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View of the quarry at Muyenga Hill, outside Kampala City, Feb. 23, 2014. This picture was taken from near the water tanks at the top of the hill.
Stones and other building materials are taken from this quarry. Mobile phone masts also stand atop the hill.
The cream-coloured house partly out of sight to the left of the photo is the Muyenga Baptist Church.
In the background is Lake Victoria, the largest lake in Africa.
A photograph taken Saturday 25th October 1975 of Narrow Lewins Mead, Bristol. The first building on the left has some nicely distressed "Bristol Black" render ...a material that once did much to determine the look of the older parts of the city. I have heard the suggestion that it should be applied to new buildings. There are countless examples to be found in the books of the late Reece Winstone, whose printers, the Burleigh Press, occupied the building at the time the photograph was taken. Further along the apparently 18th century building with the shell hood porch, occupied by the Walsall Engineering firm is, if I have correctly understood Mr Andrew Foyle's architectural guide, a pastiche of 1922.
I'm blowed if I can remember what changes have taken place here, and I have not now the means of checking. There has been a lot of remodelling in the area. That monk on horseback statue thingy must be somewhere off right. The Unitarian chapel at the right edge is still there, though cleaned to an unnatural newness. I believe new buildings have re-established the enclosure of the lane ...a feature lost when the right-hand side was demolished for the car park we see here. This view of the lane gives an impression of the appearance of its continuation, Lewins Mead, before the latter was widened in 1970 to become part of the Inner Circuit Road.
I had thought the car with the L plate a Humber Sceptre, but closer examination proved it to be a Hillman Super Minx. Visible in the car park, amongst all the usual period stuff is, I think, an Austin Healey Sprite.
The Union Jack tanker carries on its journey to deliver cement to our concrete plant in Pottery Lane, Newcastle
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
From Information provided by Kew Gardens:
"Opened on International Biodiversity Day 2008, the Treetop Walkway stands in the Arboretum, between the Temperate House and the lake. It was designed by Marks Barfield Architects, who also designed the London Eye. The 18-metre high, 200-metre walkway enables visitors to walk around the crowns of lime, sweet chestnut and oak trees. Supported by rusted steel columns that blend in with the natural environment, it provides opportunities for inspecting birds, insects, lichen and fungi at close quarters, as well as seeing blossom emerging and seed pods bursting open in spring. The walkway’s structure is based on a Fibonacci numerical sequence, which is often present in nature’s growth patterns."
Built by Matt Vaughn, Revision Division, The RE Store, Spring 2019
This salvaged fir and steel credenza showcases the beauty of stained wood, complete with nail holes and all. Salvaged steel makes up the frame, while hammer heads make up the drawer handles.
Leaf Motif Created Using ALPOLIC Aluminum Composite Panels For Pickering Town Centre Fabricated by Cladco Corp
Panel Manufacturer: ALPOLIC
Architect: Petroff Partnership Architects
Location: Pickering, Ontario, Canada
Completion: November 2009
images courtesy of © Cladco Corp
Built by Matt Vaughn, Revision Division, The RE Store, Spring 2019
This salvaged fir and steel credenza showcases the beauty of stained wood, complete with nail holes and all. Salvaged steel makes up the frame, while hammer heads make up the drawer handles.
Cork can be used as a building material. It looks chic, natural, and its eco-friendly! Cork is also resistant to mildew, rot and mold. Naturally occurring suberin is the key substance that prevents cork from rotting even when it is completely submerged under water for a long period of time.
By Matt Vaughn, Fall 2019
This buffet was made with a piece of Koa that was donated to the store. It has had Maple and Rosewood tenons installed to repair cracks. These cracks were then filled with resin to provide a smooth surface. Legs are made from square tube steel that was also donated.
Built by David Spangler, Revision Division, The RE Store, Spring 2019
This stunning piece would be sure to brighten up any room. Crafted with a salvaged mirror and damaged CVG fir, the patina and character of this piece really shine through.
Built by Matt Vaughn, Revision Division, The RE Store, Spring 2019
This apothecary cabinet was a labor of love. Crafted from reclaimed wood, with a base of bent rebar, this beauty will surely delight anyone that chooses to take a peak inside. The drawer pulls were made from cross sections of pool cubes, mixed and matched to show off the wooden inlay.
A folder advertising TAC's Poilite Newtone asbestos-cement roofing slates - the various coloured varieties were commonly used on 1930s style houses - and this artwork is very of its period. From the time when asbestos was touted as the 'wonder' material and before the real risks were commonly known.
Leaf Motif Created Using ALPOLIC Aluminum Composite Panels For Pickering Town Centre Fabricated by Cladco Corp
Panel Manufacturer: ALPOLIC
Architect: Petroff Partnership Architects
Location: Pickering, Ontario, Canada
Completion: November 2009
images courtesy of © Cladco Corp
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
Serpentine Pavilion 2019 designed by Junya Ishigami "The Japanese architect Junya Ishigami, celebrated for his experimental structures that interpret traditional architectural conventions and reflect natural phenomena, was selected to design the Serpentine Pavilion 2019.
Ishigami’s design takes inspiration from roofs, the most common architectural feature used around the world. The design of the 2019 Serpentine Pavilion was made by arranging slates to create a single canopy roof that appeared to emerge from the ground of the surrounding park. Within, the interior of the Pavilion was an enclosed cave-like space, a refuge for contemplation. For Ishigami, the Pavilion articulated his ‘free space’ philosophy in which he seeks harmony between man-made structures and those that already exist in nature.
Describing his design, Ishigami said: ‘My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made out of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.’
Junya Ishigami (b. 1974) worked as an architect at SANAA before founding the prize-winning Junya Ishigami + Associates in 2004. Winner of the Golden Lion award at the Venice Biennale of Architecture in 2010, he was the subject of a major and critically acclaimed solo exhibition at the Fondation Cartier pour l’art contemporain in 2018 that is traveling to the Power Station of art in Shanghai later this year. He is known for designs with dream-like qualities that incorporate the natural world, such as landscapes, forests and clouds, in an architectural practice that places humankind as part of nature.
He is the nineteenth architect to accept the invitation to design a temporary Pavilion on the Serpentine Gallery’s lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK structures by some of the biggest names in international architecture. In recent years it has grown into a highly-anticipated showcase for emerging talent, from Frida Escobedo of Mexico to Francis Kéré of Burkina Faso and Bjarke Ingels of Denmark, whose 2016 Pavilion was the most visited architectural and design exhibition in the world.
Serpentine Galleries Artistic Director Hans Ulrich Obrist and former CEO Yana Peel selected 2019’s architect with advisors Sir David Adjaye OBE, Lord Richard Rogers and David Glover alongside Julie Burnell (Head of Construction and Buildings, Serpentine Galleries) and Amira Gad (Curator, Exhibitions and Architecture, Serpentine Galleries).
Serpentine Pavilion Architect's Statement
The design for the 2019 Serpentine Pavilion takes roofs, the most common architectural feature, as its point of departure and inspiration. It is reminiscent of roofing tiles seen around the world, bridging both architectural and cultural references through this single architectural feature. The roof of the Pavilion is made by arranging slates to create a canopy that alludes to nature. It appears to emerge from the ground of the surrounding Park.
My design for the Pavilion plays with our perspectives of the built environment against the backdrop of a natural landscape, emphasising a natural and organic feel as though it had grown out of the lawn, resembling a hill made of rocks. This is an attempt to supplement traditional architecture with modern methodologies and concepts, to create in this place an expanse of scenery like never seen before. Possessing the weighty presence of slate roofs seen around the world, and simultaneously appearing so light it could blow away in the breeze, the cluster of scattered rock levitates, like a billowing piece of fabric.
The interior of the Pavilion is an enclosed cave-like space, a refuge for contemplation. For me, the Pavilion articulates a ‘free space’ philosophy that is to harmony between man-made structures and those that already exist in nature.”
Text above © Copyright The Serpentine Gallery 2019
from www.serpentinegalleries.org/exhibitions-events/serpentine...
Personally I love the stuff, but there is no denying that flint is a most recalcitrant building material. Unfortunately, throughout the chalk districts of southeast England, if you needed something more durable than timber, it was all there was. Durability is flint's great virtue, for it has an almost indestructible hyaline hardness. It occurs in chalk in the form of nodules ...small, knobbly and encrusted with a white rind. Where used in its natural condition, river-rolled stones or beach pebbles, whose smoothly rounded shapes at least gave some consistency of form, were preferred. A slightly more sophisticated treatment was to "knap" the flints, that is, to split them so that the smooth, exposed inner surfaces could be turned outwards to form the face of the building. Even so, the irregularity of the flints was bound to entail the use of large quantities of mortar, and mortar is the weakest part of any wall. A further refinement was to press flakes of flint ...presumably the waste product of knapping... into the mortar while it was still soft, a process known as galleting, seen here in the Guildhall at Norwich.
Refurbished by David Spangler, Revision Division, The RE Store, Summer 2019
An older dresser with unique hardware, this piece was a diamond in the rough. David sanded it down, re-stained the surfaces and let the beauty shine through once again.
Famous erotic stone carving sculptures decorating Devi Jagadamba Temple, Khajuraho, India. Unesco World Heritage Site
Built by Matt Vaughn, Revision Division, The RE Store, Summer 2019
1” pool table slate with a honed edge, steel tube legs with heavy duty leveling feet.
JOS. H. AMELING
Date: 1905
Source Type: Advertisement
Publisher, Printer, Photographer: Bumstead
Postmark: Not Applicable
Collection: Steven R. Shook
Remark: This business, Ameling's Lumber Yard and Planing Mill, was located at present day Park Avenue and later became the first building used by Wilbar Manufacturing Company.
Lumber, Lafh [sic; lathe], Singles, Sash, Doors, Blinds, Lime, Cement, Stucco, Building Material of All Kinds, Also Carpenter, Builder, and General Contractor. Estimates Cheerfully Furnished - and General Jobing [sic; jobbing] Promptly Attended to.
PHONE 843.
CHESTERTON
IND.
--------------
The following news item appears in the April 3, 1903, issue of The Chesterton Tribune:
Chesterton Chips.
Jos. H. Ameling has opened up a lumber yard at his home in the south part of town and will handle all kinds of rough and finished lumber and all kinds of building material such as lime, cement, stucco, building paper, ready roofing felt and rubble stone etc. The business will be conducted un the name of South Side Lumber Co.
--------------
The following news item appears in the January 12, 1905, issue of The Chesterton Tribune:
LOCAL NEWS OF THE WEEK
Joseph Ameling has purchased a site for a mill of Walter Knapp, and will begin its erection at once. He will do all his own mill work in the future.
--------------
The following news item appears in the January 26, 1905, issue of The Chesterton Tribune:
LOCAL NEWS OF THE WEEK
Work on Contractor Ameling's new planing mill is being pushed with vigor. Mr. Ameling will do the most of his own mill work after this.
Source:
Bumstead & Company. 1905. Bumstead's Valparaiso City and Porter County Business Directory, Including Rural Routes. Chicago, Illinois: Radtke Brothers. 421 p. [see p. 292]
The Chesterton Tribune, Chesterton, Porter County, Indiana; April 3, 1903; Volume 19, Number 52, Page 5, Column 5. Column titled "Chesterton Chips."
The Chesterton Tribune, Chesterton, Porter County, Indiana; January 12, 1905; Volume 21, Number 41, Page 7, Column 4. Column titled "Local News of the Week."
The Chesterton Tribune, Chesterton, Porter County, Indiana; January 26, 1905; Volume 21, Number 43, Page 5, Column 6. Column titled "Local News of the Week."
Copyright 2021. Some rights reserved. The associated text may not be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior written permission of Steven R. Shook.
Refurbished by David Spangler, Revision Division, The RE Store, Summer 2019
An older dresser with unique hardware, this piece was a diamond in the rough. David sanded it down, re-stained the surfaces and let the beauty shine through once again.
Vintage barrels used back in the day for fermentation of alcholic beverages.
Image © 2013 Susan Candelario / SDC Photography, All Rights Reserved. The image is protected by U.S. and International copyright laws, and is not to be downloaded or reproduced in any way without written permission.
Visit Susan Candelario artists website to purchase Fine Art Prints. If you would like to use this image for any purpose, please visit my site and contact me with any questions you may have. Thank You
Copyright © 2013 by Ian J MacDonald. Permission required for any use. All rights reserved
Design idea No. 2
Nouveau Urban Gardens at Night
Fern gardens at night. The idea comes from motifs I have seen on antique door hardware on old houses. These pieces try to catch the feel of gardening and Buffalo's urban neighborhoods. The use of the floral motifs and the rectangular shape relate it back to the old Victorian, Art Deco and Art Nouveau hardware that is so common in even the most humble homes in Buffalo. Although this particular piece directly portrays an urban neighborhood I have tried incorporate the spirit of these wonderful designs and imagery into art rather than copy.
At the end of the 1800s considerable amounts of talent were employed to research ancient art and use it to adorn Victorian era hardware. I am always amazed by this since these items are so often overlooked by most people. The lock companies such as Corbin and Yale engaged in an arms race of sort to make their hardware more ornate and interesting and employed artists and historians to advise and design this wonderful hardware. They based the designs on ancient Egyptian, Roman, Arabic, Asian and other societies' art. The research is echoed in names like "Third Empire" hardware. Eventually these companies notices that contractors bought what was cheap rather than what was beautiful (couldn't be truer today) and so these lines of hardware were discontinues. Unfortunately I have not found any references citing who these people or the carvers and pattern makers that created this art. I believe they are artists but are unfortunately lost to time.
You can see examples of hardware motifs here. www.flickr.com/photos/ianmacdonald/sets/72157625027747314...
At the Light Metals Keynote session during TMS2016, Pushing Boundaries—Innovative Thinking in Light Metals Production. From left to right: Martin Iffert, Trimet Aluminium and Light Metals Keynote speaker; Margaret Hyland, TMS Aluminum Committee Chair and session organizer; and Stephane Delande, PSA Peugot Citroën and Light Metals Keynote speaker.
Built by David Spangler, Revision Division, The RE Store, Spring 2019
This beautiful apothecary cabinet was made from scrap sewing machine drawers. In a bad state when we found it, this beautiful piece was painstakingly paired with like woods for a gorgeous new chance at life.
Built by Matt Vaughn, Revision Division, The RE Store, Summer 2019
1” pool table slate with a honed edge, steel tube legs with heavy duty leveling feet.
There are definite echoes of Voysey and the Arts & Crafts movement here, but one is used to seeing houses of this type with exteriors of white roughcast. It's the materials that are so unexpected, and the all-over orange colour of the walls and roof are relieved only by the white window frames. The bricks have a look of certain early postwar council estates such as Mayfield Park. The tiles in the middle part of this semi-detached pair look original, but the gables have been re-roofed. I am not keen on those modern tiles that wrap around the end of the roof ...although I suppose they must be a useful defence against the driving winter rain. The windows are almost flush with the walls and the bricks come right up to the edges.
Very little has changed here for at least the last 50 years. The gate, with the twirly wrought iron, is of a pattern which was everywhere in the suburbs when I was a boy. I love that short length of wall in the bottom left-hand corner. Almost every local building stone is represented, along with a few odd bricks. Various hands, some more expert than others, have attempted repointing the lower part, but the mortar is mostly gone from the top. It looks as though a few bits of leftover paving have been pressed into service as coping stones. Feverfew sprouts from a crevice and, with Spring not far off, nettles are coming up around the base of the gatepost. So much suburban poetry in the unregarded streets of Shirehampton.