Rain, King's Cross Square

click photo to enlarge
It has been an unusual summer with rain actual, and rain metaphorical being unleashed upon our islands. I could say so much about "Brexit" rain but will restrict my remarks to the collective national folly of allowing the person who has been quite the worst prime minister of my lifetime to put party unity before country and leave us, through his ill-advised referendum, in a place not of our collective choosing. That is the polite version!

Now for the the wet stuff. It hasn't actually rained every day this summer, but it feels like it has because we've had more wet days than usual. Moreover, I say this as someone who for the past nine years has lived in the drier east of England. But here too rain has followed more rain. As we've travelled about the country we've experienced rain wherever we've gone, with one exception. Very unusually our week in Settle in the Yorkshire Dales was dry. However, as we left - we were five minutes down the A65 on the way to Skipton - when a phone call told us that the town was experiencing a torrential downpour! All we saw of it was a beautiful rainbow over the Ribble valley.

A couple of recent London visits have coincided with rain, mainly showers, though some very heavy. As we waited at King's Cross for our train recently the heavens opened and people ill-prepared for precipitation had to sprint for cover. Today's photograph shows the equipped and the unequipped making bee-lines for the cover of the concourse. I took my photograph from under a large canopy!

photograph and text © Tony Boughen

Photo Title: Rain, King's Cross Square, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 80mm (160mm - 35mm equiv.) crop
F No: f5.5
Shutter Speed: 1/160 sec
ISO:640
Exposure Compensation: 0 EV
Image Stabilisation: On

The derivation of King's Cross

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Unlike many names in Britain that of King's Cross is of relatively short standing - less than two hundred years old. However, the site of King's Cross has carried more than one name, and the oldest of these goes back around thousand years.

Unsurprisingly King's Cross refers to a king and a cross roads. In fact, a statue of King George IV stood at the crossroads from 1830 to 1845. It wasn't much of a statue apparently, a double life-size figure on a sixty foot column at the top of which was a camera obscura and at the base, a building. All of this was made cheaply of brick, even the statue, though the latter was coated to resemble stone. The building in the base of the column was initially a police station and later became a pub.

As with many areas of London, the site was once a village, here called Battlebridge, and was sited at a crossing of the River Fleet. A name such as this at a location of this kind would normally arise from an actual event, and it has been suggested, though with only slight evidence, that the battle was one that took place around 60AD between the Iceni led by Boudica and the Roman army. Today King's Cross is known as a district of London and widely for the main line railway terminus of that name that stands only a few yards from another such terminus, St Pancras - hence the name in today's photograph shot one early evening a few weeks ago.

photograph and text © Tony Boughen

Photo Title: King's Cross, St Pancras and the Underground, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 17mm (34mm - 35mm equiv.)
F No: f3.5
Shutter Speed: 1/80 sec
ISO:500
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Painted building facade, King's Cross

click photo to enlarge
The UK is pretty reticent when it comes to painting the outside of buildings. Traditionally render has been painted, usually white or cream though sometimes branching out into drab pink, blood red, a shade or two of green, and sometimes blue or yellow. In recent years quite a few new housing developments have been built that make use of colour. There are regions, often highland areas, where farms and isolated houses in the countryside are sometimes painted white to make them more visible. However, the place where colour is most readily accepted on the exterior of a building is the seaside town. Here terraces are frequently colour-washed one or many colours. Blue and white - nautical colours - are favoured, but others can be seen too.

During the last quarter of the twentieth century painted facades with a humorous or artistic intention, sometimes like graffiti writ large, began to proliferate. I have mixed feelings about such buildings. Sometimes they are fun, but too often they are eyesores, a garish flash of colour that detracts from the locality rather than adding to it. Frequently the intention is to prolong the life of a run-down structure, though the fading paint soon contributes to the air of dereliction. The example in today's photograph is near King's Cross railway station in London. The paintwork doesn't acknowledge the building at all, but treats it as a flat canvas with shapes and lines continuing across windows and pilasters as though they didn't exist. This distinguishes it from most such work. It's the sort of treatment that I feel I should dislike but I don't, and I can't quite put my finger on what it is that appeals to me. Perhaps it's because, in its location, it isn't so garish that it demands to be looked at. But more than that, the combination of colours and the strong diagonals are very much to my taste.

photograph and text © Tony Boughen

Photo Title: Painted Building, King's Cross, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 90mm (180mm - 35mm equiv.) crop
F No: f5.5
Shutter Speed: 1/200 sec
ISO:320
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Beautifying hoardings

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There must be money to be made from supplying beautified hoardings. Wherever I go I come across boards and fences surrounding building sites that have been elevated by artwork of one kind or another. It wasn't always so. In the past such structures were usually unadorned plywood, chipboard or somesuch material, frequently showing the scuffs, cracks and splinters of re-use. Now, however, developers often use their perimeter fence to provide advertisements or a visual experience for passers-by. I've seen graffiti artists employed to liven them up, photographs linked with the locality displayed on them, abstract paintwork designed to catch the eye etc. On a recent visit to London we came across this example near King's Cross railway station - simplified climbing plants spray painted onto the hoarding providing a leafy backdrop to the bicycle parking stands. It was a simple expedient to brighten up what otherwise would have been an eye-sore in a rapidly improving area.

photograph and text © Tony Boughen

Photo Title: Painted Hoardings and Bicycles, King's Cross, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 17mm (34mm - 35mm equiv.) crop
F No: f3.5
Shutter Speed: 1/80 sec
ISO:2500
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Railway stations and cathedrals

click photo to enlarge
The invention of the railways in the nineteenth necessitated the design of a new kind of building - the railway station. In large cities these needed to be large buildings to accommodate the multiple lines, platforms, offices, buffets, waiting rooms etc that were required to cater for the thousands of people who would pass through daily. Moreover, the stations had to protect the users from the weather whilst at the same time allowing sufficient space for the smoke from steam-powered engines to dissipate without inconveniencing people.

Large, glazed train sheds came into being in response to these demands and immediately created a problem for the engineers and architects: what form should the building take that fronts these sheds? Usually a stone or brick facade in one of the established historical styles was erected that contained a main entrance and the necessary offices with, often, a hotel. In London the terminus for the Midland Railway, St Pancras (opened 1868), typifies on the largest scale, this approach. However, the nearby King's Cross railway station (opened 1852) took a radically different approach. Here, George Turnbull and Lewis Cubitt came up with a more utilitarian design in stock brick that won many admirers for its bold simplicity. The large main arches that front the two arched roofs of the Arrival and Departure Halls echo how the big arches of medieval cathedral facades signify the nave and flanking aisles within. The symmetry of the station facade with its central clock tower is still a thrilling sight, and one I enjoy each time I go into and out of London by train.

photograph and text © Tony Boughen

Photo Title: King's Cross Railway Station, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 17mm (34mm - 35mm equiv.)
F No: f2.8
Shutter Speed: 1/60 sec
ISO:1000
Exposure Compensation: -0.7 EV
Image Stabilisation: On

Tables and chairs

click photo to enlarge
Of all the objects that man designs possibly the most frequently attempted by people who are not trained designers are tables and chairs. These staples of the interior seem to attract the home DIYer, architects, artists and others as well as those qualified in design. Frequently, as I have mentioned elsewhere in this blog, the motivation is appearance rather than utility because tables and chairs make such a strong impact on interior design. And all too often the pieces that look the best perform the worst when it comes to using them for their intended purpose. Tables and chairs that combine great appearance with excellent functional attributes are the mark of a good designer, whether amateur or professional.

Today's photograph shows some tables and chairs that I saw outside a restaurant/cafe near King's Cross and St Pancras railway stations in London the other day. Looking down the line of white table tops I was reminded of the circular ripples that appear on still water when you skim a flat stone across it. The other thing I noticed was that, apart from the colour white, the tables and chairs had no obvious connection: they don't appear to be designed to go with each other. In fact they didn't look too bad together, and even the brown leather seat pads weren't too dissonant, offering a warmer note to the black and white. In fact, the contrasty aesthetic was a factor that prompted me to take the shot, and I knew as I pressed the shutter that I would be converting it to black and white.

photograph and text © Tony Boughen

Photo Title: Cafe Tables and Chairs, King's Cross, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 15mm (30mm - 35mm equiv.)
F No: f5.2
Shutter Speed: 1/250 sec
ISO:200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Lighting the diagrid roof

click photo to enlarge
One the many areas in which architecture progressed in the twentieth century, and continues to do so in the twenty-first, is lighting. Architects have always built with an eye to light - either the sun to model the building and its details, or artificial light from flame or electricity to illuminate and give atmosphere in the darkness. New technology such as neon, fluorescent tubes, lasers, LEDs etc have widened the role of lighting and today it fulfils all its original roles and some newer ones too. Here are two examples of cinemas using lighting, one in a  traditional way, the other in a much more modern manner.

Today's photograph of the evening lighting of the interior of King's Cross railway station's diagrid roof (see the previous post) is nothing too innovative, but is very effective.

photograph and text © Tony Boughen

Photo Title: Lighting of Diagrid Roof, King's Cross, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 42mm (84mm - 35mm equiv.) crop
F No: f5.4
Shutter Speed: 1/100 sec
ISO:640
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Diagrid roof, King's Cross, London

click photo to enlarge
The new Western Concourse at King's Cross railway station in London has a striking diagrid roof.It was designed by the architects, John McAsland and Partners in association with the engineers, Arup. The word diagrid comes from "diagonal grid" and describes a construction method that uses diagonal components very efficiently and economically - steel wall supports and roofs can be constructed that use twenty per cent less materials than would a more conventional steel frame.

The Russian engineer/designer/architect, Vladimir Shukhov (1853-1939, who built in the Constructivist style, is credited with the invention of this method of building. Examples can be seen in most major cities today. In London the "Gherkin" (30 St Mary Axe) and the Queen Elizabeth II Great Court at the British Museum feature the system.

Today's photograph was taken in an attempt to improve on an earlier photograph that I took of the King's Cross roof. On this occasion I used a wide angle lens rather than a fish-eye, but stayed with black and white rather than colour.

photograph and text © Tony Boughen

Photo Title: Diagrid Roof, King's Cross, London
Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 12mm (24mm - 35mm equiv.) crop
F No: f2.8
Shutter Speed: 1/160 sec
ISO:200
Exposure Compensation: -0.3 EV
Image Stabilisation: On

Fisheye King's Cross

click photo to enlarge
In the 1970s and up to the mid-1980s we travelled from our home to London fairly regularly. Living on the east side of the country we were able to make use of the East Coast mainline. Consequently our London terminus station was King's Cross. The main buildings at this station were designed by Lewis Cubitt and are a marvel of direct, honest, Victorian brick work, with the main facade expressing the interior in much the way that the west facade of a cathedral tells you what to expect inside. Over the years the various owners and operators of Kings Cross did their best to disfigure the main facade with corporate branding and other excrescences. However, in 2014 the whole station was given a makeover that sympathetically restored the famous face of the building and imaginatively added to the interior.

For many years, when I've needed to visit the capital we've driven there. However, on our most recent visit we decided to go by train. That gave me the two-fold pleasure of seeing something of the refurbishment of King's Cross, because once again we'd be using the East Coast mainline, and also it would give me an opportunity to try out my newly acquired Samyang 7.5mm fisheye lens. I was in two minds about buying this lens. On the one hand I enjoy wide-angle and I quite like the distortion that a fisheye lens can confer on a subjects. But on the other hand I recognise that for many it is a specialist, little used lens and might prove so for me.

My first reasonable effort with the lens is shown above. It doesn't really make use of the lens in the way I ultimately hope to, but it does show something of an area of the station that has been given a glazed roof supported by very striking net-like lattice steel tube.

photograph anf text © Tony Boughen

Camera: Olympus E-M10
Mode: Aperture Priority
Focal Length: 7.5mm fisheye
Shutter Speed: 1/125 sec
ISO:500
Exposure Compensation: -0.3EV
Image Stabilisation: On