voussoirs: PASSING THOUGHTS - LEAVING LERWICK HARBOUR

Friday 4 January 2019

PASSING THOUGHTS - LEAVING LERWICK HARBOUR

Leaving Lerwick Harbour is one of the great Shetland fiddle tunes composed by the legendary Willie Hunter. The melody is hauntingly moving, embodying the soul-stirring longing of love for place, family and friends: of home. If you have not heard the music, it has some of the mystically emotive qualities of Con Te Partiro (Time to Say Goodbye): see - https://www.youtube.com/watch?v=W7AWRYDmFWk #

So it was not unusual for the poignantly evocative tune to come to mind as we left Lerwick by ferry after spending some months in Shetland. It was an interesting experience; one sees both Lerwick and Bressay in different ways as the ferry reverses out, turns and moves south for Aberdeen, leaving one with memories of other times and places experienced as the land is passed.

With the camera in hand, the images were snapped as various thoughts came to mind. These photographs have been included with a commentary explaining why the camera was pointed at these places.

The images are somewhat, perhaps appropriately, misty-eyed as they have been taken through the salt-blasted glazing of the ship’s windows washed only by storms. The focus is frequently hazed not only because of the glare and gloom of the dirty glazing, but also because one is trying to capture particular images quickly as the ferry moves out to sea, through the ‘sooth mooth’ as the locals call it. This gives rise to the term ‘sooth moothers’ - see: https://www.shetlanddialect.org.uk/john-j-grahams-shetland-dictionary.php?word=2332- that refers to visitors to Shetland who travel into Lerwick Harbour through its main south entrance from Aberdeen. Lerwick Harbour is Shetland’s best refuge from the raging seas. It is sheltered by the island of Bressay and has a north and south entrance. Baltasound is also sought after to get into a safe harbour. Like Lerwick Harbour, this sound is protected by an island - Balta Isle.

Lerwick

Mareel from ferry terminal

Not the public view

Mareel - Lerwick Arts Centre

https://en.wikipedia.org/wiki/Mareel

Council offices on left

The architect's vision

MAREEL

The Mareel is Shetland’s art centre: see - https://en.wikipedia.org/wiki/Mareel

Much has been written about the Mareel, how its public face is contrived by clever architectural lines and smart camera angles. The building is clearly seen for what it is from the water. This is an image that is rarely promoted in any publication relating to the Mareel. The usual photographic angle is taken from the north, in front of the Museum and Archives Building. Here the triangular window at the step in the ‘M’ and the sloping ‘M’ roof lines give the appearance, the illusiuon, of a clever, 3D shaping.

Another view taken from the street approach on the west adroitly aligns the roof angles with the perspective vanishing points from another carefully selected location to give the whole form an apparent coherence and smart massing that looks pleasingly satisfactory. The reality is that the shapes appear flat and somewhat awkwardly contorted. The building is squeezed onto its tight site between the harbour and the car park, with the public entrance space being a narrow footpath on a laneway approach to the Museum and Archives parking area. To the ordinary eye, the arts centre lacks the expansive and dramatic visions created by the canny camera – see: https://voussoirs.blogspot.com/2013/05/the-mareel-new-arts-complex-for-lerwick.html;https://voussoirs.blogspot.com/2014/04/seeing-what-we-believe-idyllic-visions.html; andhttps://voussoirs.blogspot.com/2013/12/surprising-mareel-numbers.html

The carefully-selected view from the west

No, not Gardie House

Maryfield House

Gardie House

Bressay

Bressay with kirk (centre) near the old ferry terminal: or is it a shed?

The RORO ferry at Bressay

Haswell-Smith's marvellous book on Scottish islands - in the ferry library

Mareel and Shetland Museum and Archives

The 'M' vision of the Mareel - not its public face

Lerwick Town Hall

Town Hall dominates Lerwick's skyline

see: https://en.wikipedia.org/wiki/Lerwick_Town_Hall

View from town hall

The industrial fringe of town dominated by the turbine

see: https://voussoirs.blogspot.com/2015/02/shetland-wind-farming-quiet-and-distant.html

https://voussoirs.blogspot.com/2015/12/on-selective-seeing.html

https://voussoirs.blogspot.com/2018/01/asking-for-eyeballs-wind-turbines-in.html

Bressay walls

GARDIE HOUSE

Garide House is the ancestral home of the Laird, Sir John Scott and his wife, Wendy. It is a beautifully formal building, faux-Palladian in style, simply placed on its axis that stretches out to its garden walls on the harbour facing Lerwick on the Mainland opposite, on the other side of the water. The book, Gardie: a Shetland house and its people by Wendy Scott, published by The Shetland Times, tells its history: see - https://shop.shetlandtimes.co.uk/products/gardie-a-shetland-house-and-its-people

Gardie House - grandly simple classicism

A typical cottage - quaintly pretty but not vernacular

see: https://voussoirs.blogspot.com/2013/12/shetland-vernacular-buildings.html

Gardie House on axis

A beautiful faux-Palladian layout

Bressay Kirk - the first close glimpse: is it really a kirk?

BRESSAY KIRK

When this tiny box of a waterside building was first glimpsed, it was unclear whether it was a kirk or a harbour-side shed; and if a kirk, one wondered if might still be in use, or merely derelict. The bellcote confirmed that the shed was, or had been a kirk. As the ferry slid past, the openings in the southern wall were revealed: they had every characteristic of a sideways kirk – see: https://voussoirs.blogspot.com/2017/04/shetlands-sideways-churches-creativity.html It was an extremely exciting find that just had to be checked out later.

It was checked out: see below; it was a kirk; and it was a sideways plan: see – https://voussoirs.blogspot.com/2013/02/lunna-kirk.html; https://voussoirs.blogspot.com/2013/02/whalsays-kirk.html; https://voussoirs.blogspot.com/2015/06/tingwall-kirk.html; and https://voussoirs.blogspot.com/2018/12/dunrossness-kirk-surprising-sideways.html

The Bressay Kirk will have to be visited next time we are in Shetland.

Bressay Kirk - hints of a sideways kirk!

BRESSAY CHURCH

Bressay's present church dates back to 1814, though it replaced an earlier church on the same site built in 1722. It lies at Mail, close to the pier used by the small ferry to Lerwick until the introduction of car ferries in 1975.

Externally, the church is a fairly plain grey-harled box, with a bellcote at the top of the west gable. The bell in residence dates back to 1858. It seems likely that the material it was cast from, in London's Whitechapel, came in part from an earlier Bressay bell dating back to 1723.

The focal point of the interior is the pulpit mid way along the south wall. There was a major rework of the interior in 1895. The two stained glass windows, one either side of the pulpit were installed at this point. They commemorate John Ross, who was a local schoolmaster from 1843 to 1878, and Sir Robert Hamilton, 1836-1895.

https://www.shetland-communities.org.uk/subsites/lbpc/parish-history.htm

One will have to check the clues to see if it is a sideways kirk - gone!

Ferries don't stop for inspections.

The farm

Bressay Lighthouse

Signs of settlement

Signs of our digital era

Bressay Lighthouse Complex: defined place

BRESSAY LIGHTHOUSE

This is yet another Stevenson lighthouse. These structures are distinctive because they come from the same firm, using the same model, the same forms, details and colours used for all of their lighthouses. This particular lighthouse sits as a beautifully confined complex, like a tiny walled town. The buildings are remarkable as architectural pieces for their time, being designed by an engineer and constructed in 1858. Just consider what was happening in architecture at this time. It would be many years before le Corbusier would be building his white structures with flat roofs. It was le Corbusier in his Towards a New Architecture, first published in 1927, who argued the case for modernism, using engineering structures as one example of beautiful building: see - https://voussoirs.blogspot.com/2015/12/stevensons-lighthouse-eshaness.html and https://voussoirs.blogspot.com/2017/03/stevenson-lighthouse-butt-of-lewis.html

BRESSAY LIGHTHOUSE

https://www.shetlandlighthouse.com/bressay-lighthouse

Situated on the rocky headland at the south entrance to Lerwick Harbour, Bressay Lighthouse is an iconic image for any visitor to the isles.

Passing the ‘Bressa Light’ is the start and finishing post for any journey to or from Shetland by sea, and is a welcome landmark for locals and visitors alike.

The nineteenth century lighthouse provides a tranquil and peaceful retreat with open views across the sea. Perfect for a family holiday, or enjoying a getaway with friends, the opportunity to stay in one of Shetland’s most famous landmarks is not to be missed.

The beautiful island of Bressay, just off the east coast of mainland Shetland, offers the perfect combination of isolation while still having all amenities right on your doorstep. A five minute ferry journey takes you to the capital town of Lerwick with its five star museum, restaurants, bars and shopping facilities.

History

Bressay Lighthouse was built in 1858 and designed by brothers David and Thomas Stevenson, of the famous Stevenson family of lighthouse engineers.

David initially believed that building a lighthouse in Shetland would be too dangerous and expensive and that “any ship which took this route must be mad.” Despite the reservations, the lighthouse was built by local firm Alex Wilson. The construction cost £2324 15s 5d with additional costs of almost £250 for machinery and reflector panels. This is roughly £198,000.00 in today’s money, which is quite good value when considering the first Head Lightkeeper received £53.00 per year – equivalent to £36,000.00 today.

The light has provided a timely warning for many mariners over the last 140 years and still provides a welcome sight for many travellers heading north to these isles.

The light was fully automated in 1989 and the lighthouse keeper’s cottages were sold to the Shetland Amenity Trust in 1995 for use as self catering accommodation. The actual light remains under the responsibility and care of the Northern Lighthouse Board.

An intriguing gathering of designed pieces; a tiny town

Typical Stevenson detailing

Noss

NOSS

Noss is a small island off the east coast of Bressay – see: https://en.wikipedia.org/wiki/Noss

It is a National Nature reserve known for its abundance of bird life. The island has a distinctive profile that dominates the east-coast vistas of southern Mainland Shetland as one looks north.

A profile as memorable as that of Foula's

Goodbye

Birds at Noss

NOTE: All the images snapped during the departure have been included, good, bad and indifferent. They have been left in the order they were taken, to maintain the feel of the occasion.
The images offset to the left have been taken from Google Images.

The images shown on YouTube seem less appropriate than those recalled from older times. In the 1970s, the ferry from Aberdeen, remembered for its polished brass and lacquered timbers, was always met with a crowd of Lerwegians filling the wharf area, waiting to greet friends, or to just enjoy the arrival from afar. On leaving the boat, one had to push through the crowd with luggage in tow to get to, in our case, the bus stop for the trip north. This pick-up place happened to be outside the Viking Cafe that was a short way up the hill from the harbour. Today this location is still the bus terminal for Lerwick, and has been developed to accommodate these vehicles.

Old Lerwick Harbour

The Viking Cafe - then

The Viking Cafe - now

31 January 2019

Old photographs found in the files:

Victoria Pier, Lerwick on arrival of St. Clair (11), late 1930's

Lerwick circa 1930 - Viking Cafe on far right of frame

No comments:

ON GARDENING

I am strongly of the opinion that the possession of a quantity of plants, however good the plants may be themselves and however ample their number, does not make a garden; it only makes a collection. Having got the plants, the great thing is to use them with careful selection and definite intention. Merely having them, or having them planted unassorted in garden spaces, is only like having a box of paints from the best colourman, or, to go one step further, it is like having portions of these paints set out upon a palette. This does not constitute a picture; and it seems to me that the duty we owe our gardens and to our own bettering in our gardens is so to use plants that they shall form beautiful pictures; that, while delighting our eyes, they should be always training those eyes to a more exulted criticism; to a state of mind and artistic conscience that will not tolerate bad or careless combination or any sort of misuse of plants, but in which it becomes a point of honour to be always striving for the best. Gertrude Jekyll Colour in the Flower Garden Mitchell Beazley London 1998 – Introduction (first published 1908)

MORE IS LESS

Significantly, in the era of the ‘information revolution’, the same process is now affecting disinformation: whereas in the past it was lack of information and censorship which characterized the denial of democracy by the totalitarian state, the opposite is now the case. Disinformation is achieved by flooding TV viewers with information, with apparently contradictory data. The truth of the facts is censured by over-information, as we have seen from the press and television discussing the Balkans. The globalitarian state, built out of economic-strategic alliances, is no longer old ‘Anastasia’ with her scissors: it is Babel. Now more is less. And in some cases, less than nothing. Deliberate manipulation and unintentional accidents have become indistinguishable.

Paul Virilio Strategy of Deception Verso 2007 p.48

(first published Editions Galilee 1999)

‘That which precedes the event is not necessarily its cause,’ claims the wisdom of the ancients. p.76

As Negroponte has rightly remarked, with the ‘liberation of information’ on the Web, what is most lacking is meaning or, in other words, a context into which Internet users could put the facts and hence distinguish truth from falsehood. On the Web, where, as everyone knows, the terrorist temptation is constant and where depredations of hackers are committed with impunity in a strange state of legal indeterminacy, the difference between (true) information and (false) deception fades a little more each day. In entering the looking-glass worlds of television and home computers, we are in the end left in the position of Kinglake’s old ‘English soldiery’. As they saw it,

insofar as the battlefield presented itself to the bare eyesight of men, it had no entirety, no length, no breadth, no size, no shape and was made up of nothing . . . In such conditions, each separate gathering . . . went on fighting its own little battle in happy and advantageous ignorance of the general state of the action; nay, even very often in ignorance of the fact that any great conflict was raging.

As Albert Camus asserted: ‘When we are all guilty, that will be true democracy.’ p.78

ENCOUNTERING CONRAD

Ryszard Kapuściński The Other Verso London 2018, p. 92

At the end of his book, Kapuściński asks whether, in our encounters with others in the future:

Will we jointly wish to refer to what – as Conrad puts it - ‘speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation – and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts: to the solidarity of dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity – the dead to the living and the living to the unborn.’?*

* J. Conrad, Preface to The Nigger of the ‘Narcissus’: A Tale of the Sea, New York: W.W.Norton, 1979.

Architecture stands in between of all of these circumstances of encounter, but how does it explain itself beyond being a bespoke ‘grand design’ of a potential genius?

ON THE CULTURE OF OTHERS

Herodotus . . . wanted to know them because he understood that to know ourselves we have to know Others, who act as a mirror in which we see ourselves reflected; he knew that to understand ourselves better we have to understand Others, to compare ourselves with them, to measure ourselves against them. As a citizen of the world, he did not believe that we should isolate ourselves from Others, or slam the gates in their faces. Xenophobia, Herodotus implied, is a sickness of people who are scared, suffering an inferiority complex, terrified by the prospect of seeing themselves in the mirror of the culture of Others.

Ryszard Kapuściński The Other Verso London 2018, p. 19

CLEVER PEOPLE SELF-DOUBT

I last met him when Philomena came out back in 2013. Back then, Coogan was a bracing, combative interviewee. He saw every question as a potential ambush and moved to thwart any perceived journalistic angle. Today, though, he seems more comfortable with the process, more at ease with himself. It used to be that he felt he always had to have his guard up. Now he accepts that he can sometimes afford to let it drop. He’s middle aged and a mass of insecurity and contradictions. He suspects that, on balance, that’s not such a terrible thing to be.

“And actually I think acknowledging your own fallibility makes you a better artist and a better person,” he says in a rush. “It’s fairly obvious to me that the real wisdom lies in seeing people’s failings and trying to understand them. Because the alternative is that very childlike, Donald Trump thing of believing that admitting any weakness is fatal. What was it Bukowski said? All the clever people are full of self-doubt and all the stupid people are very confident. That’s the era we’re living in now. That’s the era I don’t want to be a part of. So all you can do is try to go about things differently. Do interesting work and don’t be a cunt.”

Coogan gulps for breath. His eyes widen and then he rocks with laughter. “There you go, that’s my big artistic statement,” he says. “Do interesting work and don’t be a cunt. Took me the best part of an hour. Got there in the end.”

https://www.theguardian.com/film/2019/jan/04/steve-coogan-interview-stan-and-ollie

HILLS

The hills bespeak a healing power and closeness to unseen help now lost in the security of modern welfare. Those who befriend the silent peaks in a lifetime's work know well their embracing strength. (p.91)

For only once is it given to man to lie in the arms of the eternal forces which give all matter form. (p.98)

Iain R Thomson Isolation Shepherd Birlinn, Edinburgh, 2007

I will lift up mine eyes unto the hills, from whence cometh my help.

My help cometh from the Lord, which made heaven and earth.

Psalm 121 King James Version (KJV)

SPAN

17 August 2012

This blog began as a co-operative concept. While the idea and the stimulus was generated through discussion, the blog has turned out to be an individual enterprise. SPAN stands for ‘Spence and’ in the context of others. As a word, it fitted in nicely with the idea of voussoirs - parts and pieces, complete with keystones, that could ‘span’ the gaps in understanding and communication. The word SPAN also allowed for a shared input into a blog.

Spence Jamieson is an architect and the author of these articles. The blogs show the scope of his interests.

THE IDEA

chapters and verses as architectural commentary:

the wedge to isolate, array and shape ideas; the keystone to highlight core, supporting issues. voussoirs is a concept to start an architectural discussion to span the large gap in the debate on things architectural; a bridging of the void in architectural issues by exploring considered bits and pieces. The state of the profession today is highlighted by silence and self. It is introvert and protective. Educational centres remain isolated within their own constructs, being run primarily as businesses. They put very little back into the community. They indulge themselves in their own interests and exclude contrary and different ideas and ideals. They constantly avoid any challenge on concepts or strategies that might change the plotted course. Rarely does comment ever come from this academic world into the public or any arena. Very few publications help direct the public interest. Rarely do newspapers grasp the issues and explore them. One aspect may be given space in the popular press, but architectural debates and concerns are rarely given attention. The professional institutes are doing much the same as the educational institutions. Private practice is doing likewise, offering, if anything, only its own pushy propaganda to the public. Yet there is a discussion and debate in these silences that needs a larger and more open platform. Discussion is alive and well amongst a few in at least one curry house, but the debate needs to be a broadened. voussoirs is the place for this discussion. It is a site for ideas, comment, articles, and critiques on things architectural and associated issues. It is here that matters can be aired and ideas discussed and debated without fear of the neglect and disdain that institutions and private groups and publishers give to open speaking and differing ideas.

There can be no true understanding of any idea if discussion and debate are curtailed in favour of a preferred position.

ON COMMUNICATION

. . . there has been a growing feeling of concern to solve what is now commonly called “the problem of communication.” But if one observes efforts to solve this problem, he will notice that different groups who are trying to do this are not actually able to listen to each other. As a result, the very attempt to improve communication leads frequently to yet more confusion, and the consequent sense of frustration inclines people ever further toward aggression and violence, rather than toward mutual understanding and trust.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.2

ON ART & METHOD

Even in relationships with inanimate objects and with nature in general, something very like communication is involved. Consider, for example, the work of an artist. Can it be properly said that the artist is expressing himself, i.e., literally “pushing outward” something that is already formed inside him? Such a description is not in fact generally accurate or adequate. Rather, what usually happens is that the first thing the artist does is only similar in certain ways to what he may have in mind. As in a conversation between two people, he sees the similarity and the difference, and from this perception something further emerges in his next action. Thus, something new is continually created that is common to the artist and the material on which he is working.

David Bohm On Dialogue Routledge, Oxon, 1996 (2004) p.4

THE NECESSITY OF THE INCOMPLETE

The early 50's and 60's is a period that is gaining interest in architectural ideas. Perhaps this is why Princeton chose to republish The Tao of Architecture. It is a beautiful little book that discusses the implications of traditional wisdom in architecture. Given the astonishing lack of direction in current architectural theory, the publication is very timely.

Amos Ih Tiao Chang, The Tao of Architecture, Princeton University Press, Princeton, 1956, reprinted 2017.

p.26

Laotzu's idea of formation is heavily concerned with emptiness or non-existence. To him who regards nothing as persistent, what is essentially important in things is the possibility of becoming something, not the opportunity of remaining as something confronting deterioration. Consequently, meaningful incompletion is taken as the most desirable state of tangible being.

p.22

. . . the full meaning of existence is beyond the power of any manifestation. What appears tangible, architectural or natural, is only a means to suggest that which is lacking in appearance and existing in man's intangible understanding and aesthetic feeling.

LIVING IN IMPERMANENCE

Maybe it is a good thing for us to keep a few dreams of a house that we shall live in later, always later, so much later, in fact, that we shall not have time to achieve it. For a house that was final, one that stood in symmetrical relation to the house we were born in, would lead to thoughts – serious, sad thoughts – and not to dreams. It is better to live in a state of impermanence than in one of finality.

Gaston Bachelard The Poetics of Space

see: THE NECESSITY OF THE INCOMPLETE in the sidebar

THE REAL AND THE IMAGINARY

I prefer, by far, real islands to imaginary islands, just as I prefer prime documents to novelistic remakes. That's because the real is richer than the imagination. The real demands investigation and is an invitation to sensitive knowledge, whereas the imaginary is more often than not just a collection of stereotypes, a soup of clichés offering an infantile kind of satisfaction. Then, a relationship to the real and its resistance requires changes in thought, in ways of being, in ways of saying, it leads to a transformation of the self. Whereas imagination is nothing but compensation. There's even something horribly autistic about sitting in one spot and spinning out invention by the yard. How much more interesting an open and poetic process involving contemplation, study, movement, meditation and composition.

Kenneth White Across The Territories Travels from Orkney to Rangiroa Polygon Edinburgh 2004 p.86

VISION, CIVILIZATION & SPIRIT

The architect who combines in his being the powers of vision, of imagination, of intellect, of sympathy with human need and the power to interpret them in a language vernacular and time - - - is he who shall create poems in stone.

When you look on one of your contemporary 'good copies' of historical remains, ask yourself the question: Not what style, but what civilization is this building? And the absurdity, vulgarity, anachronism and solecism of the modern structure will be revealed to you in a most startling fashion.

It cannot for a moment be doubted that an art work to be alive, to awaken us to life, to inspire us sooner or later with its purpose, must indeed be animate with a soul, must have been breathed upon by the spirit and must breathe in turn that spirit.

Louis Sullivan

AN UNCHANGING PROFESSION

ARCHITECTURAL PRACTICE

. . . no one can relieve (the architect) from the need to rely on his own discretion, for that discretion is linked to a responsibility which belongs to no one but (the architect). It is the exercise of discretion hampered by considerations of cost, of risk, of exact justice, of conflicting interests, of uncertainty as to facts, of misunderstandings and of diverse individualities and dishonest or incapable agents, which is the chief care and preoccupation of architectural practice. To design a building, to draw and specify every part of it, and to direct its construction and see it completed with no other anxieties and dilemmas than belong to the exercise of those duties, is unknown.

H.B.Creswell The Honeywood Settlement Faber and Faber Limited London 1967 (fourth edition: first edition 1930 Architectural Press) p.128

MENDING WALL

Something there is that doesn't love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes gaps even two can pass abreast.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbor know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
'Stay where you are until our backs are turned!'
We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, 'Good fences make good neighbors'.
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
'Why do they make good neighbors? Isn't it
Where there are cows?
But here there are no cows.
Before I built a wall I'd ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn't love a wall,
That wants it down.' I could say 'Elves' to him,
But it's not elves exactly, and I'd rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me~
Not of woods only and the shade of trees.
He will not go behind his father's saying,
And he likes having thought of it so well
He says again, "Good fences make good neighbors."

Robert Frost

CATHEDRALS and SYMBOLISM

Everything is the symbolical representation of an idea. p.28

The same artists, who had to follow a strict rule when treating the history of God, could use all of their imagination when treating the ornamental: whence the blossoming of the grotesque and the original. p.38

In those days religion, drama, and art had the same aim and sought to provoke the same thoughts. They did not pretend to amuse the people; they endeavoured to teach them. p.51

This way of thinking and reasoning takes sometimes a very subtle turn. p.53

Hélène Fouré The French Cathedrals Their Symbolic Significance Bruce Humphries Inc. Publishers, Boston, 1931

THE COMPLIMENT & THE CRITIC 2

ON DEMOLISHING BUILDINGS

Nothing appears to me much more wonderful, than the remorseless way in which the educated ignorance, even of the present day, will sweep away an ancient monument, if its preservation be not absolutely consistent with immediate convenience or economy. Putting aside all antiquarian considerations, and all artistical ones, I wish that people would only consider the steps, and the weight of the following very simple argument. You allow that it is wrong to waste time, that is, your own time; but then it must be still more wrong to waste other people’s; for you have some right to your own time, but none to their’s. Well, then, if it is thus wrong to waste the time of the living, it must be still more wrong to waste the time of the dead; for the living can redeem their time, the dead cannot. But you waste the best of the time of the dead when you destroy the works they have left you; for those works they gave the best of their time, intending them for immortality.

John Ruskin Lectures on Architecture George Routledge & Sons Limited, London p.109

THE COMPLIMENT & THE CRITIC 1

How to avoid insult

But how much of nature have you in your Greek buildings? I will show you, taking for an example the best you have lately built; and, in doing so, I trust that nothing that I say will be thought to have any personal purpose, and that the architect of the building in question will forgive me; for it is just because it is a good example of the style that I think it more fair to use it for an example. If the building were a bad one of the kind, it would not be a fair instance; and I hope, therefore, that in speaking of the institution on the mound, just in progress, I shall be understood as meaning rather a compliment to its architect than otherwise. It is not his fault that we force him to build in the Greek manner.

John Ruskin Lectures on Architecture and Painting George Routledge & Sons Limited; New York: F.P.Dutton & CO - p.64-65

ON EDUCATION

'. . those who are responsible for giving instruction in the theory of architecture should be practising architects. The warning is necessary because, strange though it may seem, English schools of architecture to-day tend to be run by men who either do not practise at all, or whose practices are for them a very subsidiary spare-time occupation. Often a teaching appointment is a means by which a clever student avoids the humiliation of entering an office as a junior assistant, thus depriving himself of the only opportunity he will ever have of learning something of the practical side of his profession from the bottom upwards. There can be no doubt whatever that the teaching of theory has suffered severely as a result of this habit: and this leads me to the conclusion that no man should be permitted to teach until he is recognized by his Faculty as a Master of Theory and Practice. In other words, he should be not only a practising architect but also, what is unfortunately a much rarer specimen, a good architect.'

W.A. Eden, The Process of Architectural Tradition, Macmillian & Co. Ltd, London, 1942, p.p. 86-87

ETHICS

Thus Pugin laid the foundation stones of that strange system which dominates the nineteenth-century art criticism and is immortalised in the Seven Lamps of Architecture: the value of a building depends on the moral worth of its creator; and a building has a moral value independent of, and more important than, its esthetic value. We must not consider this emphasis on morality peculiarly Victorian. Whenever esthetic standards are lost, ethical standards rush in to fill the vacuum; for the interest in esthetics dwindles and vanishes, but the interest in ethics is eternal.

Kenneth Clark The Gothic Revival - An Essay in the History of Taste, (1^st edition Constable 1928); third edition John Murray 1962, reprinted 1974, p.149.

MODERNITY

The everyday is covered by a surface: that of modernity. News stories and the turbulent affectations of art, fashion, and event veil without ever eradicating the everyday blahs. Images, the cinema and television divert the everyday by at times offering up to its own spectacle, or sometimes the spectacle of the distinctly noneveryday; violence, death, catastrophe, the lives of kings and stars – those who we are led to believe defy everydayness. Modernity and everydayness constitute a deep structure that a critical analysis can work to uncover.

Henri Lefebvre, The Everyday and Everydayness, in Stephen Harris and Deborah Berke, Architecture of the Everyday, Princeton Architectural Press, New York, 1997, p.37.

NAMING

The simplest act of substitution is to put the name of a maker in the place of his or her work, which amounts to a paraphrase in itself. . . . All paraphrase sets aside the original: To put the name in place of the painting is to remove it from immediate consciousness; to narrate the life of an individual is an act profoundly different from looking into a painting and one that cannot be conducted simultaneously with it. To substitute a temporal narrative, already present in a name, for the physical work of art is to give up those features of the thing that were transient and unrepeatable, bound to a moment that is irrevocably ended; the unique insistence is, for the moment at least, sacrificed on the altar of continuity.

Thomas Crow, The Intelligence of Art, The University of North Carolina Press, 1999, p.1.

ON BRANDING

Branding is now the art of getting people to think what something might be rather than what it necessarily is. It's about the manipulation of the virtual reality in which so many live. The manipulators include anyone with an interest in what we might think of them - not just big companies with products to sell but political parties with votes to win, design gurus with clients to attract - anyone, in other words, acting in some kind of market. They all have an interest in controlling their appearance to make us believe it is the reality.

John Humphrys Beyond Words How Language Reveals The Way We Live Now Hodder and Stoughton. Great Britain 2006, p. 86-87

see:

http://voussoirs.blogspot.com.au/2015/10/faking-provenance-misuse-of-meaning.html

PRECONCEPTION

Leone Huntsman Sand in Our Souls The Beach in Australian History Melbourne University Press 2001, p.16:

Thus first impressions were filtered through existing preconceptions, starkly revealed in Sir Joseph Banks's description of the people seen from Captain James Cook's Endeavour when it first touched on the Australian continent in 1770:

In the morn we . . . [discerned] 5 people who appeared through our glasses to be enormously black: so far did the prejudices which we had built on Dampier's account influence us that we fancied we could see their Colour when we could scarce distinguish whether or not they were men.

Here Banks refers to William Dampier's unfavourable accounts of the West Australian aboriginal people in published accounts of his landings in 1688 and 1699, and reveals his own awareness of the extent to which perception was influenced by expectation.

see: http://voussoirs.blogspot.com.au/2014/04/seeing-what-we-believe-idyllic-visions.html

THE MUSE - GETTING IT RIGHT

"It can be in the morning, any old time, I wake up with an idea and it starts following you around.

"You go, 'Ah that's good' because you know when it's going to work, it's going to be fruitful.

"Other times you'll get the edge of an idea and maybe it fades away or there's just no way it can be made to serve, you know?

"Then you just, it takes its time and you work on it and if necessary you work on it more than once. I'm known to work on it two or three times before you get it right."

Les Murray

http://www.abc.net.au/news/2015-10-02/les-murray-latest-volume-reflects-on-bunyah/6816714

http://www.lesmurray.org/

JARGON

The world seems to find it necessary to use more and more jargon in general reporting and conversation. It is especially noticed in accounts and discussions on the arts. The ABC TV arts programme presented on 7 January 2017 at 6:15pm had more jargon than usual; indeed, had more unusual expressions than previously encountered, ones that had not been heard before:

"unpicking the tapestry" of one's life;

and

looking at "the fan deck of what you do."

These reminded one of other popular fashionable expressions:

“to unpack an issue,” meaning to analyse it in some detail;

and

“to segue,” meaning to shift to a new topic or activity.

This last term is a favourite of radio announcers. The Italian word is often misspelt as ‘segway’ because of the similar phonetic sounding that is more commonly understood as Segway, the brand of a human transporter.

The parallel is interesting, as the idea of being ‘transported’ is common to both words, but it seems to hold little interest to the radio voices that appear just too cleverly happy with the use of this different, interesting expression.

Friday 4 January 2019

PASSING THOUGHTS - LEAVING LERWICK HARBOUR

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