Wandering about afterwards

I’m still on about last Tuesday, and about what a fine day it was to be taking photographs, and about what sort of photographs I took.

First there were those brightly coloured buildings, then the Tottenham Court Road grubbings, and now … the rest.

I confirmed that the weather was going to be just as fabulous as the weather forecasters had been saying for the best part of a week that it would be, from the moment I stepped out of my front door. Because, what I then felt was that very particular early spring experience, namely: feeling warmer than I did indoors. It comes from the bricks in my home being a heat store, or in the case of winter a cold store. To be more exact, the sun outside is hot and it warms up the air outside a treat, but it will take way longer for it to warm up those bricks, still busy sucking the heat out of my indoors.

So, I was in a fine mood from the start, and duly ticked off my official objective (plus second semi-official objective close by), so that the other half of the fun might begin. For me, the point is to get out there, preferably to places I have not visited lately, on a fine day, and to make sure I set forth with appropriate resolve and soon enough for it still to be light, I need an official objective. Those coloured buildings served that purpose very well. But then, there followed the unofficial pleasure, so to speak, of just meandering about and noticing things.

If you only click on one photo of those below, click on the first one, top left. That scene was actually quite a long way away, but thanks to the brightness of the sunshine and the power of my zoom lens, it looks like I’m right next to it.

Otherwise, there are my usual preoccupations. There is scaffolding, the other scaffolding being on Blackfriars Bridge, middle middle, where they are still finishing the new station on the bridge, with its oddly fluctuating roof. There are cranes, the same cranes each time, I suspect, on the top of a new erection arising somewhere on the other side of the river, between Waterloo and Tate Modern. And there is a particularly choice reflection effect, this time (I am almost certain) Tower 42 (the NatWest Tower that was) torched by the evening sun and reflected in the glass at the top of Tate Modern. There are bridges, no less then three in the picture bottom left, and five different bridges if you also count the ghostly columns of the Blackfriars Bridge that never was, next to Actual Blackfriars Bridge. And seven if you could the three views of the Millenium Footbridge as three different bridges. There is the Wheel, twice. And photographers of course, thrice.

I sought out the river because, as the light began to fade, by the river there would still be a huge (completely cloudless) sky full of the stuff to sustain me, in contrast to the streets north of the river where the light struggles to reach ground level.

Crossrail grubbings

As soon as I had finished looking at those brightly coloured buildings designed by Renzo Piano, I also took at look at the bottom of Centre Point, where they are doing Crossrail.

“Grubbings” is a word I inherited from my late father, along with his fondness for the thing that grubbings describes. Grubbings are big building projects in their early, especially below ground level, stage, when they are … well: grubbing, rather than building upwards. My father loved grubbings, and so do I.

It’s often hard to photo grubbings, because they often put a high fence around them and there’s no convenient high-up spot nearby to look over. But at this site, you can climb up some steps (top left) to a Centre Point entrance on the first floor, and photo through the mesh that you see in most of the other pictures.

Even with the internet, it can be hard to know how these kind of things are going to end up. Okay, here are these computer fakes of how they had in mind two years ago for it to be, but who knows if that’s still what they’re thinking.

There is also the fact that there are often so many images of how, at various stages in the design, they envisaged things looking, that it’s hard for a more casual onlooker to keep up. Simpler to just wait and see.

It reminds me of how the Brits confused the Argies during that Brits versus Argies war. Instead of not telling the Argies their plan, the Brits did tell the Argies their plan, and all the other plans the Brits might just as likely be following. The British newspapers were full to the brim with every imaginable plan. And the Argies were baffled, trapped in the headlights of too much information, all of it suspect of course. That’s sometimes how I feel when trying (admittedly not very hard) to find out how some big grubbings in a big city like London are going to end up looking.

Originally posted at Brian Micklethwait’s Old Blog

Piano strikes the right note again

Ever since I was reminded of those highly coloured buildings near Centre Point I have been meaning to check them out.

Yesterday, as I had been intending to do for several days, having known for several days of the excellent weather that would prevail yesterday, I did this.

Almost as striking as the buildings themselves are the reflections of their bright colours in nearby windows, and in fact my first clue that I was in the vicinity of my architectural prey was just such a reflection.

Here are some of the pictures I took, in the order I took them in:

I really liked these buildings. I had feared 70s style vulgarity. They are better than that, much better.

And I came to this conclusion before I learned, this evening, while concocting this posting, that they are the work of Renzo Piano. That’s right, the very same man who also designed the Shard:

You might also have once said the area was grey, but not any longer. If you go there now you will see a series of slabs of colour – orange, red, apple green and lemon yellow – vibrant as a row of casseroles in a Conran shop, rising 12 storeys into the sky. These belong to Central St Giles, a nearly complete office development by celebrated Italian architect Renzo Piano. “I wanted to make a building that smiles,” he says in explanation.

And to my eye he as succeeded. He hasn’t just supplied bright buildings. He has brightened up the whole area. I hope they don’t fade, or that if they do, they will be easily restored to their current brightness.

When photoing these colourful slabs of modernity, I concentrated on their sunny side, the south side. When the weather is warmer, I will surely return and check them out some more.

Originally posted at Brian Micklethwait’s Old Blog

Me and the Six Nations under the weather

One of the about seventy seven signs of aging is definitely being more sensitive to the weather, and in particular the cold. I remember feeling this way as a small child, when first compelled to travel every morning to school. Now, I feel it again. I actually “caught a chill” earlier this week, and had to take to my bed for a whole day.

However, I will soon be getting out from under the weather, if the next ten day weather forecast is anything to go by, which it is. As of today, it looked like that (see right).

Talking of short range weather forecasts, James Delingpole did a silly piece in the Daily Mail a while back, saying the Met Office is a total waste of space. But it is precisely because the Met Office’s short-range weather forecasts are generally so spot-on that its mad opinions about the weather in the more distant future are taken so seriously. If the short-range forecasts were as bad as so many unthinking idiots say, the Met Office wouldn’t be half such a menace on the C(atastrophic) A(nthropogenic) G(lobal) W(arming) front. This Delingpole article played right into the hands of CAGW-ers. Asked the New Statesman: Was there ANYTHING in James Delingpole’s Daily Mail piece which was true? Yes. The Met Office is bonkers about CAGW. But Delingpole’s attempts to prove that the Met Office never gets anything right were indeed ridiculous, and did the anti-CAGW team no favours at all.

But I digress. To more serious matters. There is another reason I am glad the weather is going to perk up soon, which is that rugby matches are far more entertaining when the weather is nicer.

The Six Nations began with what the commentators were all telling each other was one of the best Six Nations first weekends ever. All three games were full of tries. England won. Okay, only against Scotland, but they won, and actually Scotland are looking a bit better now, with some backs who can actually run fast. Ireland and Wales scored lots of tries against each other. Italy beat France. It doesn’t get much better for an England fan.

But then the weather turned nasty and the games turned attritional. England beat Ireland, but nobody scored any tries. England beat France, with one fortuitous England try which shouldn’t have been allowed. Italy reverted to being … Italy. The one truly entertaining thing about the next two weekends, after the entirely entertaining first weekend, is that now it’s England played 3 won 3 and France played 3 won ZERO! Arf arf. Sorry Antoine.

Talking of England v France, I’ve been reading (and watching the telly) about the 100 Years War. And it seems that towards the end, the French cheated by having guns. That explains a lot.

So anyway, no more 6N rugby until the weekend after next, and I really miss it, just as I did the weekend before last. The Six Nations takes seven weekends to get done, with weekends 1, 2, 4, 6 and 7 being occupied with games, and weekends 3 and 5 being skipped. During weekends 3 and 5, I pine, and watch ancient rugby games, the way I never would normally, to fill the rugby gap.

The best ones I recently watched were two epic Wales wins against France, in 1999 (France 33 Wales 34) and 2001 (France 35 Wales 43), on VHS tapes. Sorry Antoine. But the next one I’ll be watching will be 2002 (Wales 33 France 37).

Originally posted at Brian Micklethwait’s Old Blog