Jiro Osuga Departures Flowers Gallery 82 Kingsland Rd, London E2 8DP 19 May – 1 July 2023
Last Thursday I was delighted to attend the opening of the latest show by Jiro Osuga, Departures at the Flowers Gallery in Hoxton, London.
I’ve known Jiro for many years and have long admired his work in previous shows at Flowers, including in 2009 when I wrote here about his transformation of their Mayfair gallery into Café Jiro, (more pictures on My London Diary) later shown in the real Queen’s Terrace Café run for a few years by london and art historian Mirelle Galinou.
The work from ‘Café Jiro’ also featured in ‘Pub Jiro‘, his takeover aided by Mireille of the upper floor of the Horse & Groom in Streatham, part of the 2017 Streatham Festival and celebrating the publication of her The Streatham Sketchbook.
Jiro has also been a great help in the hanging of several of exhibitions I’ve worked on over the years, I think the first of which was Cities of Walls, Cities of People in 2001, which I curated for now long missed London Arts Café.
I don’t often review art shows, though I used to write much more about photography exhibitions, and I won’t say a great deal about this one, which I think is Jiro Osuga’s most ambitious and impressive to date, transforming the large space of the Kingsland Road gallery into an airport departure lounge, covering the walls with giant paintings which, according to the gallery cover more than 160 square metres.
The gallery web site shows the works but to really appreciate them you have to go there and stand in the space, where they are far more vibrant and enveloping. Or perhaps you really need to sit and contemplate them, enjoying the wealth of objects and characters from painting, film and real life they include. As the gallery states, the paintings creat “an unfolding state for individual and often unexpected narratives to occur“. There is an immense wit and imagination in this and other work by Jiro.
Actual airport departure lounges are some kind of hell of consumerism, to be avoided at all costs (and part of an industry that is costing the earth.) But don’t miss spending some time with this work, on show until 1st July 2023.
There are more pictures from the opening in my album Jiro Osuga – Departures Opening. I haven’t named those shown in the pictures, though some may tag themselves, but you may recognise two fine photographers as well as others among them.
Last Friday I went to the first day of the Fight4Aylesbury exhibition which continues until 23 April 2023. It’s an unusual exhibition and one that is worth visiting if you can get to south London before it ends,
The exibition celebrates the struggle by residents on the Aylesbury Estate in Southwark to stay in their homes since the estate was first threatened in 1999 and takes over the flat of one of those still remaining, Aysen who writes:
Welcome to my home.
I am opening the doors to my flat for a collective clelbration of 20+ years of housing struggles to defend our council homes against social cleansing and gentrification. Our fight is ongoing.
Since 1999 the council has subjected us with privitisation, “re-generation” and now demolition. We, Aylesbury residents, other council tenant all over the country, and our supporters, have been resisting and are still resisting and defending our homes.
My home tells the story of this struggle.
Aysen
You are invited to Aysen’s council flat on Aylesbury Estate to celebrate 20+ years of housing struggles for housing justice and against gentrification, social cleansing and demolition of social housing. The flat has been transformed into a living exhibition with flyers, posters, video, audio and installations on housing struggles.The exhibition is in this block, Wendover
The Aylesbury estate, designed by Hans Peter “Felix” Trenton was one of the largest areas of council housing in Europe, built from 1963 to 1977 with 2,700 dwellings for around 10,000 residents in an area containing some earlier social housing a short distance south of the Elephant and Castle between East Street market and Burgess Park.
There are a number of large blocks of various heights, from 4 to 14 floors, all well designed and built to the high standards of the era, with rather larger rooms and more solid walls than current buildings. The estate also had a central boiler to supply heat more economically to the flats.
Southwark neglected the estate in the 1980s and 1990s, failing to carry out necessary maintenance and the estate and the estate environment became in poor conditions. The heating system in particular suffered. Southwark began to use this and the neighbouring Heygate Estate as ‘sink estates’, deliberately moving in families with various social problems and people with mental health issues. It was because the estate had become unpopular that Aysen, who had to leave Turkey after the 1980 coup, was able to get a flat here with her sister in 1993.
The estate came to get a reputation as “one of the most notorious estates in the United Kingdom“, reinforced by it becoming a popular area for TV crews filming “murder scenes, gun and drug storylines and gang-related crimes in soaps and gritty dramas.” In particular from 2004-15 Channel 4 used it in an “ident” for which they had added “washing lines, shopping trolley, rubbish bags and satellite dishes” to create what was described as “a desolate concrete dystopia.”
Its poor reputation led Tony Blair to hold his first speech to the press as Prime Minister in 1997 on the estate, promising that the government would care for the poorest in society. It was a promise that he and later prime ministers have spectacularly failed to keep.
Southwark Council’s response to the estate’s decay they had overseen was to try and wash their hands of it by trying to transfer it to a private housing association to be redeveloped. But a campaign by residents in 2001 led to this being soundly rejected – not surprisingly they voted against demolition, displacement, rising rents and smaller flat sizes.
Undeterred, Southwark decided to go ahead with the redevelopment themselves, producing new plans for demolition in 2005. This time they didn’t bother to ballot the residents.
Solidarity collage which includes some of my images
The plans were for a 20 year phased demolition, with rebuilding of modern blocks by a housing association. The generous public space of the estate would be reduced and the housing density almost doubled. The first phase was completed in 2013 and Phase 2 is currently underway. All four phases are due for completion around 2032, and the 12 storey Wendover block in which the exhibition is being held has already been largely emptied of residents and is expected to be demolished around the end of this year.
Residents have continued their fight to stop the redevelopment, with protests and in January 2015 housing activists and squatters occupied flats in one of the emptied blocks. Moving from block to block they were finally evicted 18 days later. The squatters occupied another building and again were evicted. Southwark spent £140,000 on a fence, completely destroyed all bathrooms, toilets, pipes and kitchens in empty properties and spent £705,000 on security guards to prevent further occupation.
Other protests took place, including one in which part of the fence was torn down, and various protests at council meetings. Aylesbury residents also joined with housing activists in Southwark and across London at various other protests. But although these brought the Aylesbury campaign and the scandals over housing to national attention, the demolition continues.
Part of the scandal has been the “well-oiled revolving door” between the council – councillors and officers – and developers. The toilet in the exhibition flat is devoted to Southwark Council, and in particular for its Leader for more than a decade Peter John, who stepped down in 2020. He described his years as a “decade of Delivery“; community; anti-gentrification collective Southwark Notes call it “a Wild West gold rush for developers.” A 2013 report showed that “20 percent of Southwark’s 63 councillors work as lobbyists” for developers in the planning industry.
Similar estates built with the same system elsewhere have been successfully refurbished at relatively low cost to bring insulation and other aspects up to current standards. These buildings will probably last into the next century and their demolition is expensive and incredibly wasteful of both the huge amount of energy that was embedded in them and and energy require to demolish and rebuild.
There is more to the exhibition – and you can see some hints of it in the pictures. After visiting the show I walked up four floors to the top of Wendover for the view. The windows were rather dirty and most fixed shut but I did find a few places where they were open slightly to let me take photographs of the views across London.
Six years ago on New Year’s Eve we walked with a couple of family members from Sudbury to Brentford. This year because of rail and health problems none of our family are staying with us and “South Western Railway services between 18 December and 8 January are subject to change and may not operate”, so if the weather is fine we will probably do a rather shorter walk from home.
The trip in 2016 to Sudbury Hill station was reasonably fast; a short train journey then a bus and a couple of short hops on the Piccadilly line got us there in a little under an hour and a half, and within a few minutes we were walking along suburban streets to Horsenden Wood, where we walked to the top of the hill.
Unfortunately it was a dull and damp day, and we could only see the extensive views this part of the walk would have given us had the air been clear dully through the murk, but the path up through the wood was enhanced by the slight mist. We walked down the hill to cross the Grand Union Canal.
Soon we reached the highpoint of the walk for some of us, the 1930s trading estate leading to the Art Deco Tesco on Western Avenue, designed by Wallis, Gilbert and Partners and built in 1933 for Hoover, along with the 1930s moderne canteen, now an Asian restaurant. We chose the Tesco both for a tiny bit of shopping and the toilets, then walked west to the footbridge to cross the busy road.
Almost immediately on the path the other side of Western Avenue we came to St Mary the Virgin Perivale, now used for concerts, with just an occasional service.
This Grade I listed redundant church dates in part from the 13th century and was the smallest church in Middlesex (outside London.) We explored its graveyard and sat down on a rather damp seat there to eat our sandwiches in what was either heavy drizzle or light rain.
The next section of the walk took us beside the River Brent, another of London’s minor rivers and like the rest of our walk going to Brentford, though we had to make some deviations to follow roads and footpaths. This was a relatively quiet and sometimes boring section of the walk, though its always good to walk beside the river, and there was a rather dumpy viaduct for a doomed railway, a council estate and a long foot path to a Cuckoo Lane where no cuckoos were to be heard except for our ludicrous imitations.
Things got more interesting again when we reached Hanworth Church, and early work of George Gilbert Scott who later called it ‘a mass of horrors’ and Brent Lodge Park, where I ignored the pleas of some of my cfo-walkers and led us firmly away from a tea-room – we were already and hour or so behind schedule if we were to finish the walk during daylight.
Brunel really knew how to build a viaduct, and here was the first major engineering work on the new Great Western Railway in 1836-7, with 8 semi-elliptical arches each of 70 ft span and rising 19 ft supported on hollow brick piers – the first time these were used in a railway viaduct. 886 ft long, the height to the parapet is 81 ft, and when built it was 30 ft wide to carry two broad gauge lines. Later it was widened to 55ft with a third pier added to each existing pair, and it could then take four standard gauge tracks, which were laid in 1892. We walked under this impressive structure beside the River Brent to the south side which is the earlier part and carries the arms of Lord Wharncliffe, chair of the committee that gave permission for the GWR.
We continued by the Brent to join the Grand Union Canal, another earlier great engineering acheivement along with the rest of the canal system, at the Hanwell flight of locks. Our route now ran along the towpath, so navigation was simple, all the way to the Great West Road.
There was still just enough light to take a few photographs, but my companions were flagging and our walk was getting slower and slower.
By the time we reached the road for the short walk to Brentford Station it was truly dark and they had slowed to a snails pace, and despite my urging them to catch the next train we arrived there to see it just departing, for once dead on time, though we were an hour and a minute later then planned. It had been a good walk but would have been better without the 29 minutes wait there for the next train.
You can see many more pictures from the walk on My London Diary at New Years Eve Walk.
2005 seems a long time ago now, but some of the same names are still often in the news. At a rally at King’s Cross station about fire safety remembering the victims of the disastrous fire in the Underground station there in 1987 that killed 31 people there were speeches from trade unionists and politicians including MPs John McDonnell and Jeremy Corbyn.
RMT leader Bob Crow died in 2014 but since 2021 RMT General Secretary Mick Lynch has been very much in our minds recently – and like Crow putting the case for his members and the working classes effectively to the mass media, challenging the silly class-based observations of many reporters and interviewers and making clear the facts about the rail dispute.
John McDonnell
Trains were very much in my mind at the start of Saturday 26th November 2005, not because of strikes but because of the problems of our privatised rail system which led to me arriving in London half an hour later than anticipated. Privatisation only really made any sense when it could introduce real competition and that was never possible for the railways – and only by introducing an expensive and wasteful middle layer of companies for utilities such as gas, electricity and water. In all these sectors the results have been inefficienies, high prices and large profits at the expense of customers and taxpayers for the largely foreign companies who bought our ‘national silver’.
Kings Cross – never again! – 26th November 2005
So I arrived late, running up the escalators at King’s Cross and remembering the stories of those who had been caught up there in the terrible fire, thinking how hard it would be to find the way out in smoke-filled darkness. Even with good lighting and reasonably clear signage it’s sometimes difficult to take the correct route.
Outside I photographed the joint trade union protest in memory of the fire, made more urgent by the plans of the management to change safety rules which protect workers and public using the system in order to cut costs. As well as those mentioned earlier, there were also speakers from ASLEF, the Fire Brigades Union and others.
On the https://www.london-fire.gov.uk/museum/history-and-stories/historical-fires-and-incidents/the-kings-cross-fire-1987/ 18th November 1987 a fire started when a lit match was dropped on an escalator around the end of the evening rush hour, falling through a gap and setting fire to litter and grease beneath. The small fire this started quickly spread, engulfing the escalator. People were told to leave the station by an alternative escalator and trains were told not to stop at the station.
Then at exactly 7.45pm while the ticket hall was still crowded a fireball suddenly erupted from the escalator into the ticket hall, followed by dense black smoke which made it impossible to see the exits. The heat was intense, melting plastic wall and ceiling tiles which added to the blaze. It took two and a quarter hours to get the fire under control, and a further five hours to put it out completely. 31 people died in the fire including a senior fire officer who was in the ticket hall telling people to get out when the fireball burst in.
Government and management justify cutting safety as “getting rid of red tape” and simplifying procedures and 12 years after this protest we saw the terrifying consequences of their approach to safety at Grenfell Tower.
The inquiry into the fire established a previously unknown mechanism by which the fire had spread so rapidly and also found that an over-complacent management had not had sufficient concern for the dangers of fires underground. New regulations were introduced, smoking was banned and a programme of replacing wooden escalators begun (though it was only in 2014 that the last was taken out of service.) Heat detectors and sprinkler systems were installed and better communications systems, improvements in passenger flow and staff training meant that almost all of the reports recommendations were put into practice.
Things changed in later years as Government and management justified cutting safety as “getting rid of red tape” and simplifying procedures and 12 years after this protest we saw the terrifying consequences of their approach to safety at Grenfell Tower. Had the reports and the coroners recommendations following the Lakanal House fire in 2009 been implemented and the lessons learnt, the fire at Grenfell would have been a minor incident, confined to the flat inside which it started. There would have been no deaths and we would never have heard about it on the news.
Poppies and leaves in Whitehall
Workers and their unions saw clearly the dangers of this change in attitudes to safety in this 2005 protest.
I’d hoped to go from the safety protest at King’s Cross to a lecture at the ICA, but my work finished too late, and instead deciding first to go to Whitehall where I had expected to find another protest. There were still quite a few poppies from the Remembrance Sunday event, but I found nothing else to photograph in the area.
I decided the weather would be fine to take a trip to the Royal Victoria Dock and take some more photographs around there. It was a fairly quick journey now thanks to the Jubilee Line from Westminster to Canning Town and then a couple of stops on the DLR.
I got off at Custom House and walked past the entrance to the Excel Centre, making my way to the high level bridge across the dock, which had been closed on an earlier visit but was open now. And the lift was working.
I took rather a lot of pictures both on the dockside and from the bridge which has some interesting views of the buildings around the dock and further afield, including the Millennium Dome on the other side of the Thames, Canary Wharf and the London skyline in the far distance.
I took pictures with the full range of the lenses in my camera bag, from the 8mm fisheye to the a not very impressive telephoto zoom, which I think stretched to 125mm, equivalent on the DX camera I was then using to 187mm, which give a some quite different angles of view. I would now process these rather differently, partly because RAW software has improved significantly since 2005, but also because my own preferences have changed. Most of those fisheye images I would probably now partially ‘defish’ to render the verticals straight.
The camera I was using them, a Nikon D70 also now seems rather primitive, particularly as its images are only 6Mp and only offering a ISO 200 – 1600 range. But it did the job well, and the only real improvements in later models – unless you really want to make very large prints – were in the viewfinders. The D70 viewfinder was usable (and much better than the D100 which it replaced) but still not as good as those on film cameras.
Towards the end of the time I spent there, the sky turned orange, though perhaps the photographs slightly exaggerate the colour.
East London Against the Arms Trade – Musical Protest, Excel Centre, 26 Nov 2005
I’d photographed more or less everything I could see and was beginning to make my way back to the DLR station when “I heard the brassy notes of the red flag, and made my way towards them.”
Musicians from ‘East London Against the Arms Fair’ were treating visitors to the Excel centre to a musical welcome. They were calling for Excel to stop hosting the DSEI (Defence & Security Equipment International) arms fairs which attract visitors from around the world, including many repressive regimes to come to London and see and buy arms.
London’s then Mayor, Ken Livingstone had spoken against having the arms fair in London as have the nearby London boroughs, and local residents had voted 79% against them, but the arms fairs continue every other year – with several days of protest against them.
One had taken place here in October, and the musical protest was calling for those already booked for 2007, 2009 and 2011 to be dropped. But their protest fell on deaf ears so fast as Excel’s owners were concerned and they continue, supported by the government, to be held there.
As well as seeing more pictures on the links in this post you can also see the accounts I wrote back in 2005 by scrolling down the November 2005 page of My London Diary. You can see photographs of further protests against the DSEI arms fair by putting the four letters DSEI into the search on the front page of My London Diary.
From Southwark Park Schools which ended the previous post on this walk, Rotherhithe New Road & Southwark Park Schools, I walked a few yards up Southwark Park Road to the corner with Banyard Road, where I photographed the taxi office (still there but changed from A-Z Star Cars to 5 Star Cars) with the pub on the opposite corner, the Southwark Park Tavern, now closed and converted to residential around 2003.
There was a pub around here, the Green Man, possibly on this site before Southwark Park opened in 1869 but I think this building probably came shortly after the park was opened, and is opposite the Carriage Drive leading into the park.
Unfortunately I haven’t yet digitised this picture, nor one of rather plain two-storey terrace on Banyard Rd or an image showing a play area in the park. I hurried through the park to the Jamaica Road gate at its north, crossing to make my way to Kings Stairs Gardens and the River Thames.
River Thames, Downstream, Rotherhithe, Southwark, 1988 88-10l-63
The two jetties visible here I think have now gone and there is certainly no line of lighters as in this picture, and there is one striking new building on the riverfront.
River Thames, Downstream, Rotherhithe, Southwark, 1988 88-10l-65
A second picture taken with a short telephoto lens from almost exactly the same place shows the central area more clearly, with new flats being built on Rotherhithe St.
Wapping, River Thames, Rotherhithe, Southwark, 198888-10l-51
Looking across the Thames downstream, with Free Trade Wharf at the extreme right and just to the left the cylinder ventilation shaft of the Rotherhithe tunnel in the King Edward Memorial Park. Both Metropolitan Wharf and New Crane Wharf are covered iwth scaffolding.
Wapping, River Thames, Rotherhithe, Southwark, 1988 88-10l-52
Part of St John’s Wharf and King Henry’s Wharves seen across the River Thames.
Wapping, River Thames, Rotherhithe, Southwark, 1988 88-10l-53
More of St John’s Wharf, including one of the earlier warehouse conversions and the Grade II listed Wapping Police Station, built 1907-10, Metropolitan Police architect John Dixon Butler. At extreme left is a part of Aberdeen Wharf built in 1843–4 by the Aberdeen Steam Navigation Company.
Wapping, River Thames, Rotherhithe, Southwark, 1988 88-10l-54
The end of Aberdeen Wharf is at the right edge of this picture, and at its left the Wapping Police Boatyard, an unnecessarily ugly building opened in 1973. The new building in the centre of the picture also seems something of an eyesore, at least at its ends.
Wapping, River Thames, Rotherhithe, Southwark, 1988 88-10l-55
Continuing up-river from the Police Boatyard are St Thomas Wharf, Pierhead Wharf, Oliver’s Wharf – the first warehouse in Wapping to be converted into luxury flats in 1972 – and Wapping Pierhead, with houses designed by Daniel Alexander in 1811 and the main entrance to London Docks.
Bermondsey, River Thames, Rotherhithe, Southwark, 1988 88-10l-41
Looking upriver on the south bank with Tower Bridge at the extreme right and Guy’s Hospital tower just left of centre. Cherry Garden Pier is at left.
Silver Jubilee, marker, EIIR, River Thames, Rotherhithe, Southwark, 1988 88-10l-43
There is still a marker for the Queen’s Silver Jubilee here but it looks far less impressive than this rugged stonework I photographed in 1988. London has also gained quite a few tall buildings, but the view along the river remains clear and you can still see the dome of St Paul’s Cathedral.
41 Rotherhithe St, now apparently 1 Fulford St at least according to Google Maps, was the offices of lighterage company Braitwaite & Dean, where their lightermen would come to collect their weekly wage. Apparently it was known locally as the Leaning Tower of Rotherhithe, though the building’s lean is more apparent from across the river than in my picture.
It was left more or less alone on this stretch of the river with just the Angel pub equally isolated a few yards upriver after Bermondsey council bought many of the buildings in 1939 to create a park, with wartime bombing continuing the demolition job. There was some temporary housing by the river when I first walked along here in the early 1980s, but that soon disappeared.
My walk in Bermondsey continued – more about it in a later post.
My previous walk came to an end close to Westferry Station, from where I took the Docklands Light Railway to make my way home, but before the train came I made several views from the west-bound platform. The DLR runs through Limehouse on the old viaduct first planned in 1835 by the Commercial Railway Company to take the railway from the City to the West India and East India Docks. The viaduct was a cheap way to take the railway through the built-up area, and won out against a rival scheme involving cuttings. The two companies merged to build the London and Blackwall Railway in 1838-40, though it was later widened.
It was the world’s second elevated railway, opening shortly after the London and Greenwich on the other side of the Thames. The 20 ft high viaduct now gives good views of the surrounding area both from the trains and from the stations. At the left of this view you can see the rear of the West India Dock warehouses on Hertsmere Road, and at right the low structures, now replaced, of Heron Quays.
Isle of Dogs, River Thames, from Westferry Station, Limehouse, Tower Hamlets, 1988 88-7q-25
Turning a little the view from the southern platform shows Westferry Road and the River Thames, with in the distance a view of two of the Barkantine Estate towers at left, closer to the centre a side view of the Cascades Tower and towards the right two towers on the Pepys Estate in Deptford and more distant blocks.
A couple of days later I returned to the area, stopping off in central London on my way and taking a picture of the statue of Isambard Kingdom Brunel by Carlo Marochetti, (1805-1867). The statue was commissioned in 1861 by the Institute of Civil Engineers but was only installed here in 1874 on a Portland stone pedestal by Richard Norman Shaw (1831-1912). Its inscription reads ISAMBARD KINGDOM BRUNEL/ CIVIL ENGINEER/ BORN 1806 DIED 1859″.
The ICE had hoped to install this statue together with that of two other prominent engineers, Robert Stephenson and Joseph Locke who had died within a few months of Brunel, in Parliament Square, close to their offices at 1 Great George St. Permission was initially granted, but then withdrawn when the Office of Works decided only politicians should have statues in Parliament Square. Brunel’s was erected on Temple Place, Stephenson’s outside Euston Station and poor Locke’s was sent to Barnsley, where he had grown up.
Lazdan, Builders Merchants, Bow Common Lane, Bow, Tower Hamlets 88-7q-12
281 Bow Common Lane was until recently Lazan Builders Merchants but they have now moved to Sebert Road, Forest Gate. The house had a facelift in 2020.
Bow Common Lane, Bow, Tower Hamlets 88-7q-14
I think this is somewhere in the Joseph St area, but new building makes it hard to identify the exact position.
S P Brown, Builders Merchants, Lockhart St, Bow, Tower Hamlets, 1988 88-7r-01
This house, 31 Lockhart St, is still there at the corner of Lockhart St and Ropery St, but the large gate now has letter boxes for 33,35 and 37 and the lettering has gone.
Bow Common Gas works were to the west of Knapp Road, the continuation of Cantrell Road south of the railway line which runs across the center of the image. The gasworks were built here in 1850 and at one time there were seven gasholders. Most of the site was demolished in 1982 and the last two gasholders shown here in 2016-7.
The scrapyard is now the Scrapyard Meadow, part of Tower Hamlets Cemetery Park.
I first visited Swanscombe back in 1985, when I was photographing along the south bank of the River Thames and Lower Thameside. Until the 1840s this area of North Kent had been relatively remove and rural, with riverside marshes largely untouched and valuable agricultural land on the higher areas growing food for the capital.
Portland Cement was patented by by Joseph Aspdin in 1824 and the later developed by his sone William, but the modern version of it was developed at Swanscombe by Isaac Charles Johnson, then manager of John Bazeley White’s cement plant. Johnson soon after left J B Whites to set up his own cement plants, including those nearby at Geenhithe and Cliffe, and Frindsbury on the Medway. In 1911 C Johnson & Co became a part of the Blue Circle Group.
The building of London’s sewers led both to a large demand for cement and also led the Metropolitan Board of Works to provide a specification for their needs which became the standard for Portland Cement. Portland Cement is the cement used in almost all concrete, mortar, stucco and grouting.
From around 1900 virtually all cement has been made in large rotary kilns, with flames heating limestone or chalk with clay-containing minerals at around 1500-1600 degrees Celsius. Water and carbon dioxide are driven off as the minerals combine to give silicates (mainly (tricalcium silicate, dicalcium silicate, tricalcium aluminate and tetracalcium aluminoferrite). Around 10% of world CO2 production which fuels climate change is due to cement manufacture, and smaller amounts of other polluting materials are also released in the process – hence the high chimneys of cement works. The small lumps of ‘cement clinker’ that emerge at the lower end of the kiln are then ground to a fine powder, often with added gypsum (calcium sulphate) or limestone to give cement.
Cement can cause burns and it readily absorbs water, hardening to form solid hydrated material and firmly embedding the sand or aggregate it is mixed with for most uses. Over many thousands of years the River Thames in this area had cut its course up to the chalk of the North Downs, and since the 1840s much of that chalk has been quarried, leaving deep pits with often fairly narrow strips left for roads through the area and housing. One of those deep pits now holds the Bluewater shopping centre at Greenhithe and others are filled with various industrial properties or housing. The industry over around 150 years completely transformed the landscape. But by the time I first came to photograph it, this post-industrial landscape was rapidly being reclaimed by nature.
Down the centre of the Swanscombe peninsula is the footpath, Pilgrims Road, leading down towards where a ferry once brought pilgrims on their way to Canterbury from a ferry across the River Thames from close by St Clement’s Church, still there beside the detergent works at South Stifford. Later clay was brought across the river from Essex to wharves for making cement, as well as coal, probably coming by coaster from the north-east to fuel the kilns. Ropeways or conveyor belts will have linked the wharves to the cement plant.
In 2012 I heard of the plans to transform part at least of the area yet again, into the Paramount London theme park, a leisure attraction along the lines of Thorpe Park, which would destroy the area as I knew it. Although I decided to come and photograph the area again before that happened it took me three years to return and do it, cycling around the area on a Brompton, (though occasionally I had to leave it a explore on foot.) Five years on, the plans are still plans and I hope to go back again next month.
With a few exceptions, the pictures here are wide-angle panoramics, with a horizontal angle of view of around 145 degrees and a vertical angle of view of roughly 90 degrees which results in a ‘normal’ aspect ratio of 1.5 : 1 – I usually took these intending to crop to a 1.9:1 ration but have left them uncropped. A few are taken with more normal wide-angle lenses.
On My London Diary you can see more of these pictures, and also read more about the area and my day there in 2015. The images display a little larger on that site.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
Back in the old days of British Rail (and at times after privatisation) I often used to enjoy taking pictures out of train windows. Then many carriages on suburban routes had doors between every pair of seats, and the doors had windows that you could slide down to around waist level and so take pictures unobstructed, though it might make it rather draughty for your fellow passengers. There were stern warnings about not leaning out of windows, and unless you braced yourself against the door frame it might have been possible to fall out, but you could photograph in any direction.
Some of the older rolling stock you needed to open the window to actually open the door at stations, as the doors only had handles on the outside, a useful safety precuation which made the carriages childproof and avoided any accidental opening, but sometimes meant infrequent travellers were trapped inside, unable to work out how to open them. Older readers too may remember the thick leather straps with holes to fit around a pin to hold the windows open at various levels.
Slightly more recent carriages came with a stiff handle you had to move sideways, protected by a raised surround, which only trapped mainly elderly ladies whose hands were no longer strong enough to move them and relied on other passengers to allow them to alight.
Now we have automatic opening doors and fixed windows with air conditioning on almost all services (though some still have narrow windows that don’t open enough to be useful) and can be sweat boxes when the air conditioning fails in summer or chill you if it can’t be switched off in winter. But more importantly for photographers, they have windows that are often scratched inside by bored travellers and almost always filthy outside. I have at times travelled with a cloth so when joining a train at the start of its journey I could select my seat and then step off the train to clean the window I was going to sit at so as to get a clearer view.
But either the train I joined at Charing Cross was new (and it did have that toxic smell of plasticiser) or had been recently cleaned, and for once I had a clear view. I hadn’t got onto the train to take pictures, just to get me to Blackheath, but it seemed to be too good a chance to miss, so I made a number of exposures.
The problem with photographing through glass is of course reflections. You can cut these down by removing any lens hood that would interfere and holding the front of the lens (or lens filter) directly against the glass. However this can cause vibration, so a small gap is a good idea, particularly while the train is in motion. Modern train windows are double glazed and while this close approach can avoid reflections from the pane you are in contact with, you still get them from the outer pane.
It also only works when the edge of the lens is in contact with the window all around, meaning you are restricted to views directly opposite the window and cannot aim the camera to left or right.
There is a solution to these problems, and it is in the form of a giant floppy lens hood with a hole at the centre which stretches to fit on the body of any lens. It’s called ‘The Ultimate Lens Hood‘ and is around 25cm across, and I have one sitting on my desk. The main problem with it (apart from looking rather eccentric) is that although it is a silicone rubbery thing that can squeeze down considerably, it is still too large to easily fit in my normal camera bag, at least without leaving out something essential like my sandwiches. So it was sitting there on my desk while I made these pictures 25 miles away. Slightly smaller versions are available and I think I might get one. Even a normal cheap rubber hood as I’ve used in the past can help a lot.
I was on my way to Blackheath to photograph an event that ended at the Royal Observatory at Greenwich, and my final pictures in this set were taken without benefit of any windows of the incredible view from the terrace in Greenwich Park north across the River Thames. It’s a view I first saw and photographed many years ago, and though rather changed since the building of Canary Wharf remains London’s most splendid.
I did try to take more pictures from the train on my return from Maze Hill to Waterloo, but the windows were not so clean, and only a few were usable – and then required considerable retouching.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
I arrived early for a private celebration of May Day with friends in a Wapping pub and took a short walk along the High St and riverside path, where I sat and ate my lunch sandwiches.
I’d made photographs here in the 1980s, and there were one or two that I’d hoped I would be able to fix the locations more precisely. It wasn’t easy as vitually everything between Wapping High Street and the river has been rebuilt with expensive riverside flats. New Crane Wharf (above) was still recognisable as here the old buildings had been converted.
The Thames sweeps around to the south to go around the Isle of Dogs, and from Wapping you can see Canary Wharf to the North of the River and the gasholder in Rotherhithe to the south – and both appear in photographs to be across the river.
You also see rather too much very pedestrian riverside architecture like the flats above. So little new building on the river bank has any architectural merit, all about maximising profit within the planning restrictions. It’s such a shame that the LDDC didn’t have higher aspirations for its control of the redevelopment of docklands.
Relatively little of the old riverside survives here, and Tunnel Mills and the other buildings at Rotherhithe are one very welcome exception. There are parts of the north bank too where some of the better warehouses have been saved, converted into expensive flats.
It was good also to be able to walk out onto Tunnel Pier, where I met two old friends also taking advantage of the opportunity.
And though the Captain Kidd pub to the left of Phoenix Wharf is relatively modern, dating from the 1880s, like many Sam Smith’s pubs it is a sensitive conversion of an old building, Sun Wharf, which along with Swan Wharf (now renamed Phoenix Wharf) and St John’s F & G Wharf at left were owned or leased by W H J Alexander and Company, who as well as wharfingers dealing in a wide range of goods including coffee, dried fruit, gum and bales of Australian wool, also used these premises to repair their tugs. Swan Wharf I think is the oldest of these buildings, dating from the 1840s and possibly designed by Sidney Smirke.
All photographs on this and my other sites, unless otherwise stated, are taken by and copyright of Peter Marshall, and are available for reproduction or can be bought as prints.
There are no adverts on this site and it receives no sponsorship, and I like to keep it that way. But it does take a considerable amount of my time and thought, and if you enjoy reading it, please share on social media. And small donations via Paypal – perhaps the cost of a beer – would be appreciated.
