Emirates Cable Car, East London. From Royal Victoria Docks to North Greenwich. 8th August, 2012. 13:43.
Wednesday, 8 August 2012
London by cable
Emirates Cable Car, East London. From Royal Victoria Docks to North Greenwich. 8th August, 2012. 13:43.
Friday, 3 August 2012
Priority seating
The crowded,
London-bound train had more or less emptied at West Ham Station, confirming my
suspicions that most of the afternoon passengers were headed for the Olympic
Games in nearby Stratford.
A few minutes later the train
pulled in at London Fenchurch Street – its final destination. The remaining passengers
began to gather their possessions and shuffle along the aisles towards the
nearest set of automatic doors. A little girl snuck in front of me and began engaging
a young blonde woman, who had remained seated, in conversation.
Girl (pointing to a sticker on the wall above the woman’s
head): "What does that sign say?"
Woman: “It says
'Priority Seating.'"
Girl: "What does
Priority Seating mean?"
Woman: "It means that
if the train is full and there's an old person, or a pregnant woman, who needs
to sit down, then you have to give up your seat for them."
Girl: "My mum’s
old."
This last comment drew an indignant
protest from the girl’s mother, who was part-way through an attempt to uncollapse a pushchair.
The rest of us, waiting to get off the train, did our best to politely stifle
our amusement.
(London Fenchurch Street Station – 3rd August,
2012 – around 2pm)
Wednesday, 9 May 2012
Made you look
Viewed from its bridges and from certain high vantage points, such a Parliament Hill on Hampstead Heath, the city of London broadens into a series of postcard panoramas. In the thick of the tall buildings that branch out in every direction from around its sprawling centre, the capital condenses into long vistas, offering occasional, incomplete glimpses of famous landmarks that loom in distance. It’s often the surprise sighting of one of these icons of metropolitan architecture that first alerts you to the fact that, somehow, you have been turned around by the slow creep between the compass points of an apparently straight road, and that you are now walking in a direction other than the one you intended.
If the grand sweep of London’s
infrastructure is imposing enough to monopolise the attention, then it’s the city’s underground rail system that puts the capital’s human geography under a microscope.
Close proximity to people from every conceivable background and nationality forces
your concentration away from the conflicting eye-lines of your fellow
passengers and onto the tiny revealing details lurking elsewhere about their
person - the grazes on the worn, supple black leather of a woman’s handbag; the
little finger of the Indian lady exploring the maze of her outer ear.
You might, with
the rattle of the train drowning out all but the loudest elements of a song on
your iPod, fixate your gaze a few inches to the left of the man sitting directly
opposite, on the raindrops clinging to the window behind him: The vibrations of
the carriage causing them to make a stammering, downward-diagonal transition
across the pane, and your own faint reflection, before merging into the rubber
seal.
Make these journeys
regularly and every so often you will encounter a person whose innate charisma draws
your attention towards them and encourages you to look in spite of yourself:
The sparsely populated carriage of the District
Line train, travelling in the direction of Tower Hill and beyond, was showing
it s age in an archaic layout and dated upholstery.
A beautiful,
middle-aged woman occupied one of the isolated seats near the doors, which in
moments of standing room only are reserved, by social convention, for the elderly,
the disabled and the heavily pregnant. Her face was heavily, but skilfully, made-up.
Her silver-grey fur hat, long dark hair and eastern European features made me imagine her as Russian. She was
wearing a thick, black woollen coat decorated with a white paisley design that
achieved complexity through repetition.
Resting on
her lap was a musical manuscript, printed out over several sheets of A4 paper,
with accompanying hand-written annotations and other passages that had been highlighted
in yellow florescent marker. Pausing over one section she resolvedly pursed her
lips and whistled a single line of melody in a manner that was both controlled and
utterly lacking in self-consciousness; it seemed her only intent was to explore and give
body to the flattened, 2-dimensional notes on the page.
I
disembarked from the train a few stops later, in the knowledge that I had been
allowed a rare, unfiltered glimpse into another human soul.
(Various tube journeys – February – May, 2012)
Thursday, 26 January 2012
The long distance call
The Ramostyle building on Noel Street is ugly from a combination of bad design and neglect, occupying a slender gap between two more substantial and better cared for blocks. It is semi-derelict on its lower two storeys, though the ground floor is in the process of being refurbished. Burglar alarms litter the fringes of the walls like lapel badges on a leather jacket: An off-white shield-shaped casing, prominently displaying the Banham company logo; a blue rectangular one with lots of tiny writing on it; an orange/yellow hexagon.
In the gloom of the deep-set porch there
is the suggestion of a door, slanted away from the pavement at an unwelcoming
angle. Adjacent to it a large plate glass window, filled, in its entirety, by a
cream-coloured blind composed of tiny horizontal rectangles, obscures the
unevenly lit room beyond. The only clue to its contents is provided by the murky silhouette of a flat, squarish object,
propped up against the interior face of the pane.
Above the window a matt grey sign,
smudged with faint vertical streaks of rust and grime. bears the name of the
building embossed in capitals and set apologetically off-centre. In the blank
space to the right of it somebody has pasted a quintet of bill posters – three
in a row advertising the debut album by Maverick Sabre, followed by two for new
single by Azari & III; indicators of a city racing ahead of its redevelopers,
reclaiming the unused space of a property in limbo.
Beyond ground level a narrow grey
facade, incorporating two separate columns of windows on each floor, is flanked
on either side by pillars of dark red brick. The windows on the first floor have
an empty, abandoned look about them, obscured by grubby, white, vertical strip
blinds. On the left these have been pulled to one side exposing a thin triangle
of dust and darkness.
The remaining storeys above are
well lit and appear to function as offices.
A woman on the fourth floor is
waving at two middle-aged couples who are standing on the pavement on the
opposite side of the street. Separated from each other by the road, a row of
parked mopeds, the glass and concrete skin of the building, and four flights of
stairs, they garnish an enthusiastic shared conversation on a mobile phone with
improvised semaphore.
Monday, 23 January 2012
The Escape Committee
At Leicester Square tube station, a
bank of three long escalators bridges the divide between the sub-surface
ticket hall and the lower lobby that connects with the platforms.
Currently only one of these moving
staircases is ferrying passengers down into the bowels of the station. Of the
two travelling in the opposite direction, the centre-most one has been blocked
off by a quartet of the Transport for London workers, who are gathered around a
middle-aged man in wheelchair. As they contemplate the steep ascent, the disabled
man appears to provide input with animated hand gestures.
Suddenly, with the coordination of
a bobsleigh team, a pair of the Transport Workers roll the chair onto the flat
part of the escalator. As it begins to climb and the stairs separate, they take a from grasp of the handles allowing their passenger to tilt back slightly, while keeping
him wedged firmly in place.
The remaining duo keep vigil at the bottom, barring anybody else from boarding.
The remaining duo keep vigil at the bottom, barring anybody else from boarding.
Thursday, 19 January 2012
Contested territory
It’s a few days before Christmas. Oxford Street has been
closed to vehicle traffic between the Circus and the junction of Tottenham
Court/Charing Cross Road, leaving it open to colonisation by meandering shoppers
and other opportunists, who are readily making use of this suddenly available public
space in the centre of London.
Outside the big HMV, opposite Marks & Spencer, a dark
green tramcar, plucked from a bygone era, doubles as a stage backdrop for a quartet
of young men dressed up in frock coats and stovepipe hats, in the manner of Victorian
dandies, as they perform studiously shambolic versions of old music hall numbers
on an accordion, a metal washboard, a small guitar and a double bass. Their
singer, who is clearly relishing his role as the overly-effete master
of ceremonies, announces to the small crowd of onlookers that their next song will be A Proper Cup of Coffee, apparently unaware
that trouble is looming on the horizon:
A brass band, marching under an inoffensively-secular, festive
standard, consisting of a pair of giant red globes, is advancing at a steady
pace from Oxford Circus. As they draw closer the chirpy sounds of vaudeville are
gradually drowned-out. By the time the band
have taken up position outside the doors of their sponsor, Marks & Spencer, the faux Victorian fops have tailed-off
in disarray, no longer able to make themselves heard.
The brass band strikes up Jingle Bells. In a sudden moment of inspiration the four young men
rally and begin playing along, their studied lack of professionalism poking a
cheeky elbow in the ribs of their note perfect neighbours.
In the aftermath there is an uncomfortable stalemate, with the
musicians in the brass band having realised that they have trampled over somebody
else’s performance.
“Christmas,” observes
the chief dandy, “is not just about the big red inflatable balls.”
Sunday, 23 October 2011
Bateman Street W1 – Saturday, 22/10/11, Midday
Those pale, double yellow lines are in the process of being
gnawed off the bumpy road surface; gathered up in the tire tread; in the intermittent
crawl of traffic bogged down in a maze of Soho streets narrowed by parked cars;
by lorries and vans making deliveries. Made hazardous by the unpredictable behaviour
of pedestrians.
Stripes of tarmac reflect the layout of underground cables
and pipelines. The gutter’s come away curb leaving rocky black gullies of varying depths
to fill up with the water that slops from the buckets of window washers and streams
down the gleaming plate glass of cafes and restaurants. This chain of small lakes
lends the impression that you’ve arrived in the aftermath of an intense rain
shower; one that vanished as quickly as it appeared, the dark clouds swallowed-up by the pale blue sky.
Outside a restaurant, a tawdry, ornamental statue of a greyhound, squatting
down on its haunches, shoulders its wear and tear with dignified indifference – large white chips in an otherwise
smooth black finish. A noose of chain-link around the dog's neck fastens it to some
railings that border a descending staircase.
At the far end of the street, the name of The Chinese
Mutual Aid Workers Club is spelled out in bold gold letters in a panel
above a wooden door that has been varnished to a rich bronze. On the black tiled
porch step a tall glass lies on its side.
A barred iron grill, mounted over an arched window with
its top sheered off, restrains a large grey window box containing a half dead
plant – a collection of sticks splayed out in multiple directions incongruously
garnished with red berries The cream façade
of the ground floor, shows patches of bare plaster work. On the two upper
storeys the architect surrendered to neat rows of brown brick. Two columns of
filled-in windows fringed in red brick.
An aluminium cigarette bin, mounted on the ground floor
corner wall, has been plastered with a small square poster; the blocky, black and
white pixels of a QR code awaiting the attentions of a mobile phone scanner.
A man who could be homeless or dressed-down swerves between
two couples:
“Excuse me I want to kill myself.”
“Nobody’s stopping you.” mutters one of the men darkly.
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