September 2020 – Page 3 – Brian Micklethwait's New Blog

Window pane sucker

Today I did the longest walk I’ve done in a month. I could show you a photo from that, but honestly, it would be quite the effort, after all my earlier efforts.

So this, when I got home, was a very nice surprise. GD2S, whom regulars here may recognise from that acronym and who for the benefit of irregulars is a lady friend of mine, sent me this photo that she had photoed, of men at work, with a window pane sucker and a crane:

Manhandling big sheets of glass into place on the outside of buildings is central to what the latest architecture now is, as anyone who pays attention to these things will already know. Typically, these days, the outside of a building is covered in sheets of glass so big that getting them up inside the building would, as likely as not, be impossible. So, the skills you see being applied in the above photo are doubtless finely honed. Especially when you consider how expensive, in cash and confusion, a mistake would be.

Come to think of it, here is a photo I photoed late this very afternoon, illustrating the exact trend I’m talking about:

There, in one photo, is that trend. In the foreground, we see Architectural Modernism from the Concrete Monstrosity era, with its windows all of a manageable size and uniformity and frankly not looking that expensive. Lose one of those window panes and getting another wouldn’t have been much of a bother. But in the background, rising up in the new new iconic style, is One Blackfriars, entirely covered in sheets of no doubt fabulously expensive glass, each sheet a different size and shape, capable of resisting all that the weather can throw at it. I presume that a fabulously more elaborate version of what is to be seen in the first of these photos is how all that glass got itself into place.

But, as of now, I am too knackered to pursue the matter, and if I’m wrong, I’m wrong. Whatever the real story, I still very much like that first photo there. I don’t know where it was photoed Somewhere in London, with an iPhone, is all I can tell you.

I really like all the reflections in that photo, in the regular windows, and in the new window that’s just arriving.

We won!

Quota photo time. Need to get out and enjoy what could be the last day of summer.

So, a posh car:

I definitely wouldn’t want the bother and expense of owning a posh car, but I do like to photo them.

That bit of heraldry you can just about make out on the roof of this roller tells us that actually, this is a Westminster City Council car, with “WE” standing for Westminster.

But at first I thought that “WE1” meant something much more boastful and private sectorish. (See the title above.) This number plate is rather wasted on the Council, I think. Or then again, maybe the boss of Westminster City Council does like reminding people that him and his team won.

That was photoed just after Christmas 2015. More to come this evening, I hope. With maybe a photo or two actually photoed today. I hope.

This is why they call it death bowling

Shaheen Shah Afridi, bowling for Hampshire against Middlesex this afternoon:

All bowled. And that, ladies and gents, is how you finish off a T20 cricket match.

Hampshire had only won the one game in this tournament until today, but at least they finished well. Last four balls of their season, I think.

Surrey also did well today, against Kent. Surrey were terrible earlier in the season, but are now on a T20 roll. Jason Roy today made 72, which is about as many runs as he’s made in all the other games he’s played this year, for Surrey and for England.

LATER: Closer than “about”. Roy got 72 today, and before that had scored a total of 73 runs in all other games this year, 49 for England, and 24 for Surrey.

Tom Harwood on the party politics of Covid

Tom Harwood, tweeting in response to a Guido tweet reporting that Starmer will support all government Covid restrictions:

On the areas it might be useful to have an opposition, we have no opposition.

I agree.

Where are the voices asking at what point do lockdown measures cost more than Covid?

No, that’s rather wrong. Lockdown is not only harming everything else; it is also doing no good on the Covid front at all. The only good thing you can say about these measures is that they are failing to accomplish their purpose. They are not stopping the spread of Covid, which is good, because the sooner Covid has done its spreading, the sooner this nonsense will be over with.

The cost of Covid itself will be what it will be. Whether the frenetic failure to control Covid will cost more than Covid itself is a way to dramatise the costs of this failure, so good in that way, but not the basic point. Which is that these restrictions are doing no good whatsoever, and costing us all a fortune, and should accordingly end. Whether Covid is nasty (I think it is quite nasty and very nasty indeed for those clobbered by it), or in particular is nasty compared to the cost of the restrictions, is only being vehemently argued about by people who don’t understand the essence of this argument.

But the essence of Harwood’s argument is that there ought to be some political opposition happening, and that’s right.

Harwood’s tweet then adds, and ends with, another potent party political point:

You’d think if there ever were a niche for the Lib Dems this would be it but they dropped liberalism long ago.

Just what I had not been thinking. When did I stop despising the LibDems and start ignoring them?

I think I just fisked a tweet.

London from the air – in 2005 and in 2020

I’ve written here a few times about London City Island, and how a sort of mini-Manhattan of unspectacular but decent looking apartment tower blocks have been built on it.

Well, here are a couple of aerial shots that show that having happened. Here is how things in that part of London were looking in 2005:

And here is the same view now:

This blog actually knows a couple of people who have regular jobs doing tech stuff, but who also in their spare time own and operate photo-drones, and who sometimes visit London. These two are really good photoers, even if they may not be quite your Real Photographers, in the sense of making their living photoing, all their working life. I wish I could tell you that it was one of them who did the above photos, but actually, these photos were done by Jason Hawkes, who is as Real a Real Photographer as you could ever wish to drool over the photos of. (Besides which, no drones in 2005.)

The above two photos are just one pair of before-and-now, 2005-and-2020, photos featured in this amazing Guardian collection of photos of London from the air, with commentary by Hawkes himself attached. All you can do here is scroll back and forth between one such pair, reduced in size to fit here. If that amused you at all, you really should click on the Guardian original, and then scroll down and click on each photo to get the other version. There are, by my count, thirteen of such photo-pairs.

Amazing.

Although this wondrous Guardian offering is a “mainstream media” story, there is no way that it could be shown in all its glory in a mere newspaper. Was any of this in the actual Guardian, the one done with paper and ink and sold in shops?

Taxi-with-advert photoed in 2005

Indeed. There I was, in 2005, out and about in London, photoing things like this:

… which even by 2005 was fairly routine for me. But then, later the same day, in Battersea, walking beside the River with a friend, I photoed this:

That was with my old Canon A70. But I didn’t get properly interested in taxis with adverts until a decade later. Why not? Don’t know. Ancient cars like that Austin A30 (I think), I was already obsessed with photoing.

The advert in the above taxi-with-advert photo was for a West End Show, which The Guardian approved of. I probably wouldn’t have, because that’s the stand-up and stomp-about-all-over-the-stage-like-a-lunatic comedian Lee Evans there, on the taxi. I found his comedy performances frenetic, in a bad way. He would sweat appallingly when performing. So, it was the comedy of embarrassment, and I was just embarrassed. I didn’t even smile, so I stopped watching him. Is he still doing this?

Perhaps he was better than that in The Producers, having been told to calm it down a bit.

One phone call

Alexander Larman writes, in The Critic, about the catalytic phone call, from a movie maker to a writer, that resulted in Goodfellas getting made, thirty years ago:

Scorsese told Pileggi, “I’ve been waiting for this book my entire life”, to which the understandably overwhelmed writer replied, “I’ve been waiting for this phone call my entire life.”

Good to see The Critic getting noticed by Instapundit, which is how I came across this.

Red dog – red cat

Mick Hartley has been spotting red pets, out East in Mick Hartley land:

Woof. Miaow.

In London, and I suspect elsewhere, interesting new murals now seem to be more numerous than interesting new buildings. And more interesting, I’d say. To put this another way, murals are now the latest architectural thing.

One of these muralisers should be let loose on this building.

The only house Zaha Hadid ever designed

Zaha Hadid Architects interests me because, Zaha Hadid having herself died, it is now run by a libertarian, Patrik Schumacher. People like this are rare, and we libertarians must make much of them. Also, they are interesting.

So, this house interests me:

That looks rather small. Rather disappointing.

But look at this:

That being, I presume, a faked up photo beforehand of how it was going to look. Now you’re talking. Because of the rather odd procedure I found myself using to get that photo from here (where I found the above two images) to here, I found myself emphasising the darkness of the place where this house was going to be built, making it look even more like a spaceship than, I presume, it actually does.

The bit at the top is not the Bridge of Starship Enterprise. No.

The 36,000-square-foot home, formally dubbed “Capital Hill Residence,” has many unique features, but one of the most outstanding may be its narrow tower, and what it supports — namely, the master bedroom, situated over 100 feet high. The tower’s supporting column includes a glass elevator and staircase.

Now that’s a Master Bedroom. Feminists: cower in terror. I love that it’s a woman that designed this. Would any male architect now dare to create such a thing? I also wonder, did Zaha Hadid ever have any run-ins with feminists? That would have been fun to see.

I particularly enjoyed the bit where Zaha Hadid first got the job, from the Russian oligarch who paid for all this:

“She drew a sketch on the napkin and I said, ‘You’re hired.'”

Classic Because-We-Can! architecture. In my version, La Hadid does her sketch on the back of a restaurant menu, but otherwise, it’s just like I said.