The National Health Service in the UK is opening a new emergency hospital today in London to handle the growing number of COVID-19 cases – it’s called the NHS Nightingale Hospital after the famous Victorian nurse with her lamp, a symbol of the Crimean War which had so many military casualties, many from diseases spread amongst the besiegers of Sevastopol.
I have visited the Crimea twice (prior to the illegal occupation by Russia) and seen the magnificent Panorama of the siege of Sevastopol. I’ve also been to the small port of Balaklava, better known for the woollen headgear named after it, where the British were based during that war. I haven’t yet been to the site of another temporary hospital, which served the needs of the ill and wounded many miles away on the other side of the Black Sea.
Isambard Kingdom Brunel was asked by his brother-in-law Sir Benjamin Hawes in the War Office to design a prefabricated hospital in Turkey – supposedly to placate Florence Nightingale who was pressing Hawes for more support. This he did rapidly and it was shipped out to Renkioi in the Dardanelles and assembled there.
Medical experts have since said that the unique modular design had an influence on the development of all hospitals subsequently. You can read more about the project at Brunel’s SS Great Britain website – the vast ship was used to transport troops to the Crimea. For more on Brunel read my book ‘Building Passions‘ which from today is available for only £2.00 as an e-book in the UK for all April (different prices for other countries covered).
Temporary or emergency hospitals have been pivotal in helping society to deal with major crises such as viruses and wars. When I worked at the Institution of Structural Engineers we developed a learning resource for students based on a military engineer’s rapid construction of an Ebola hospital in Africa.
The world is facing a pandemic and many individuals are struggling with their daily lives as a result.
From a historical perspective, there is nothing new about adversity. My book ‘Building Passions‘ includes some examples in the past.
Isambard Kingdom Brunel was almost killed in 1828 when the Thames Tunnel collapsed during construction and flooded the works nearly drowning him. He spent many months regaining his health after a serious injury to his leg. It was a frustrating time for him, but once he had recovered he went on to design the Clifton Suspension Bridge in Bristol, his first epic structure.
Augustus Welbin Pugin was a highly talented young designer who was used by Sir Charles Barry to create the beautiful Gothic-style decoration of the New Palace of Westminster. His health suffered fatally from the exertions he placed on himself to meet deadlines for his many demanding clients. Charles Barry followed him for the same reasons, though considerably older, in 1860.
In 1879 a train crossed the Tay Bridge in Scotland in the middle of a huge storm. Unknown to the passengers, the iron structure supporting the track had undergone immense stress due to the wind and waves. Suddenly, the bridge collapsed causing the engine and coaches to fall into the estuary. Many lives were lost and the famous bridge engineer never recovered from the damage to his reputation – more positively, the resulting inquest led to sturdier bridge-building, exemplified by the vast steel structure of the Forth Rail Bridge also in Scotland. Sir William Arrol supplied the improved version of iron for that project, as well as for Tower Bridge in London, completed four years later.
I’ve not blogged yet about the current pandemic facing the world. It didn’t seem appropriate for my typical themes.
However, now that people are wondering what to do with themselves as they self-isolate (the word of 2020?), it does seem appropriate to encourage them to read more books.
Not only will they derive more pleasure and knowledge, they may learn a few tricks. Equally, they will help authors and smaller publishers such as myself. I would strongly recommend reading ‘BUILT‘ by my structural engineer friend Roma Agrawal, which inspired me to write my own book.
In the case of ‘Building Passions‘, all you need to do is look at the website and then decide if you want to read more. You can only buy the e-book via Kobo.com as a print copy is too risky currently to mail.
I’m also looking into remote casting talks about the book and its related topics, which cover the 19th-century Brunel and Barry families and ‘modern’ Victorian architecture. I know a fair bit now about the highly decorative ‘Art Nouveau’ architecture of the later 19th and early 20th Centuries, as I’m planning a PhD in that area once things have calmed down.
Above all, be wise and stay safe for your sake and everyone else’s.
I published my first book ‘Building Passions‘ electronically in September 2019 and then in print in November 2019. It covers the story of the Brunel and Barry families of Victorian engineers and architects.
At the time I wasn’t fully aware of European book pricing regulations. It turned out that they vary by country (so much for an EU!) and in some cases you are not allowed to offer price reductions for up to 18 months.
The UK is more flexible and this is an area where Brexit will have little impact. So I have been able to run UK sales on the book at appropriate times linked to promotional events.
That said, I am still keen to know how to come to the right book price if you are a self-publisher. ‘Building Passions’ e-version is priced at £4.50 in the UK based on a minimal return per download and the print version then adds on £9 to cover printing related costs (could be lower if you print bigger batches). Some e-books are available free of charge, simply to promote the print or audio version. Big publishers can afford to cross subsidise, and some of them have few qualms about cutting down forests to print vast numbers of less costly books, or pay celebrities large (fixed?) fees to record their narratives.
The market needs to be only lightly regulated. This can happen with some form of agreement between the small and the large operators. Will this emerge? Perhaps after life has readjusted post-virus …
Writing is about communication. But is it more than that?
I ask because I have always been a writer, since my earliest days learning the craft. Once I became reasonably confident, then I allowed myself to experiment with ideas and phrases.
Publishing my first e-book and print version ‘Building Passions‘ last year was another first step for me. It was built on the foundations of this website about John Wolfe Barry, Henry Brunel and Tower Bridge. I simply extended the concept to their wider families and structures.
A crossroads has appeared recently.
I finished my first novella, still connected to the world of historical biography. I am currently writing my next one, which is pure fiction, but inevitably features references to history. A leopard can’t hide its spots.
I will continue to blog here on topics of interest to me, but not always directly related to the Barrys and Brunels. The common theme will, however, be writing.
But at the same time I will develop other communication techniques through the amazing tools of the internet, as well as direct interaction with audiences at venues.
Of course you will always be able to buy printed versions of my books, but there won’t be many copies available as I refuse to sacrifice trees for this purpose.
I’m on a lengthy journey which started at the end of October.
This is when I first approached my local university about doing a PhD in history.
Since then the topic has been moulded into something more focused and relevant. Currently it will look at how Art Nouveau emerged as a distinct architectural style in Brussels in the early 1890s.
More importantly it will get under the skin of how building standards impacted on its development as it spread through Belgium and to the rest of Europe. This creep was resisted in England and parts of Austria and Germany. In the end the style died an early death before WWI, to be replaced by Art Deco and Expressionism in the 1920s.
For opponents of the style, resisting the creep became about highlighting decorative c**p. Adolf Loos in Vienna ranted about the moral decay of over-decoration. Charles Voysey in England stressed the greater importance of function, a feature of the earlier Arts & Craft style which had been taken up by the Chicago School of architects when building skyscrapers in the States.
Others were happy to let Art Nouveau flourish as a holistic design trend, but preferred the simplicity of emerging modernism, aided by the use of reinforced concrete as a smooth exterior feature, strengthened with a steel core.
At any rate, if I manage to do it, the research could be fun!
I am scoping a new novella which will be pure fiction.
This is new for me as so far I’ve written non-fiction and historical fiction, which both seem safe ground for an historian/policy wonk by trade.
I decided to start with a blank document on my laptop and see what emerged. Curiously my approach seemed to reflect what probably happens when building a new structure – and I’ve written about many past ones in my book ‘Building Passions‘.
First off, I defined my parameters. What did I really want to write about and what environment would shape it? That was fairly easy with pure fiction, though even at this stage some feedback helped me make a decision.
Then I started to design my main characters. I’d not done this previously as they were already there based on (largely) historical facts. This was quite fun and allowed complete artistic licence. I could make them as mad or as sad as I wished!
My next step was to create an outline plot based on what I now had. This was considerably easier than I thought it would be. I had to pinch myself to believe it!
Last but not least I refined my characters and plot, tightening focus and removing superfluous material. The end product looked great, now I just need to write it …
Define, design, refine. No idea where this came from but a net search just got me to: https://www.linkedin.com/pulse/define-design-refine-strategy-your-products-mayank-tiwari/ and https://medium.com/netbramha-studios/define-design-refine-a-strategy-for-your-products-2bbe55df8dcb . I would also highly recommend anything by Oliver Broadbent often on his eiffelover.com (get the pun?) website.
It seems I have surreptitiously found an existing product design mantra which can be extended to writing and structures!
I sometimes wonder if we ever learn from what has happened previously in society?
There are so many cases of people blatantly ignoring the fact that their idea or project has simply been recycled. They crave intellectual originality in some form. They deny credit to those who have gone before them. Or conveniently misinterpret the lessons of past mistakes, so it appears that there were no previous errors.
Our political leaders are the worst examples of this. So why do we not use history to point it out to them? Sadly, even highly expert historians can be manipulated by others with unethical intentions. All academics are vulnerable to this. Egos can easily be massaged.
Is there a solution?
I’m not sure really. But we should continue to research and write about history as independently and accurately as we can. There will be differences of view about interpretation, but these should be accepted in good spirit. Each effort to explain the past should build on the work of predecessors. When we make new hypotheses, we should be confident that the evidence we have accrued is sufficiently supportive. This may mean changing our own perspectives. So be it.
Weird title for a post, I know. But humour me a little.
My book ‘Building Passions‘ is about the history of architecture and engineering in Victorian Britain, seen through the eyes of two key families, the Brunels and Barrys. I came up with the short title (there is a long one) while drafting the text. It seemed to fit sections describing how and why a built environment is important to the communities that live within it.
‘What about STEAM engagement?’ you might ask.
Well, it’s what I am trying to do through this blog, my websites and my book. STEAM stands for Science, Technology, Engineering, Arts and Mathematics. In the UK it once used to be SET, so without the maths or arts included. I had the privilege of once working closely with Professor Dame Celia Hoyles, who became England’s first Maths Czar in the early 2000s, and she definitely got the M into SET!
Since then there have been pushes to get an A into the acronym. Again, the US leads the way on this. I am a supporter because the built environment needs young people with all five facets. This is a big ambition! It is also broad and there is a risk it all just turns into words rather than actions.
Styles and fads have cyclical lives, adapting as they develop and reinvent. The same may happen with STEAM.
So be it.
But while it is alive let’s make the most of STEAM’s potential impact and stoke up some passion for buildings amongst wider audiences.
I am writing a novella based on the life story of my grandfather, who was a spy in the Soviet Union and Nazi Germany, we think.
I started the process with scoping the story back in the summer, and then some preparatory drafting until November, when I started writing proper. This coincided with NaNoWriMo which is held every November around the world to encourage novel writing. I met a group of local writers and we have continued to engage since then.
I thought I could write fiction as easily as non-fiction, having completed my book ‘Building Passions‘. As it turns out, fiction is equally difficult. While you don’t rely on the accuracy of historical facts, for example, you do need to now how to build a close, personal link to your readership.
The big learning curve for me has been writing dialogue. I found this a challenge as it wasn’t a strong point for me. I’m good at narrative. However, my writing group has helped me develop these skills, so now I feel more confident. I can turn narrative into dialogue fairly easily, though know I must resist the temptation to write a screen or theatre play.
“Tell me John, why do you not want to be an architect like you father and brothers? Why a civil engineer?”
“I like sketching and designing, but I’m more interested in the maths behind those structures first proposed by myself or others. I have no ego about creative proprietorship. I just want to be sure buildings and bridges stay up for ever.”
Such might be a fictional dialogue between a young John Wolfe Barry and a Victorian contemporary.
Perhaps I should write more such exchanges?