To the Lighthouse

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They are taking the lighthouse down. It was really just a matter of time. Time and tide, it is said, wait for no man, and the two make for a powerful combination on this rapidly changing shoreline. The Orford lighthouse has stood here on the Suffolk coast since 1792, the 11th to stand on the same spot. All the previous lighthouses, mostly flimsy wooden structures, were lost to the sea; this one built by Lord Braybrooke of Audley End has lasted longer than any before it.

The ongoing demolition is simply a matter of being one step ahead of what will happen naturally as a result of longshore drift. Built as a very necessary warning for shipping and continually in service until its decommission in 2013, in more recent times the lighthouse has served as a bold territorial marker for this curious – and one-time secretive – strip of coastline. What it stands upon is not an island as it may seem but a spit – a long stretch of shingle, marsh and sand that sits between the estuary of the River Alde and the North Sea like a curving finger pointing south. Along with an expanse of pylons and weapon-testing ‘pagodas’, this red-and-white band structure has been an icon for the territory of Orford Ness, a place of Cold War secrets, sea-scraped shingle, wildlife and, in recent years, National Trust day trippers. Because of its dark history and evocative, lonely location, the Ness has also seen service as an unsanctioned psychogeographical theme park, a go-to liminal zone for enraptured lone males and Sebaldian shore-shufflers (myself included).

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While we are all losing a lighthouse, I am losing a gravatar for my blog and twitter feed. I suppose I ought to replace it with something new but I will keep it for a while as a tribute to the lighthouse’s ghosted memory. As for the lighthouse itself, it is hoped that the lantern will be reused to form part of a memorial structure on land across from the Ness on Orford Quay.

Not for the first time have iconic buildings world vanished overnight. The lighthouse’s destruction is, at least, planned and been a long time coming. Other well known places I have visited have met more violent ends – vicious executions rather than gentle euthanasia. I refer to some of these in a post on Palmyra from five years ago. Syria seems like a dream now; something I might have imagined. The reality is that the country I experienced as a welcoming place nearly twenty years ago has since become a land of nightmares.

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Going further back in time, it feels equally strange to recall having once spent several days in a hotel that overlooked the enormous sandstone Buddhas of Bamiyan in central Afghanistan. This was back in the halcyon days when the country was a way-station on the so-called Hippie Trail to India, long before the Taliban decided to blow the Buddhas up as blasphemous objects of idol worship (even then, the statues’ faces had already been disfigured by angry iconoclasts).

To continue a tally of Zelig-like appearances at places associated with doomed futures, I might also mention a visit to the World Trade Centre in New York on my first visit to the city in 1986 – of having once stood in a small room at the very top of the structure, a space that now existed as just a cube of empty sky above a disaster zone. Or a visit to a place that languished in a void between destruction and repair: Mostar in Bosnia and Herzegovina, still a broken city when I visited in 2003, the absence of its beautiful 16th-century Ottoman bridge hanging like a question mark above the rubble-filled turquoise of the River Neretva. The bridge was faithfully rebuilt with foreign investment and reopened in 2004. As beautiful as before but somehow sad and perhaps even futile, the reconstruction was a gesture of hope more than anything else — the Muslim east and Croat west banks of the river would remain as places apart in terms of religion, culture and political allegiance.

Less exotically, I also recall the cooling towers that used to stand next to the M1 in Tinsley, Sheffield – twin behemoths that could be seen from the windows of the school where I did my first teaching practice in the city. The towers, devoid of function since 1980, possessed a grace and heft that seemed to perfectly symbolise Sheffield’s industrial past (as did the abandoned steelworks of the Don Valley, which were eventually cleared to provide the land for the inevitable – a massive shopping complex, Meadowhall). Like the Orford lighthouse, and also the equally iconic cooling towers that stood at Ironbridge until last year, the Sheffield towers were finally expunged from the landscape. It took just seven seconds to reduce the 76 metre towers to rubble. For now, like the Orford lighthouse, they remain as a memory, a ghost of landscape that will fade with time.

All Fall Down

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Two weeks ago I read a news article about the demolition of the cooling towers at Ironbridge on the River Severn in Shropshire. Their final demise was witnessed by many who came to see the four great towers collapsing after a controlled detonation. The towers had stood for exactly half a century. Opened in 1969, the power station they belonged to had stopped generating electricity in November 2015. At one time it had provided enough electricity to power the equivalent of 750,000 homes. The space that will be made available by their removal should be sufficient for around 1,000 new homes, a park and ride, a school and leisure facilities.

Before they came down the towers received a musical farewell when Zoë Beyers from the Royal Birmingham Conservatoire performed a solo violin piece on one of the tower platforms. The music was elegaic, an echo of the mournfulness felt by local residents and former power station workers for whom the towers had been a large part of their life. Reduced in seconds to a mere imprint of memory, the Ironbridge geography was instantly transformed for those who lived there. Particularly poignant was the fact that a little way downriver was the original Iron Bridge built in 1781, the first major bridge of its kind in the world. It was no stretch of truth to infer that it was here in Shropshire at Ironbridge and nearby Coalbrookdale that the Industrial Revolution really began.

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In my, admittedly limited, experience cooling towers have always stood for something. They were markers on the landscape that held deeper meaning than just supersized industrial chimneys. Travelling north up the A1(M), the cluster of eight towers at Ferrybridge in West Yorkshire always seemed to mark an arrival in the North far more effectively than any roadside sign could. Their presence spoke of a cultural transition as much as a geographical one, a shift of emphasis from pastoral to industrial. But these too were earmarked for destruction, and in 2019 five of the towers were demolished. The remaining three will be removed by summer 2021. Similarly, the pair of cooling towers that used to stand outside Sheffield at Tinsley overlooking the M1 motorway always seemed like an omphalos for Don Valley industry – a centre of gravity for the steel, coal, fire and dirt of South Yorkshire. These were of particular significance for me as they were visible from the classroom where, in a previous life, I had my first practical experience as a geography teacher. These twin towers – the ‘salt and pepper pots’ as they were sometimes known – had been redundant since the 1970s, although they managed to remain standing until 2008. Despite a scheme to convert them into giant works of public art they could not be saved. Now they are gone, redacted from the landscape, as are the steel foundries of Sheffield’s Brightside – the industrial endeavour of generations of Sheffield lives reduced to little more than memory and a plaque at a shopping mall

I do not wish to romanticise coal-fired power production – it is undeniably dirty, polluting and a significant contributor to climate change – but I cannot help but find some of the fabric of its production strangely beautiful. Smoke-belching cooling towers may well be the embodiment of Blake’s dark satanic mills but, once abandoned, the heft of their curving brickwork seems to take on an eerie beauty. Silent witnesses of the recent industrial past, their inhuman scale and brooding presence make them emblematic of the hubris that persists in these uncertain times.

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