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Location: Mappin Street, Sheffield
Date: 20 March 2009
This is an old cathedral church. It's situated right in front of Mappin Building, also an old brick type of structure for faculty of Engineering. If I'm not mistaken, this church had been refurbished long time ago and converted into several classes to accomodate the growing number of students who come to study in University of Sheffield.
"Central shopping area"
Scans of six slides from the "Sheffield - Steel City" set - A15 in the "Esso Geography Studies" series. The set seems intended for school use and was probably published in early 1960s.
Nothing in the pack identifies the photographer or copyright owner. I hope Esso and the photographer(s) will be glad to see these seeing the light of day rather than object to my posting them...? Thank you very much to Sheila for the gift and to Mr Curzon for storing them for our delight years later.
The text in the booklet that accompanies the slides is by Prue Dempster - Senior Lecturer in Geography, Whitelands College, London. A lot has changed in the intervening forty years as shown in the pictures but also in the text.
Angel Street in the main shopping area from GR 356875 looking north
Much of the older, central area of Sheffield is being redeveloped. The shopping area at the centre of the town on the foot of Hallam spur has been cleared and fine new shops built, like those in Angel Street. Higher up the spur, to the west of the centre, much of the oldest and most overcrowded area, where cutlery workshops and homes were side by side, has already been cleared and small and medium-sized factories, offices and blocks of flats are being built. Some of the poorer nineteenth-century housing is being replaced in several areas, like those on Park Hill.
The map (A15/1) summarizes the development of Sheffield. It shows very strikingly the influence of the topography on the growth of the city. The early site was round the castle on the eastern end of the spur which is the present centre where the shops are being rebuilt. The town spread westward up the spur in concentric rings, at first creating the cutlery area and then purely residential area in successive belts of housing. With the Industrial Revolution, nineteenth-century industry spread along the valleys of the Don and Sheaf with housing on the lower slopes. Better residential suburbs grew up on the higher land to the west. Inter- and post-war building has extended on to the higher ground between the valleys. The enclosed valley is liable to extremely cold winters when temperature inversion causes the valley air to stagnate and smog to form. In spite of this, Sheffield can claim to have the cleanest air of any industrial town in Britain.
Sheffield is very much a single urban unit with no well-developed suburban shopping areas. Shops spread out from the centre along the main roads and new shopping areas in the suburbs cater only for day-to-day household needs.
In spite of this concentration of shops, for a city of over half a million Sheffield has a very small commercial centre and serves only a small area around it, for the moors enclose it on almost every side. To the west, the land rises sharply to 1,500’ and has proved difficult to cross by road, canal or rail. Snow lies on the hills for many weeks in the winter so there are climatic as well as topographical hazards. This accounts for the fact that the first railway to the west was not built until 1893. Only recently has the hinterland grown to the west and the Derwent Valley become a popular dormitory area for Sheffield.
This is the picture that helps date the set: The foreground is Castle Square and is in the days before the Hole In The Road (a pedestrian underpass complete with aquarium (t'fishtank) constructed 1967 as part of opening up Arundel Gate) and the A57 still passes straight across the picture rather than winding round the edge of the centre. The sculpture high on the wall at Hornes (Vulcan by Boris Tietze) helps too - this was erected in 1961.
As seen from the Royal Exchange/Bank area. From an undated publication PICTURESQUE LONDON by Photocrom Co. Ltd., which includes a photo of the new Whitehall Cenotaph, thus dating the publication as after the early twenties. Estimates of the date of this photo welcome.
HOW TO GRAB NORMAL MAPS USING SL
Here’s my latest attempt. As you can see, SL’s lighting is really quite pretty when given a suitably detailed normal map.
Ian. R. Mappin's very smart ERF W21 COT seen on the M62 eastbound at Sandholme, East Yorkshir
Hoje não teve caminhada, a chuva não deixou, ficamos embaixo da marquise do antigo prédio do Mappin!
HDR selective colour of the Mappin Building at the University of Sheffield.
HDR brings the details of the windows from inside and the selective colour hopefully makes them pop. Personally I think the tress in the foreground add to quite a spooky feel.
Sir Frederick Mappin Building, Faculty of Engineering
Opened in 1904, the Sir Frederick Mappin Building houses the departments of Mechanical Engineering and Electronic and Electrical Engineering.
University of Sheffield.
Sir Frederick Mappin Building, Mappin Street, Sheffield, 1902-13.
By Flockton & Gibbs.
Grade ll listed.
Sir Frederick Thorpe Mappin, 1st Baronet, of Thornbury (1821-1910) was Liberal MP for Hallamshire 1885-1906 and benefactor of the Mappin Art Gallery. He also owned the Sheaf Works (Thomas Turton & Sons) on the Sheffield & Tinsley Canal.
HOW TO GRAB NORMAL MAPS USING SL
Here you can see the red, green and blue channels as they look when part of the final image. (Remember that each channel is just a grayscale image — it’s how you position the light that matters. They are color coded here for your convenience.)
The image to the bottom-right of this pic shows merged result of the three color images — this final image is your normal map. The little thingy in the middle is the normal map placed on a shiny cube. The next pic will be CLOSE-UPS! WOO!
Este miercoles me tome un largo rato y dibuje parado apoyado en la baranda de una salida de subte sobre Diagonal Norte.
El croquis de la izquierda es un detalle de fachada del Edificio La Equitativa del Plata, en la esquina de Diagonal y Florida. Detalle de las ventanas sobre la esquina (lo dibuje después del de la derecha, ya tenía poco tiempo).
El de la derecha es el edificio ex Casa Mappin & Webb, ex BNL y actual HSBC y esta pegado al edificio de Mario Botta Florida 40.
Ambos los dibuje directamente en microfibra 005 y luego acuarela en casa. Estuve 1:20hs aprox para hacerlos en línea sobre cuaderno Brugge 12x17.5cm, hoja de 100grm.
This Wednesday I took a long lunch break and draw standing leaning on the railing of a subway exit on Diagonal Norte Av.
The sketch on the left is a detail of the facade of The La Equitativa del Plata Building, on the corner of Diagonal Norte Av. and Florida Street. It´s a closeup of the windows on the corner (I drew after the one over the right, and had little time).
On the right is the former Casa Mappin & Webb, former BNL Bank and current HSBC Bank and is next by Mario Botta´s building on 40 Florida Street.
Both drawn directly with fineliner 005+01 and then watercolor at home. About 1:20hs drawing on site on Brugge sketchbook 12x17.5cm, 100grm sheet.
El: 18/4/13, on: 4/18/12
This weeks Macro Mondays theme is Orange and Blue.
This map pin in this foam ball is a subtle reminder that wherever your at, then there you are.
South Africa - A Brighter Flame
20 April - Friday 4 June 2010, Level 4 Foyer Symphony Hall Birmingham UK. New photographs taken in South Africa by photographer, film maker and artist Pogus Caesar was exhibited at the prestigious Symphony Hall in Birmingham.
The exhibition, 'South Africa - A Brighter Flame' featured compelling images of street scenes from Caesar's visit to Johannesburg and Capetown in 2007. The photographs are shot in black and white, using available light on Caesar's trademark Canon Sure Shot camera. The silver gelatin print collection, drawn from Caesar's OOM Gallery Archive, offers an evocative and unique window into daily life in South Africa .
Caesar's photographs includes portraits of the South African urban landscapes, ranging from Cape Town to Johannesburg - moving from the territorities of the townships to the framework of the city. Caesar's various photographic series are linked together by a conceptual framework of cultural portraiture. The 'South Africa - A Brighter Flame' series continues his worldwide exploration of documentary photography and examines the historic significance of the new South Africa. These photographs, selected from over 700, capture a moment in African history and reveal not only its glory but also the aftermath which is not always revealed in the media.
Moving through the inner city neighbourhoods of Johannesburg - including Soweto home of the infamous uprisings in 1976 and the once 'whites only ' area of Hillbrow, to the former site of No 4 Prison on Constitution Hill, where past inmates have included Mahatma Ghandi and Nelson Mandela - Caesar kept his camera steadily focussed on the people he encountered.
In Cape Town, with a backdrop of Table Mountain and home to an estimated 3.5 million people, Caesar witnessed a different landscape.I visited the winelands and saw many contrasting images. Although a seeminly gentler place with a beautiful energy I was acutely aware of underlying tensions that exist between the cultural classes.
Caesar is best known for his 35mm black and white photography and compelling montages, which he shoots on old Nikon and Canon Sure Shot cameras, purchased in the 1980's. Most of Caesar's UK photography is based around his home city of Birmingham and includes documenting well-known personalities such as Stevie Wonder, Jesse Jackson, Desmond Tutu and Julie Christie.
Caesar has documented important events such as the Handsworth riots, the Birmingham tornado and the regeneration of the Bullring. Caesar has visited places as diverse as South Africa, Jamaica, America, Albania and India to photograph people and events.
Speaking about his inspiration for the exhibition South Africa - A Brighter Flame, Caesar said "The visit gave me the opportunity to document what I had only witnessed through the media it really opened my eyes and heart to the plight of the South Africa people and their courageous attempt to forge a better and brighter future for themselves and their country".
Recent exhibitions have included 'That Beautiful Thing', 'Muzik Kinda Sweet' and 'From Jamaica Row - Rebirth of the Bullring'. Exhibitions have been organized by Wolverhampton Art Gallery, Three White Walls Gallery, Fazeley Studios, Kinetic AIU and City Gallery, Leicester. Caesar has also shown his work at Mappin Art Gallery, Sheffield, Museum of Moving Image, Bradford and Birmingham Museum and Art Gallery.
The artist lives and works in Birmingham, UK
South Africa - A Brighter Flame is an OOM Gallery exhibition and curated by Kate Pryor Williams and Pogus Caesar
South Africa - A Brighter Flame from 20 April to 4 June, 2010
Level 4 Foyer Symphony Hall Birmingham United Kingdom
from the Edwardian album 1902. Note the charmer in the middle reaching for his moustache - perhaps to twiddle it, enticingly - as he speaks to a young lady.
There's lots of flags, and I think that the shop sign you can see on the corner might be Mappin and Webb.
Trendy Diamond Rings :
Love this baguette diamond ring!!!!
HOW TO GRAB NORMAL MAPS USING SL
I am too lazy to model geometry to cook normal maps off of, so here’s a way of generating normal maps with minimal effort needed. Tools needed: SL; a Fullbright backing prim colored [128,128,255]; a white light source; an image editor that can save grayscale images to color channels of a new image.
A normal map is just a texture image but the cool thing is that its R, G and B color channels each encode information about how light hits surfaces. There’s no magic to the encoding — you can take three grayscale images and composite them into a texture. You literally just drag a white light to three different locations (to the left of the surface, above the surface, and in front of the surface), take three pics, and merge them. That’s how I got the normal map shown in action above.
In-camera panorama taken with a Coronet Rapier Mark II camera in week 266 of my 52 film cameras in 52 weeks project:
The film is Lomography Redscale 50-200, which I processed in Tetenal C41 chemistry.
RM277 at Bank, 26th October 1988
HOW TO GRAB NORMAL MAPS USING SL
Music: UT99 Lock.
My normal mapping rig can now support 3-point (lit from right, top and front) and 5-point (lit from right, left, top, bottom and front) noral mapping. I have been experimenting with 5-point at the suggestion of Kaylia.
The picture above is an animated GIF. Click here to see it. The first fine frames are the five source images I captured with my normal mapping rig, while the remainder show intermediate steps in the process of turning those five images into the final normal map.
Get your 5 source images. You want one lit from above (call it TG), one from below (BG), one from the left (LR), one from the right (RR) and one from in front (BF). With these in hand, you can proceed.
First create two intermediate images - one with LR and BG in its red and green channels (call it LRBG) and one with RR and TG in its red and green channels (call it RRTG). Fill the blue channels of both images with black (no color).
Adjust the levels of LRBG to be within the range 0 - 127. Adjust the levels of RRTG to be within the range 128 - 255. Now color invert LRBG. Can you feel it yet?
Create a matching-sized image that will be your normal map. Paste the LRBG image down and flatten. Next, paste the RRTG image down and set its blend mode to Overlay. Flatten. Lastly, put the BF image data into the flattened image’s blue channel and flatten again.
Table top shot with a single directional light source. Processed in Lightroom then textured in Photoshop.
Camera:Canon EOS 500D
Focal Length:55 mm
Music: The Course.
Here’s a view of the test normal map, assembled using three screenshots taken on my inworld normal mapping rig. The three source images are shown at left.
Simon Staughton arrived in the Port Phillip district of NSW in 1841. He took up pastoral lands west of Melbourne covering over 100,000 acres which he named Exford. His Exford homestead was built in 1845. After Victoria became a separate colony from NSW in 1851 some of the big estate was resumed for closer settlement. Over 30,000 acres was taken for the town of Melton and surrounding lands in 1852. When Simon Staughton died in 1863 his four sons inherited over 70,000 acres and the land which was divided between them thus creating the properties of Exford, Eynesbury, Nerowie and Staughton Vale. Only Eynesbury had no homestead on it so in 1872 William Staughton had a grand basalt bluestone mansion erected on his 20,000 acre property. In addition to the house extensive servants’ quarters, stables, store rooms and stables were built in the similar architectural style. In 1947 this huge estate was purchased by Charlie and Antony Baillieu who continued to run it as a sheep station. The magnificent homestead is now used as a gold club rooms, restaurant and weddings venue. Around 15 buildings on the estate are heritage listed including the homestead, the staff quarters (1880), the stables ( 1880), the meat house, smoke room and water tank 1870, the bluestone cottage ( 1880) and the dairy (1890). The central part of the expansive homestead from 1872 is two storey with a windows walk on the roof. The single storey side pavilion wings with bay windows extensions were added in 1885. The front garden is also enclosed within a basalt bluestone garden wall and the outbuildings formed a quadrangle behind the main house. Beyond the garden wall is an artificial lake. The Staughton brothers were one of the largest freehold landowners in Victoria and so Eynesbury is especially significant for its size, consistency and grandeur.
Sobre o viaduto, fileira de Vans da SpTrans destinadas a levar os visitantes ao circuito de luzes natalinas de São Paulo.
O "Prédio do Mappin" - O prédio da praça Ramos virou sinônimo de megaloja numa época em que não existiam shoppings em São Paulo. O Mappin foi inaugurado em 1913 na rua 15 de Novembro para atender a elite cafeeira de São Paulo. Seis anos depois mudou-se para a praça do Patriarca e em 1939 foi para o prédio que se tornaria emblema de lojas de departamentos na cidade. Até a abertura dos shoppings, entre o final dos anos 60 e início dos 70, o comércio mais glamouroso passava pelo Mappin.
O prédio da praça Ramos não foi construído para abrigar lojas --o projeto do arquiteto Elisário Bahiana (1891-1980), o mesmo que fez o viaduto do Chá e o Jockey Club, era para a sede de um banco, o Banespa.
O problema é que a direção do Banespa achava que o prédio ficara longe demais da centro financeiro, que na época baseava-se nas rua Direita e 15 de Novembro, a pouco mais de 1 km da praça Ramos. A Santa Casa de Misericórdia tinha um edifício nessa área, na rua João Brícola, e trocou-o com o Banespa --ela é até hoje a dona do edifício.
artigo completo: www1.folha.uol.com.br/folha/cotidiano/ult95u99016.shtml
Subtitled "Supermassive Blackhole". You can see this by looking into my eyes... a Large and Dark View as you're feeling sleepy... falling (with 1 Poultry) into a Supermassive Blackhole.
So just to be clear - I don't hate 1 Poultry. I like the building... just not at this location as here it clashes with all around (Bucklersbury House on the right excepted but that's going away so doesn't count) and is really only there because the alternative was just too grim to contemplate - that alternative being another grand building... but absolutely not right for this location.
Location, Location, Location as that curious man and his rather porcine colleague used to espouse regularly on Channel 4. Not looking so clever now, eh? Mr Curious (what is his name) being a great advocate of property as an investment... you know - and I might be going out on a limb here - I've always purchased houses to live in as a home. Call me a fuddy duddy grumpy old traditionalist goatblower, but I was always under the impression that's what they were for.
Anyway - back in the locality of 1 Poultry (the stripy building on the left)
First off I have to say that "Poultry" is a great name for a street. Just one word - Poultry - without any Lanes, Streets, Avenues or suchlike to get in the way. I'd love to have an address like that..imagine the fun you could have with call centres.
"What road is that sir?"
pause..."Sorry sir - did you say "Poultry?"
So to get the real picture we have to blame the Victorians who built the road which runs across the shot here - Queen Victoria Street. - which was intended to relieve congestion between the spanky new Victoria Embankment (you can see there's a naming theme here) and The City. Starting at Blackfriars and ending at Bank it was built in a gentle curve and required the purchase and demolition of some 500 properties on the route which alone took nearly two years to complete before construction could begin in 1868.
Being a somewhat heavy handed and functional bunch the Victorians didn't really care much for the existing medieval street layout - the raking angle the new street took meant that many of the plots created were triangular, the most notable of which being at 2-10 Queen Victoria Street where, in 1870, John Belcher (junior) built his Mansion House Buidlings which are more fondly remembered by the name of the principal tenant - Mappin and Webb, suppliers of silver and finery to Her Maj (QEII not Madonna) don't you know.
In the mid 19th Century John Ruskin (for it is he) had written a paper about how the architecture of the city should be Venetian in style since this reflected the mercantile nature of the area - the challenge was taken up and inspired many innovative buildings. The Mappin and Webb building was in the New Gothic Style, inspired by 12th Century French architecture. Built of Bath Stone and Granite it had some fabulous decorative carvings around the arcaded openings which ran around the outside of the building.
The point of the building, which faced the Bank of England, was handled effortlessly with the arcade sweeping round on all floors - there was a rounded tower at the higher floors, topped off with a conical roof which added a focal point to that end of the building. John Belcher (Snr and Jnr) were accomplished architects of the time and designed many other buildings in the area of Poultry, but this was their finest.
Roll forward to 1958 and London is rebuilding after the war - getting underway is Bucklersbury House on the right here... more detail on the history of that building and the Temple of Mithras, seen at the forefront of this picture, in this earlier shot of mine here.
By this time the likes of Belcher and the Gothic architecture he produced had few friends - the vogue was modernisation and buildings like Bucklersbury House were springing up everywhere... each with little merit or sympathy for the surroundings. An idea was put forward for a landmark on the site of Mappin and Webb and the surrounding buildings but it wasn't until 1984 that the first plan received public scrutiny.
By this time the site was owned by Peter Palumbo - father of Ministry of Sound owner James Palumbo - who put forward a design for an 18 story glass and steel office tower designed by Ludwig Mies van der Rohe. The tower would be on one side of a huge paved square which would have opened up views of the Mansion House, St Stephen Walbrook and Lutyen's Midland Bank on Cheapside (just visible at the end of 1 Poultry in the shot here). The plan was heavily opposed - Prince Charles called it a "Glass Stump" which finished the friendship that he and Palumbo had.
The design was finally vetoed by the Secretary of State in 1985 who said that the development was entirely unsuitable for such an historic site.. but that future redevelopment may be countenanced. So in 1986 a smaller scheme, designed by James Stirling was put forward... this was also turned down. Finally in 1988 the design for One Poultry was on the table.
English Heritage and The City opposed the design, the demolition of 8 listed buildings it would require and the removal of Bucklersbury, a street which ran from the left of this shot to Cheapside. Prince Charles added his voice again, saying that the design "looked like a 1930's wireless set". The only advocates were Palumbo, James Stirling and, curiously, Mappin and Webb who complained that their building was too cramped for modern retailing...
... however, in the end the second appeal was successful and permission was given for the plan to go ahead. As expected this went to the Secretary of State who vetoed it again, but this was overturned in the house of lords and the fate of the Victorian buildings was sealed.
The recession of the early 90's delayed the start of work and it was only in 1994, just days before planning permission was due to expire, that demolition started. By then James Stirling had died so the building was completed by his colleague, Michael Wilford.
The demolition revealed a host of Roman artifacts and there was an extensive archeological dig on the site - there are details of the dig on the Museum of London's website here which is well worth a read.
The building was finally finished in 1998 and is indeed most impressive and is of exceptional quality. The design is one of circles and triangles and is very geometric... the distinctive stripes are made of two types of sandstone- an Australian, Helidon, and one from Gloucestershire called Wilderness Red. The building also different in that there is a basement and ground floor public area, complete with shops, and a rooftop restaurant, complete with garden - the offices are between.
Impressive and different it may be, it doesn't fit with the surroundings of older architecture and Portland stone - it looks completely out of place, almost uncomfortably so, and I wish it were elsewhere. This said, the site from where this picture was taken is up for redevelopment as "Walbrook" - yet another Landmark Office which will probably be equally as unsuited to the area but will at least have friend next door so they can look incongruous together.
I can't help feeling that the building isn't aging well... it looks tired in places and I always feel it needs a bit of a scrub up. At the far end there is a tower of sorts which harks back to the Mappin and Webb building... I suspect that it won't stand the test of time as well as it's predecessor.
As for the title of the shot - it always strikes me that railing against modern architecture has to be accompanied by an alternative design.. you can't just say "no - not that" over and over again without coming up with an equally viable alternative. So Prince Charles campaigned heavily against the Glass Stump but did he really think that, once one design was vetoed, the notion of a new building would go away forever? If he did then he's even more naive than I thought.
Yes he dispensed with the Glass Stump but what replaced it was, while certainly an improvement, still not want he wanted.. but by that stage it was too late - it's not reasonable to campaign against design after design... eventually one will be chosen. This said, if he had put forward a design it might have been as grim as Paternoster Square who's diabolical mishmash of styles defies reason and is somewhere I can never photograph for fear of my innards wanting to escape their restraints in protest.