#collieries

[postcard-from-the-past]

Navigation Collieries in Dundee, Scotland, UK

British vintage postcard

[ulthaddouk]

Redundant Industrial Heritage in Britain: Snowdown Colliery an adaptive re-use exercise.

The images of this post are part of my dissertation entitled as written above and is an attempt to conciliate between the hostile built heritage and the environmental reclamation. The political speech of a nation’s lost industry, is displaying a major conundrum regarding collieries and other mining sites. Yet prosperous businesses involving local communities are able to set aside the environmental stakes of post mining site management and ownership economic concerns and other challenging phenomenons peculiar to the British culture. The aim of the study is to expose the relevant paradigm with a real case scenario, to discuss its successes and failures and to set a model of adaptive re-use in coherence with the conservation strategies of modern derelict heritage in a challenging environmental setting. It is also our responsibility, as architects, to revisit and think adaptive re-use of industrial redundant sites and disadvantaged areas like British collieries.

[warrenwoodhouse]

Places to Visit: Woodhorn Colliery

Visit Woodhorn Colliery Museum to learn what life was like in the deep mines.

[mary-maud]

Brookhouse Colliery, South Yorkshire, 1977

[trainmaniac]

Steam Engines and Gravity Power in a 1950s Colliery by Michael Alford

[theterrornaut]

Pretty random post, but recently I visited the South Wales Miners Museum after a relative booked a tour for us. It was, to say the least, extremely interesting and even enlightening. Welsh heritage is something that I’ve grown to love dearly alongside this overall beautiful country. For the colliery side, It was never something I would’ve thought I’d ever be interested in, especially to the point I currently am.

I can’t say it ‘broke my heart’ or anything somber when I heard that the experience wasn’t backed by funding from the council or Welsh Government (such as Big Pit), but it did frustrate me somewhat, knowing how intimate this tour was - even given by those who’re ex-coal miners. A large part of the experience was sharing the understanding of community that coal miners and local townsfolk had with one another, with so much more detail than I could describe (You’d have to see it for yourself). So, as much frustration that I have with the idea of no financial support from the Museum of Wales or what have you, I have so much more respect for how humble it truly is, and thats not to say it’s fuelled by pity. It is GENUINELY so impressive, so immersive and so educational.

I know what I’m saying probably won’t have much of an effect, if any at all. But I just wanted to share. Cause goodness gracious. It’s truly an amazing place.

[wickershells]

[toast-com]

Rough doodle of Sixteen!

He was on my mind, so I drew him, using the previous image I drew of him as a reference. Sixteen's such a cool character, he's so neat. :3

[semioticapocalypse]

Albert Renger-Patzsch. Untitled (Grimberg colliery, Bergkamen). 1951-1952

[putting-chell-in-places]

put chell in the westoe colliery railway

[greendreamer]

When I was young and green...

Happy 4/4 day from current and former no.4s

[guerrerense]

Tanfield 2 por Nigel Por Flickr: Iamges of the Tanfield legends of Industry gala , 17th June 2023

[photosofsuburbia]

Newstead, Nottinghamshire

[selidor]

[mintymusings]

Shhh she eepy

[eurovision-revisited]

Birmingham 1998 - The interval act and other performances

For the interval, the BBC decided to go for something representative of modern Britain. At the time of the contest, the main spoken word radio station in the UK, BBC Radio 4 opened every day with a medley made up of UK folk tunes and pieces with associations with particular regions inside the UK.

This seems to be similar in thinking to the interval act. Several groups of musicians and dancers representing various cultures that make up the UK circa 1998 all performing an arrangement of Holst's 'Jupiter, Bringer of Jollity' Starting of with the inevitable group of Scottish pipers.

There's a Welsh male voice choir, the Grimethorpe colliery brass band, an Irish harp and whistle. Hang on. Ireland? Yes Northern Ireland, but Ireland? This isn't 1921. But I suppose there's a significant and large Irish community within the UK, and the Good Friday Agreement has been voted on and signed, so we'll let it pass...

..Bhangra dancers? Now it's feeling even more awkward. Yes, it's good to see not only Indian but representation at Eurovision and to acknowledge that Indian communities make up a significant and welcome part of a diverse UK population. Bhangra is especially big in Birmingham too, but aren't there some overtones of...

...Zulu dancing? OK, it's time to say it. Colonialism. It's not intended. It's supposed to be a celebration of multiculturalism and inclusion, but looking at it from 2023, the sight of various cultures singing and dancing to a piece of music to which the words of Sir Cecil Spring Rice, "I Vow to Thee My Country", have been set, it feels like a final nationwide spasm of Empire.

Vanessa Mae (from Singapore) and Lesley Garrett finish things off with the patriotic triumphant conclusion to the production.

It's a misfire - the arrangement is all over the place, trying to force different musical styles onto a 20th century classical piece in rapid-fire succession. The best thing about it is the magnificent blocking and control of camera angles that hide almost completely the movements of the large groups of musicians and dancers as they come and go from the stage.

They aimed for multiculturalism and inclusion and somehow missed. A rare bum note in what is overall a great production.