Architecture – Page 2 – Brian Micklethwait's New Blog

Propping up a new facade

Incoming from Cousin David:

Here is a pic which my daughter Molly photoed the other day when we were on a bicycle ride somewhere between Stratford and Bow – thinking that it contained elements that would appeal to you. What is curious is that the flat bit looks as if it might be part of an older building that is being preserved while new parts are built behind, but in fact it seems that it is new – and the rest of the building will be added to it. Another flat bit is going up in the background. Dashed odd!

Cousin David, to whom thanks (and thanks also to Molly), is entirely right that this photo appeals to me. As he knows, I have several times featured photos here of Ancientist facades being propped up while Modernist interiors are attached to the back of them. The triumph of Modernism but only indoors being a phenomenon of particular interest to me.

But, as he also probably knows, I have never featured a new and Modernist exterior being propped up on a building site in the same manner.

My guesses, and they are only guesses, are that, first, the standard of finish required for a building’s facade are easier to insist upon in a specialist factory than on a rather chaotic building site, and second, that having been perfected as a technique for propping up Ancientist facades, this propping up trick was then easily applied to another sort of facade. Finishing Modernist interiors in a factory makes less sense because they would be too bulky to bring in on a lorry, whereas the rectangular bits of a facade, being flat areas rather than volumes, sit quite well on a lorry. Also, once the three dimensional structure of a building is done, on site, it then protects the process of perfecting the interior, because that process can also then happen “indoors”, just as it does in a factory. (There may be a comment on this bit of this posting, mentioning a building in Croydon made of shipping containers, from the friend with whom I visited Croydon recently.)

Also, there’s a crane.

I now particularly welcome such incoming photos, what with me now being able to get out less. However, if you do send a photo in, you’ll be hard pushed to improve on the above photo in my eyes, because David realised that although I had observed this approximate phenomenon in action before, he also realised that I had probably not seen this exact version of it ever before. Certainly, if I ever have seen it, I have only now noticed it. Like I say, my thanks to him and to daughter Molly.

Brexit didn’t stop London’s cranes

While I’m on the subject of postings past, here is one from the old blog from exactly five years ago, featuring a crane cluster photo, which I have also just transferred to here. Brexit was then being hailed by its enemies as the latest bringer of economic doom. So, I asked, would Brexit mean the departure of all the cranes from the London skyline?

Hasn’t happened so far. I’m not getting out nearly as much these days as I’d like. But, here is a photo that a friend recently photoed in Stratford, with all its Olympic stuff, of the present state of the Olympic village:

It’s been a while since I’ve even set eyes on all the cranes in the Battersea/Vauxhall area, but they can’t all have disappeared by now, even if their number may now be starting to diminish.

And if the story I linked to recently about how there are 587 new towers in the pipeline is anything to go by, the cranes will be around for quite a while.

2008 and all that didn’t stop the march of the cranes, and Brexit hasn’t either. People all over my bit of the internet are celebrating that Brexit, economically, seems to be working out okay, five years after the vote. This has been my celebration.

Stormtrooper in Croydon

Here’s the other odd thing I saw in Croydon yesterday, and after that, I’ll concentrate on the more serious stuff, the sort that will require an essay. So, here’s the weirdness:

On the left, well, that was the scene the friend I was meeting up with (a regular commenter who can decide for himself whether to be identified here by name or not) saw, when he said “Oh look, there’s a stormtrooper in one of those windows.” Not having his eyesight I had to be told where to point my camera, photo the photo, the photo in the middle of the above three, and then satisfy, myself by expanding the photo on my camera screen, that there was indeed a stormtrooper to be seen. And photo three is the money shot, or would have been if I were the kind of photoer who ever got paid money for photoing which of course I am not.

Without my friend to tell me about this stormtrooper, I could never have photoed it, because I would never have seen it. So, thanks mate.

And now that I know about this stormtrooper, I can go a-googling and ask: Is this stormtrooper one of these guys?

Coming soon (I hope (I promise nothing)): The tallest tower in Croydon, in colour. Also, another look at No. 1 Croydon.

A Helter Skelter ghost sighting in Croydon

Yesterday I visited Croydon, and one of the more entertaining things I saw and photoed was this, of the frosted glass windows of the exit that rises slowly up from East Croydon station platform towards the main entrance:

Which is London’s most remarkable Big Thing? The Shard? The Gherkin? The Wheel? The BT Tower? The Walkie Talkie? The new and biggest one one still known only as 22 Bishopsgate? I hereby nominate: The Helter Skelter.

The two remarkable things about the Helter Skelter, a representation of which is to be seen in the above photo on the right, is, first, that it was never built, but, second, that the way it would have looked if it had been built still lingers. It certainly lingers here.

The expression “can’t wait” is overused, by people who can wait easily enough but who would rather they weren’t having to. But, those designers whose job it was at that particular moment in London’s history to plug London, by reproducing selections of its Big Things, actually could not wait until the Helter Skelter was finished before they started incorporating its presumed likeness into their designs.

City Big Things photo

I love photos like this, looking up at the City of London’s Big Things, which I found above a piece of “partner content” at the FT:

Like I say, I like photoing upwards at the City of London’s Big Things.

So, although that “partner content” is very dreary, I do like the photo.

A way to think about photos is to arrange them along a spectrum, at one end of which is a photo that looks exactly as whatever it was looked like if you had been there yourself. But at the other end of the spectrum are photos which emphasise how differently the way the camera can sometimes see things to the way we humans do, and makes whatever it is look quite different to the way we’d mostly see it. Both sorts of photo are worth doing, one way or the other, depending on what you and trying to do with the photo. I’m just saying that they’re two distinct ways to do photos.

Because of all the reflections in the above photo (helped by the the fine weather), because of the untypical direction things are being looked at from (cameras (especially cameras with twiddly screens) don’t get cricks in their necks), and because of the difference between how humans see perspective and how cameras typically do this (this difference being why human artists actually had to discover perspective), this photo is much nearer to the looks-different-from-how-it-looks-to-us end of the spectrum.

Which is all part of why I like it.

Vauxhall views two decades apart

In 2000, I was mostly using my very first digital camera, a Minolta Dimage, to photo people, but I did also photo a few buildings, such as these ones. This is Vauxhall, seen from downstream:

And here are the same buildings, with recent additions and subtractions, as best I could find in my more recent photographic efforts, in 2020:

The two spots I was standing at are by no means identical. Different bridges, I’m pretty sure. And the angle is somewhat different. But, I hope you get the pictures.

The trick of photoing buildings, for me, is to focus not so much on the unchanging monuments, but for me somehow to divine which architectural scenes are about to change.

Failing that, as I typically do, I need to get lucky. And I got lucky-ish with these.

Cropping was involved to create both of the above images.

Pavlova from a distance

If in doubt, here at BMNB, I go with Pavlova:

Okay, not bad. But the interesting thing is how far away I was. This next photo, done about a minute later to emphasise this, shows that we are actually way down Victoria Street, next to House of Fraser, quite a bit further away than, say, Westminster Cathedral:

That vertical smudge of sunshine between the big column in the foreground and the building on its left as we look is where a tiny and distant Pavlova was doing her dance. My eyesight is such that although I knew that’s where she was, I couldn’t properly see her.

But my camera, a rather recently acquired Nikon B700 (and yes mine is red also), was able to see Pavlova very clearly. Although, the slightest motion of the camera meant I completely lost her from the picture, so I had to have several goes at photoing her before I got what I wanted.

I wish I could tell you that these photos were photoed in the last day or two, but sadly, they were not. Last September.

Two photos of Frank Gehry’s Guggenheim Museum in Bilbao

Most internetted photos of Bilbao’s Guggenheim Museum, designed by Frank Gehry, look like this:

Which I found here.

But the fact that almost all the internetted photos of this building look like that is misleading.

Here is a corrective, in the form of the exact sort of photo of this building that the pros earn their money by doing the exact opposite of:

Yet one more illustration of a belief I have long held about us amateur photoers, which is that we amateur photoers often tell you more about how a building actually looks, if you actually go there, than many of the photos carefully contrived by the professionals.

I hope that Michael Jennings does not object to being called an amateur photoer. By this I do not mean that he is a bad photoer. On the contrary …

I also particularly liked this photo of Michael’s, of Bilbao’s big transporter bridge

Rapid electric charging station in Woolwich

Further to this posting about electric cars, incoming from Alastair, photoe by him a few days ago:

The temporary railings show that this is new.

Everything depends now on the cost. Can you get further, for less, with one “filling”? If so, then there follows the rapid switch, followed presumably by a price hike (to stop regular electricity bills going through the roof and (worse) regular electricity supplies being buggered up and to encourage popular demand for new power stations (surely including nuclear)), followed by the slow but sure demise of the petrol car.

I take the point made in the comments on the earlier posting about how this will cause demand for electricity to rise. Nevertheless, a step-by-step process is easily imaginable, unlike with electric scooters going more than trivially faster than regular scooters. Electric scooters of a speed worth bothering with will require infrastructural upheaval. The difference between building this charging station, and that power station, repeatedly, each in just the one place, and on the other hand re-building the entire road system, all gazillion miles of it, to the disadvantage of all larger vehicles (definitely including electric cars), at huge expense, is all the difference.