloured in the photos. (One might add that newspapers and magazines only burst into colour after WW2, in the case of newspapers only in the 1960s. Until then, all newspaper and magazine photos were printed in black and white. So even if Modernism was done in colour, its influence spread in black and white.)
Now, colourful buildings tend to look colourful, both for real, and in the photos.
Ages ago now, before I was ill, I checked out that Suicide Bridge in North London, as reported in this posting. This was a fine destination to have picked for an photo-odyssey, both because the destination itself did not disappoint, and because it was in an unfamiliar part of town, and thus was only the first of many wondrous discoveries I would make that day.
As the years go by, I accumulate more and more photo-collections of such days, and get further and further behind in mentioning them here. Which is fine, because there will soon come a time when I won’t want to be going out at all, just sitting here reminiscing. Then I can catch up. Then I can die.
So, March 8th of this year. I hoover up snaps of the view from Suicide Bridge and then walk away from the top of it in a westerly direction, along Hornsey Lane. I am in Highgate. Then I go north (actually more like west north west) along the B519, past the Ghana High Commission, until I get to a turning that looks like fun again, turning west, again (actually more like south west). I am climbing, still, getting higher and higher above central London. And I take another turn, south, and come upon a miniature version of the Alexandra Palace Tower (that being a bit further out of London, to the north east), beside a lane called Swains Lane.
Here is a web entry that says what this tower is.
And here are some of the photos I took of it and of various decorative effects that it had on its surroundings, on a day that, although getting very dark in parts, is still topped off with a bright blue blue sky, worthy of Hartley himself:
And here is another web entry, which explains what an excellent war this contraption had:
The British immediately realised that the powerful Alexandra Palace TV transmitter was capable of transmitting on the transponder frequencies and instigated ‘Operation Domino’. Using the receiving station at Swains Lane, Highgate, the return signal from the aircraft’s transponder was retransmitted back to the aircraft on its receiving frequency by the Alexandra Palace TV transmitter and hence back to the aircraft’s home station. This extra loop producing a false distance reading.
The Swains Lane receiver station was connected by Post Office landline to the Alexandra Palace transmitter. By using a low-voltage motor, this line controlled any drifting in the lock-on carrier beam, thus eliminating any give-away heterodyning beat-notes.
Which you obviously wouldn’t want, would you?
I love the way things like this look. Totally functional, but … sculptors eat your hearts out. It beats most of what you guys do without even giving it a thought.
Actually, slight correction provoked by actually reading some of what I linked to above. The current structure at Swains Lane is the metal successor structure to its wooden predecessor structure, and it was the wooden predecessor structure which had a good war, but was then blown down by a gale in October 1945.
Had it not been for this extreme weather story, pride of place there would have gone to the report about Quisling getting shot.
I love the internet.
Suicide Bridge being this one:
And here is a closer up view of those Big Things in the far distance there:
Photos taken last Monday.
The more I photo the Walkie Talkie, the more I like it.
Whereas yesterday was the first first day of spring, today is right back to being just another day of winter, cold, damp, cloudy, miserable. So I am back rootling in the archives for sunnier memories.
Here’s a good one, of me (in the middle), Goddaughter 2 (on the right), and (on the left) a suitably anonymised photographer photoing a suitably anonymised group of people:
Taken last August, on one of the Hungerford Bridge footbridges.
When posting this, I was informed of a previous posting here entitled shadow photography. Also fun. Less anonymised strangers though.
From time to time I go looking for pictures of bridges, preferably new ones, but seldom find anything I don’t know about. And then, quite by chance, while clicking through these old photos, I chance upon this:
It’s the Golden Gate, being built, in 1937.
I recall doing a pen-an-ink type sketch (as opposed to something theatrical like a comedy sketch – odd double meaning that), when in my teens, of the Severn Road Bridge, when it only had a chunk of road in the middle, suspended in glorious isolation, going nowhere in either direction (like in the photo here). This photo reminds me of those times.
I never actually drew any decent pictures, but I did spend a lot of time thinking about composition, by which I mean that I chose quite good pictures to do, but actually did them very badly. Now I take good pictures, rather less badly. How I wish there had been digital cameras when I was a teenager. My cycling expeditions around France, and then Scandinavia, and then Iceland, would have been far more fun, and now far easier to remember. The old cameras, with “film” in them, were ridiculous. You had to “develop” all the damn pictures, very expensively, just to find out that about three of them weren’t total crap. But you tell young people this nowadays they think you’re mad. And if you did all this, guess what, you were mad.
I have never shared the contempt that most people show - or pretend to show - for Adolf Hitler’s paintings. Okay, so they aren’t Rembrandts, but even so, I would have loved to have been as good hand-done picture-making as he was. Could it be that people just can’t bear to accept that he ever did anything well or anything good? Just a wild guess.
At the end of November 2014 (on the day that I also took these photos) I made a small pilgrimage to Tower Bridge, the excuse being that I might be able to photo up someone’s skirt through the observation floor that they had recently installed at the top of that bridge, and the reason being that I simply like to go on random pilgrimages in central London, for the sake of what I might see on the way there, there, and on the way back.
As often happens with these small pilgrimages of mine, I got there not at midday, but towards the end of the day. By which I mean just before and during the ending of daylight. And the ending of daylight is a very good time for taking photos, especially with a digital camera that is good in low light conditions, and especially if you are someone who likes taking pictures of other photographers in ways that don’t show their faces but do show the screens of their cameras. At dusk, those screens tend to show up particularly well, as a number of these photographer photos illustrate:
The more I photo, the more I find myself liking to take categories of photos, photos in sets. At first, my photos of photographers were just photos of photographers. But soon I was subdividing that huge category, into photographers taking selfies, photographers looking at the photos they’d taken. Recently I have found myself making further subdivisions, often of photos I have been taking for some while but which I had not been putting into a separate category in my head, if you get my meaning. So, above, in addition to all the photos of photographer’s camera screens, we see contributions to the photographers taking selfies category (subdivision: couples taking selfies), to the photographers looking at the photos they have just taken category, but also a good addition to the bald blokes taking photos category, and two for the photographers with interesting hats category.
And of course, there is that vast category that has hove into view in the last few years, of people taking photos with their mobile phones. No less than seven of the above twelve snaps are of people doing this. This was not a decision on my part, merely a consequence of me picking out nice photos of people taking photos.
My favourite photo of these is the last one of all, bottom right. The light is nearly gone, but that means that the view of the shot he is taking (with his mobile phone) shines forth splendidly, as strongly as what he is photoing. And I love that I got what he was photoing as well as his screen picture of what he was photoing.
It was the essentialness of posting that one photo, very late but not never, that made me, while I was about it, also stick up the others, all twelve having already been subdivided into a separate little directory.
The gap between my eyesight and the eyesight of my camera grows and grows with the passing of the years, as my eyes inexorably dim and as my cameras inexorably improve. Even I can regularly manage quite decent shots with my latest camera. As a result, I become ever more immobilised by having to choose good ones from the enormous piles of decent shots I often come back with, after a day out.
Yesterday was a bit different. I went to the home of Michael Jennings for a Christmas Day lunch, picture 1.1 being the most striking thing I saw from out of his front window. The day was lovely, but the light, though wonderful, was fast fading, so Michael and our mutual lady friend and I went out for a short (by my photographic standards) walk to take advantage of it. Which meant that I took, by my standards, only a few pictures. Which made it easier to choose and stick up a few half decent ones.
Picture 1.2 is my favourite of these. Thank God for London’s religious diversity. Much as I loath what Islam says in its holy scriptures, and much as I am critical of people who go through the motions of worshipping these writings, either because they truly believe what those writings say (very wicked), or because they don’t but think that they it doesn’t matter or that they must (also wicked – yes, I mean you, Moderate Muslims – stop saying that you believe stuff that you also say that you don’t believe), I do like that having Muslims in London keeps shops open and taxis running on days like Christmas Day. Michael fixed a couple of Uber taxi rides for me, and both the drivers had Muslim sounding names.
I don’t know what the church is in 2.1 but it looks pretty behind that leafless tree. And Tower Bridge always looks pretty to me.
Re those two Tower Bridge shots, I’ve always liked how digital cameras do the opposite of the human eye, and turn urban skies bluer and brighter as they actually get darker. It’s all those orange-coloured artificial lights, burning relatively brighter as the sun sinks, together with the actual darkness on the ground, impinging upon the Automatic setting.
This morning I had reason to be in the vicinity of the Royal Opera House, Covent Garden, at about 10 a.m. Later you will learn why, but in the meantime, just to say that this uncharacteristically early-in-the-day expedition enabled me to reacquaint myself with an old friend, in the form of the delightful footbridge that allows the ballerinas of the Royal Ballet School to make their way to the Royal Opera House, without having to risk being damaged by traffic or by the public:
The ROH is on the right there. I like how the squares in the bridge echo the strong right angles of the building and its roof details.
I also like the blue sky. But, you think that’s a blue sky? That’s not a blue sky.
This is a blue sky.
Today I went walkabout in the City of London with my friend Gus, father of Goddaughter 1. This evening I found, for the first time, this short video interview at the Arup (his long time employer) website, done with Gus in 2010.
Here are four vertical favourite-photos I took:
On the left, Gus shows me a magazine picture of the Cheesegrater, taken on a much nicer day than the day, cold and windy, that we were having to put up with today. Next in line is one of those Big Things seen through a gap in the foreground shots, but with a difference. This time, there are two Big Things involved. There is a sliver of Walkie-Talkie on the right, and then way beyond it, you can see the Shard. Then, we see Gus joke-propping-up the miniature Lego Gherkin that is to be seen next to the regular Gherkin. On the right, Gus looks up at something or other, this being the best snap I did of him.
Now for all my favourite horizontals.
I’m too tired after all that walking about in the cold to say much about these pictures, but see in particular 2.1, which is, I’m pretty sure, some of the bolts, a few of which recently disintegrated. Now they are having to check all such bolts, and there are a lot.
1.1: Mmmm, cranes. Grim day, well done my recently acquired camera, good in low light conditions.
1.2: Canon Street tube. Designed like a bridge, said Gus, ace bridge designer, because under it there are tube lines which it is built on top of, like a bridge. This is the building I asked about in an earlier posting here.
1.3: I included this because of the sign saying “all inquiries”. All? You know what they mean, but there is fun to be had on the phone with this sign.
2.2: A Gherkin detail, is there because I said, when I saw it, that looks rather plastic. And guess what, it is plastic.
2.4: Shows us the Lego Gherkin in front of the Actual Gherkin
3.2: A more fun picture of Gus, featuring also: me, in the right hand purple circle.
3.3, 3.4, 4.1: All the Walkie-Talkie.
4.4: For scaring pigeons, something you seldom see from above. I saw this particular cluster of pigeon scarers while descending a staircase at Liverpool Street station. That last was the very last photo I took.
When I emerged from Pimlico tube, near my home, I was amazed at how dark it had become, at a quarter to four in the afternoon. Like I say, my new camera really did the business today.
Sorry for all the cock-ups and mispronts in this posting. I’m knackered and am now going to bed.
Do you remember The Navy Lark? Used to be on the radio. In it, I seem to recall Leslie Phillips, playing a young (that already dates it) sub-lieutenant, who used, from time to time, following a marine mishap, to say:
But, I can find no mention of this particular catchphrase in all the various Navy Lark sites, so maybe I invented it, and am remembering only how Leslie Phillips would have said this, had he ever done so.
Anway: Oh clang. Someone just dropped a bear bottle on that glass floor they installed only a fortnight ago at the top of Tower Bridge, and shattered the glass.
I did not see that coming. I thought glass for that type of thing was now strong enough to resist a falling small car totally unscathed, let alone a mere beer bottle. I thought that expensive glass like this only now shatters in movies. In real life, I reckoned until I read this, you now bounce off it, unless it is extremely ancient, as does a beer bottle. Apparently not. (Did the bottle break, I wonder?)
It appears that this breakage was, as it were, deliberate, in the sense that the beer bottle broke only the top ("sacrificial") layer of five different layers of glass:
The stunning attraction, which offers visitors a unique, if slightly terrifying view of the road-bridge and River Thames, 138 feet below, was shattered when a member of the catering staff working at the venue dropped an empty bottle while carrying a tray.
The glass floor, which was only unveiled on Nov 10, cracked and then shattered, leaving Tower Bridge bosses with no choice but to cover and close the section of the walkway affected.
Fortunately the design of the walkway, which is made up of five layers of glass in each pane, meant engineers could repair the glass by simply replacing the top layer, rather than the entire thing.
This news first broke, ho ho, on Twitter.
Reminder to self: Must visit this visitor attraction, just to find out what my very zoomy camera makes of it, from below.
Classic photo of photoers (which I found here):
It’s the new see through walkway at the top of Tower Bridge. All the reportage concentrates on what you can see looking down through it. But when I visit, I am going to check out what you can see photoing through it from below. Which will have the added benefit of being far cheaper.
Zoom lenses are rather good these days.
And guess what, I actually want other people to have the same idea, so I can photo them photoing upwards also.
Yes, dezeen (Dezeen?) continues to be a favourite wwwspot for me. Here are some recent dezeen postings that got my attention, for this or that reason.
First, news that there will be a viewing platform on top of the Walkie Talkie:
The Walkie Talkie Skygarden has yet to open and will, I’m sure, come with a catchier name. But already it is in obvious competition with the Shard – pricey versus free, ascetic steel and glass versus sylvan repose, supreme height versus not being able to see the Walkie Talkie. ...
Very droll. The original was about how you couldn’t see the National Theatre from the National Theatre. But me, I am warming to the Walkie Talkie, and I don’t just mean I’m standing under it and being fried. I especially like how it looks from a distance. The point being: it looks like the Walkie Talkie. Not just some anonymous rectangular London lump, no, that particular Big Thing. Yes it is not properly beautiful. But neither is London. Besides which, anything that just might compete down the price of going to the top of the Shard has my vote. I’ll definitely make my way up there, as soon as they’ll let me
Next up, isn’t fun when someone hitherto impeccably cool suddenly turns into Grumpy Old Man:
Speaking to Dezeen, the 85-year-old English designer said tech products like the iPhone and Apple Watch were turning people into zombies, adding: “I’ve got a certain cynicism of Apple and their motives. It’s a bit of a monster.”
“It’s a game they’re playing and it’s an absolutely straightforward, commercial, ruthless game, and it’s dressed up nicely because they’ve got some talented people in their employ,” he said.
Grange, who was knighted in 2013 for services to design, believes that the tech giant has successfully turned Modernism into “good commerce”, using aesthetics to dress up a self-perpetuating product cycle.
“There are probably few companies around now that absolutely answer the prospect that Modernism is good commerce,” he said. ...
Modernism is good commerce? Can’t have that.
… “They’ve been so bloody ruthless that you almost get no choice in the matter.”
“Almost” there means “not”. (See also: essentially, basically, fundamentally, etc. etc. etc.) Because actually, you get plenty of choice about whether to buy Apple stuff or not. Apart from one rather nice keyboard, I never have.
People always talk about the behemoths of capitalism like this, just as they are starting their long slide down into moderate size and moderate success, into business as usual. How do I know Apple is now at the top of that slide? Easy, they are building a custom-designed headquarters. It absolutely yells: from now on, all Apple-persons will talk to each other and keep everyone else out. And what they will be talking about, to an appalling degree, will be their own living arrangements inside this huge circular corporate burial chamber. They’re doomed, I tell you, doomed. Someone tell Sir Grumpy (above) that he can relax.
Next: what a driverless car might look like. Not. But, it looks very pretty. The basic point, that driverless cars will in the longer run utterly transform the look of the outdoors is, I think, a very good one. Maybe that is how some of them will look.
I really do not like the way this floating bikeway along the River Thames looks, in the pictures there. At the very least, I say, find a way to avoid having those obtrusive shapes above the level of the track, which makes it look like an infinitely extended item of tasteless garden furniture. I get it, that crap is there to enable it to float up and down on the tide. Well, find another way to do that.
Next, some excellent photos of the High Line, in New York. I especially like the distant aerial view of it curving its way over the Rail Yards, with the spontaneous architectural order of Manhattan’s towers in the background.
I do like this rectangular block of a house, but with one end lifted up. Usually the rectangular block houses featured at dezeen are impeccably, terminally tedious. But this one, I like. Apart from the fact that whenever the damn architect called round, you’d have to tidy up all your domestic crap all over everywhere, and turn the place back into the dreary corporate office it resembles in the photos. What is it with architects not wanting homes to look, inside, like homes, but instead like some kind of dystopian hell with nothing in it besides a wooden floor?
Here are some impeccably, terminally tedious rectangular type houses, in Japan. To me, by far, by several hundred miles, the most interesting thing about these photos of them is the amazing amount of electrical crap in the sky over the street outside. If I was photoing in Japan, I would be all over that. More Japanese sky clutter here, in photos of another impeccably, terminally tedious block house with an interior that also looked like a corporate office reception area when the photos were taken.
Google drones. Spooky.
Parisian blocks become wavey.
Finally what with this being Friday, some black cats with bronze bollocks. I kid you not.
I departed for France on Tuesday August 5th.
My flight from London City Airport to Quimper in Brittany was due for lift off at 11.40am, so I obviously had to leave home at about 9.20am, thereby reaching City Airport as early as I could without having to pay for the journey. (Old Git passes only cut in at 9.30am, or such is my understanding.) We infrequent flyers can’t be too careful. I would far rather wait two hours at an airport while reading a good book than endure any fear of missing my flight at any point on my journey to the airport, still less actually risk missing it.
One way to get to London City Airport would have been to take the District Line to Tower Hill, and then the D(ocklands) L(ight) R(ailway) from then onwards, with just the one (somewhat complicated) change. But my computer said it would be quicker to change twice, first at Westminster from the District Line to the Jubilee Line, and then again at Canning Town to the DLR. The Jubilee Line is quicker than the trundlingly antique District Line and quicker than the relatively new but cautiously robotic DLR, and it may also have realised that both these changes are far easier than the one change from Tower Hill (District) to Tower Gateway (?) (DLR). So, I changed at Westminster, and again at Canning Town.
All of which explains why, when I got to Canning Town, and was awaiting the DLR train on to City Airport, I got to see this:
I couldn’t believe my luck. I hadn’t even left London, yet already I was beholding once-in-a-lifetime wonders! For yes, your eyes do not deceive you. That is a crane, holding a bridge. I love cranes, especially when they are doing something interesting. I love bridges, especially new ones and especially when they are still being built. So you can imagine my delight at observing a bridge being craned into position, by a crane. And all of this presented to me as if by a performer who is determined to communicate to the maximum effect with his audience, assembled on the top deck of Canning Town Tube/DLR station.
On the left there, the first picture I took. On the right, a later picture which shows where the bridge was about to be deposited. There are two bright red bits, the same bright red as the bridge itself, clearly at each end of where the bridge would shortly be.
All of this happened on Tuesday August 5th. A day earlier and it would not have started. A day later and it would have been a fait accompli, with the installed bridge presumably looking exactly as it looks now. Only by being there exactly on August 5th, and only by choosing the exactly correct railway journey combination, was I able to observe this delight.
(Imagine if I had happened to sale past this, on August 14th 1999.)
My week in Brittany had got off to a great start.