Holy jumpin'!

Just when the internet is getting you down it shoves something in your face.

Deconcrete, a blog far better designed and probably just plain better than mine, decided to show me this.

Talk about disassembling the urban!!!

I'm not going to repeat what they say so succinctly. Just suggest you have a look at the pictures, and the article they link to. It's in French, but it's time you learned.

map

Hi blog. Here's a thing. An attempt at showing depth and differing heights for both buildings and geography. An interesting experiment that didn't end up as magnificently as hoped. Still, pretty neat and I learned a lot about pens...those numbers on pens don't translate directly into how wide their nibs are.

Also, it kept smudging like crazy so I stopped elaborating it with pencil. I suppose I still might go back and add more but it looks alright like this.

HUGE PRIZES for he or she who can identify the city that inspired this map.

embodied Tim Knowles

Here's a fun post I found on F.A.D. (Free Association Design).

The post is about an artist named Tim Knowles and his work exploring and experiencing the city and space more broadly.

I like the long exposure adventures across fields at night.

And the windwalks he takes and subsequently maps.

More Tim Knowles and a whole whack of interesting projects here.

Dude draws with trees!

That's all I have. Time for shower and bed. Suffice to say lots of people are searching for their bearings in the world, trying to represent themselves and their embodied wanderings. My data collection continues apace and given all the juicy creative outputs that are around, eventually I'll come up with something to do with it!

Oh, and clown is fun. I need to come up with a 1-2 minute presentation for Wednesday. Nothing yet, but something clever this way comes no doubt.

and that other thing

First this link. It's a show entitled Whose Map is it? I don't know the answer, but it's a bunch of people subverting "the socio-political structures and cultural hierarchies that traditionally inform mapmaking." Sounds like something I'd try to do.

Anyway...someone should send me to London.

Also, for those who follow the ol' tweet machine I promised a tale from yesterday that I forgot to include in my thrilling recounting of my walk.

Leaving the practice space I saw a pretty lady across Ossington, heading north while I strode south.

I crossed the road and as I did I glanced back, catching her making a similar neck rotation (romantic notions just ooze from my word choices).

Who knows why I caught her eye, the point is it happened. And yes, she might have been looking past me, but what's the point in assuming that?

The glance-back-sync-up is always fun, although I never know quite what to do with it.

In this case my response to the situation was two-fold. Step one involved mumbling babe, babe, babe under my breath as I continued walking, passing other people on the sidewalk. Step two was me thinking I should probably look back again, because if one glance-back-sync-up is fun, a double whammy would probably be époustouflant (it's French, look it up).

So I looked, and I couldn't see her because the girl who I had just passed, while mumbling babe of course, was blocking my sight line. Also, lady the deuce doing the blocking had turned to look at me for my second glance-back-sync-up in a row.

Two in a row!

So what if the second was unintentional on my part. She now has a tale of passing romance to tell, or she's writing an entry on her blog...The Weirdos I See Outside CAMH.

tracerouting with gps

This video was done over 5 years and 8000km by a cyclist who had a GPS affixed to his person at all times.

Originally found here.

Pretty neat.

I have some ideas about making maps based on my movements throughout the city.

Initially they were about tracing my meanderings onto an already drawn map, but that quickly shifted to something like this where the city, or at least my city, emerges from a blank canvas. The second idea seems much more suited to encouraging discussion on what a city really is.

Can you consider it a part of your city if you've never seen it? Maps give the impression of knowledge...how is that knowledge compromised by walking a street again and again? Never having actually been somewhere? Only having driven a road, never walked? ...And so on.

My mapping project also leads to all sorts of fun considerations around how to map my movement. Just a foot map? If it includes cycling or public transit how are those recognized? Do I try to draw the map to account for speed? For time travelled? Distance? For experience and depth of engagement with a route or destination?

I think the solution to all that might be to simply start a journal, or just have a sheet of paper on my room wall where I make notes whenever I get home. Recording my movements, modes of transport, experiences had or shared...whether I was walking alone or with others is a good stat too.

Or I could cease being Ludditic and get a GPS machine of my own...along with a notebook for all the mushy non-scientific stuff.

Anyway, the point is collecting the data.

And the video also made me realize why facebook, google, etc are all excited about data. Data is the hard part. Once you have it, there are all sorts of things you can do with it, but you have to collect it first. As I consider this project the data collection is the part that strikes me as daunting...the aftermath of expressing it in whatever form or forms, that's just exciting. There are so many ways to go about it and if I mess it up or do something I don't like the data will still be there.

No one will possess more data on me than me!!! I'll commercialize it and make so much money.

Clowning tomorrow. Also a full day at work. Good times I hope.

map cuts!

Holy smokes! So many people are into maps. It's great!

Daydream sent me this link from boingboing.

This Karen O'Leary lady has done so many of these things I don't know where to begin.

Here's a Vancouver piece from her Etsy page (Etsy of course being an online fashion/art/handmade stuff marketplace that comes highly recommended by Ms Fascinator, amongst others).

On this one it looks like she has used an actual map and simply cut out all the bits that aren't roads, really showing how it's the roads that tie the city together. Cut the other way and remove the roads and all you have is a bunch of squares floating to the ground.

But if it's the roads that are holding the city together shouldn't we be making more efforts to ensure roads are given over to people, not cars? Of course we should. It seems dumb to exclude the actors that bring life to the city from the physical space wherein the city's component parts are secured to one another. I'm not saying ban cars, just think about it for a moment and you'll catch my drift.

According to her description this map of Paris is made with heavier stock, watercolour paper. I assume she traced everything on then went about cutting it in the same way.

And again, something similar with New York. This is one from a set covering the whole city and is apparently done on lighter paper.

There are a whole whack more of these on her Flickr.

NYC again.

Keen, really just keen.

She also does some in pen and paper.

Great. And then she can put them onto cards, magnets, etc.

I'm super glad this was sent to me. These pieces are great and show me some possibilities. I've been chopping up a few things lately (I need a better knife and chopping surface) but the idea to remove most things and leave only roads in situ never crossed my mind.

I skipped right past that step and have been thinking about manipulating roads. Cutting them from their surrounds but instead of leaving them, changing their configuration, hopefully so that the roads themselves are still recognizable while their form has gone haywire. I suppose that might mean they will become unrecognizable, but I guess that can be part of the fun too. Make an interesting and aesthetically pleasing image, using a map as material, and only later upon closer inspection will people realize that they're looking at something familiar.

Heh. I should DO that, then I won't need to wonder such things. I wonder if that idea would work better with a a provincial road map or a city street? Oh! Or if I used one of those map books for a city that are done with a large scale. Go from page to page, following a road, then mounting it somehow. Anyway...thoughts from my brain.

I'm reading a few of the comments people are posting below the boingboing article, asking whether the pieces are diminished if they were laser instead of hand cut. I don't have an answer to that, but I'll admit there were moments when I was drawing this map

that I was wondering if it wouldn't be better to just learn AutoCAD instead. Probably not. It's about the process after all and it's not like I'm interested in efficiency! Although now that I have my map in digital form I'll likely manipulate it eventually.

I suppose if I keep going with evenly measured maps then a computer construction might make more sense, but it's not like I could make this with a computer.

Why would I want to? As this marker on construction paper monstrosity and Ms O'Leary's efforts at hatching a city show, there is so much fun to be had with variety in making and manipulating maps. So, computers? Whatever!

That's enough from me, but in closing I'll mention that I recently made a connection between why I like maps and how I interact with the world more generally, but I'm not telling you yet. Hint: it's about the big picture!

I don't do much these days

Not particularly inspired by anything. Except improv, but there's sadly not enough of that in a week.

Olympics are on.

Meh and Angry Meh would be my main emotional descriptors of late.

Got out of the house today, saw some kids throwing snowballs and that was pretty great. Two kids were on top of the slide and had a toboggan, or maybe just apiece of plastic, as defence. All the other kids were throwing snowballs at them. Everyone seemed pleased.

Then I found a chocolate museum. Then I bought groceries. Then I found a Winnipeg atlas at the Salvation Army store that is a consistent source for random maps and atlases.

Oh, and I also got a membership at the Trinity Community Centre. $40 for 3 months, what have I been waiting for? Holy smokes. And they have a pool!

I did this thing.

Inspiration from Toulouse, Sauveterre-du-Rouergue, Istanbul, some book with pictures of an Italian town (upstairs, too lazy to look) and other stuff.

Sorry about the glare. You're smart. You'll figure it out.

Maps and architecture and cities and me and an artist named Alice

I'm never sure how I get onto things, but at some point I found myself on this blog, which led me to one Alice Aycock's website. I thought some of her stuff looked really neat, and not just because she is using a grey background on her page and an awesome orangey-yellow colour for her main title. I'm also excited because her work ties in, however tangentially, with some of my interests in art, urban form, architecture, etc. that I've been reading and thinking about of late. (All the pictures I show below are from her website, where you can find more of her work and lots more information.)

Her stuff is farther down but first...

I recently finished this:

That is a drawing of a city. It's pencil on paper and as you can see my efforts at going over the lines were more aggressive in some parts than in others. I think I might do a series of these, maybe start inking them.

In my map I've largely blocked in spaces in terms of grass, concrete or water. There is also just a bit of detail (roof lines and some differentiation for docks) in some of the 'built' blocks. I've added some colour below so you can see what I'm talking about

For the most part, the areas without colour are human structures of one form or another.

This blocking is similar to how a Toronto mapmaker dealt with the problem of describing a city in 2-D from above. Leaving most blocks as blocks and restricting built detail to the ghosting of large institutional footprints. No little lines for house roofs in this one.

But then I came across this image on Aycock's site. What would I do for a building with a hat on?

Low Building With Dirt Roof (For Mary), 1973

I never considered how green roofs or any rooftop park would play in a map until I saw this picture. The traditional top-down view for maps works because things are simplified, often with the notion of single land use. But when there's a significant built park in a city, even if it's high in the air, it needs to be acknowledged. People following a 2-D map and finding a building where they expected green space would be surprised, so there needs to be differentiation of some type, whether it is colour, shape, labeling or something else.

And if I decided to take on a utopian mapping project (I quake even at the thought) I would need to consider the mixed land use that might be taking place on a very fine scale. Methinks I need to start drawing on bigger sheets of paper. More to follow on this theme, no doubt.

"The City of Walls", Isometric, 1978
The Garden of Scripts (Villandry), 1986

Maze, 1972

Walled Trench/Earth Platform/Center Pit, 1975

A Simple Network of Underground Wells and Tunnels, 1975

Project for a Circular Building with Narrow Ledges for Walking, 1976

I like these pieces because they are able to experiment with ideas of structure and architecture, without being concerned with eventual tenants. It's like she gets to play more freely with the signs and signifiers (pardon my weakness in semiotics) of architecture because she's building in farmers' fields. I'm sure she still takes human form into account, but unlike a 'proper' architect she has fewer restrictions. An architect must consider daily human use and if they don't think about how people will live in their built spaces, said spaces stand a good chance of failing.

Looking through the site, I'm definitely a bigger fan of her earlier work. She seems to focus more on architecture and structure than in her later stuff. Starting in the 80s her work begins to take on a more sculptural and decorative air. By decorative I mean there is less concern with function (as vague as it might be) and more with aesthetics. Her sculptures are still fantastic and full of use, it's just that the architecture that remains as a theme in some pieces is often more abstract and less obvious.

I'm always wary of venturing opinions on realms foreign to me (at least in writing, when speaking I venture insupportable opinions on things I know nothing about all the time). I worry I lack the vocabulary to express my notions accurately. Oh well. No offence intended anyone!

Functional and Fantasy Stair and Cyclone Fragment, 1996

And I'm not saying her sculpture is bad. Just that I like the themes she's exploring in her earlier work more.

If someone knows what I'm talking about, feel free to tell me.

Also, everyone should look at the artist's site. There are so many cool things there, even a machine that makes the world! In the meantime, play on this...

The Game of Flyers, 1980

Note at the bottom (that is here): I did an experiment and didn't promote the previous post. The results of the experiment tells me no one has looked at it. If you're interested, it's there and it's about food!

The Last Goodbye at Summerhill

I'm busy so you get this bit of lovely. Found with a description via Torontoist.

subways and Fort York

Twitter is something else, eh guys?

I just sit here and everyone else finds links for me. It's great. I don't even know I want to find something until it appears. When it does I just have to write about it.

This go round we're talking architecture and public transit to start. We'll see where we end up.

Designboom had a neat post the other day detailing the best subway architecture going. I will now commence moving some of their pictures over here, then adding my own limited commentary. This post is basically me giggling uncontrollably at neat things and wanting to share said giggles more fully than a simple link would allow.

Holy Stockholm Batman! The entire system is stuffed with artwork, and they have some great design features, including the hacked out of stone feel in a lot of stations.

I'm always a fan of mashing the hyper-future into unfinished and naturally riotous spaces. The notion bears a connection to my aesthetic appreciation for classical architecture and the modern; having a sleek, electric tram silently snaking through a centuries old city-centre or a new windmill silhouetted in the skyline beside an ancient, stone belfry.

Nice lights Munich.

The joys of building a system starting in 1972 and being able to incorporate what other cities have already learned.

This one reminds me of St. Clair West station in Toronto, which reminds me of a lot of Metro stations in Montreal (not that I've visited them particularly intensively). Both in the colours and in the high ceilings. I love how that mirrored ceiling makes the space last forever.

Tempo from St. Clair West station. It's nice, but not all encompassing like the above example. I understand that making the station itself into the art (or at least part of the art on display) can be more expensive and difficult, but with bigger risks come bigger rewards (sometimes).

I like the clean lines in this Bilbao station. Apparently the whole system and all its stations were designed byFoster + Partners.

Or this epilepsy inducing little number in Shanghai. Because this transit system is so short it's more about the sound and light display you experience than actually moving.

Check out the amazing texture on the wall in Prague.

And the opulence you can find in Moscow.

Just because I like the future combined with nature, doesn't mean having a straight-up future future future is now look is bad, like they have at Drassanes Station in Barcelona.

So what to take from all this?

Basically we need to be bold. I'm aware of economic restrictions, but you HAVE to be willing to spend money. Something like a subway station can't be changed after the fact terribly easily, so you have to get it right the first time (I don't mean get it right in the sense that a perfect solution can be found, but instead that we need to remember this is building the city for the next 40, 60, 100 years and to change a design to save $200 000 now might result in pain and bother for years to come). Spend the money and after the basic architecture requirements are met, turn it over to the artists, or even better have the artists and architects working together from the beginning.

As people move through a transit system everyday, their existence is at least partially defined by the spaces that they pass through. If you make those spaces big, bold and inspiring the people get something positive from it. Prioritize these spaces and invest in them.

If the people hate the art I'm willing to bet they're going to complain, and THAT's good too! Complaint leads to more discussion and more discussion leads to more change. Nothing about art or architecture is static and the next big project will be influenced by the last.

The key thing to remember - and probably also the most difficult thing to wrap your head around given the brief time-spans most people and governments operate on - is that each one of these projects is building towards an unseen city of the future. The infrastructure and groundwork we lay now is what will support the layers of urban citizenship that will arrive in forms unseen tomorrow. And in an even more perfect world the groundwork we lay now should also appreciate some of that which was built in the past. The city exists in time as much as it does space.

It's tough. Even the best conjecture lacks absolute certainty. The people trying to envision what is to come and build accordingly are going to receive all sorts of complaints around cost and style. Only years later will people be able to see the brilliance and foresight in what they built (think of the under-bridge subway line on the Bloor Viaduct. If that hadn't been a possible add-on in the original bridge design the entire subway system in Toronto would be vastly different, or at least have cost way more). And of course, some of the ideas won't pan out, giving all the naysayers something to point to.

Toronto did get a mention in the above article, Museum Station's redesign was considered cool enough for a comment.

And I agree. They did a good thing here. It is a retrofit but imagine the fun they could have had if designing this station from scratch, trying to capture the same themes and images. Oh boy!

-----

One more thing, non-subway, before I go.

Toronto is designing a new Fort York Visitor Centre. You can see the design proposals on Spacing Toronto. They're pretty neat and while I haven't passed judgement on any one, I recommend having a look at 4 first because its aerial view gives you a better idea of what's going on spatially.

This project interestingly connects to the previous post on the Gardiner Expressway. Fort York used to be right beside the lake. It's not anymore due to fill dumping and land extension, and is now wedged between the city and the Gardiner Expressway and the proposed visitor centre is actually going to exist at least in part beneath the elevated road.

As I said above, all these discussions on aesthetics are ongoing, with each piece adding to and elaborating previous physical opinions. Installing a fantastically designed visitor centre underneath the Gardiner brings together multiple eras, revealing both distinct moments of design (history, culture, society and everything) and how a moment in design-time lasts. Even after fashions change.

Just as a city's people move about and interact to provide its ever-changing social nature, a city's built aspects are not static. Each new piece of architecture reinterprets what is already there or was there before. Complete erasure (burying the Gardiner for instance) is not always feasible not necessarily desirable.

Given the Gardiner's decades-long role in Toronto and the lessons it has taught around prioritizing cars above people and neighbourhoods, re-interpreting it with more people friendly additions is a better way to go. As long as everything that gets built, no matter how avant-garde, remembers the person is the city's most important unit, it's difficult to really go wrong.

From pretty picture of train stations, to 200 year old forts and an expressway often called an eyesore, it's like a never-ending magical acid trip up in here.

Gardiner Expressway park? Sure!

Oh man.

A park, over a highway. How great is that?

The problem (the only one of course!) in Toronto is the Gardiner, an elevated expressway roughly parallel to the waterfront. It snakes along the base of the city and the argument has always been it cuts off the city from its lake.

What to do?

Toronto's been working on some ideas: keep it up (with repairs), improve the existing expressway, build a new elevated roadway or take it down, but only east of Jarvis and so on.

Unfortunately, you can't just straight knock it down because you still need to get all those people (errr cars) into the city.

So a new idea, why not build a park on top of the damned thing?

Makes sense.

This particular idea is courtesy of Quadrangle Architects and on first blush it sounds like a goody.

Les Klein (of Quadrangle) says a surface road would cut-off the waterfront even more fully and I agree. Also, I'm assuming burying the thing à la Boston's Big Dig would be too costly and problematic, so that's out.

In a perfect world public transit gets so dirty good that no one wants or needs to drive into the core anymore, but that's not going to happen, so it seems we're left with a big concrete snake, standing guard. Protecting the city from lake monsters.

Lake Monsters!

But there's so much to consider beyond the Gardiner's monster fighting ability.

First off, the concrete snake isn't a standalone anymore, as its condo buddies show up in increasing numbers. The city is increasingly surrounding the road, encroaching on its carness, hiding it and pulling it into a more lived urban fabric that stretches ever lakeward. The growth and use of the island airport and The Wavedeck also fall into this lake grab, something that has been taking place all while people bickered about the city ignoring its waterfront.

So, if it's going to stand there - hidden or not - we might as well make it look awesome and a park up top with fences and walls to keep people safe and exhaust free does that. Not to mention the green goodness the space promises to provide. And imagine the views! I would expect there to be plenty of points to look up towards the city or out to the harbour, island and the lake beyond.

Between the condo towers of course...I'm not saying I'm a mega fan of the condos or necessarily everything about an increasingly busy island airport. Just that I like what they represent in terms of density and urban life.

Oh heck! We should totally add a glass floor (similar to the one up The Tower) just so park users could moon motorists stuck beneath in traffic jams.

And, AND! as an example of poured concrete modernist architecture the Gardiner Expressway is slowly losing its eyesore tag (at least to my mind). Such style was a popular deal in the '60s and 70's and as retro-chic continues its unstoppable cyclical march it's starting to enter a cool phase again. This is to say nothing of the other aesthetic gifts a giant chunk of concrete can provide, acting as a versatile canvas for art of all sorts.

A couple years back the talk was of a river of light.

Just recently, the underside of the Gardiner became the setting for Watertable, art that marked the old Lake Ontario shoreline with an LED display.

I particularly like this project as it reminds us of urban space's vital connection to the, hrrrm, natural world. I'm hesitant to even make the division because a city without the rest of the world is dead dead dead, no matter how much we pretend to pull back and exist independently. But that amorphous, organic city is something to be considered elsewhere (in the first chapter of this book for instance).

As an aside Toronto as a whole is being recognized for some green initiatives at the current Copenhagen summit. I've posted the city's video, apparently playing in Denmark on a loop, at the bottom.

As if we needed any more support for the idea, someone else has already done it, therefore it must be good. The High Line in New York is a park built onto a disused railway viaduct. The city gets more green space and overall quality of life goes up as the park has become a place for art and interaction; so much more than just a place to stroll! (and for those looking for more staid markers of well-being, there are more people in the area for shopping and to drive up property values). Similarly, Paris has its Promenade Plantée.

I think a Gardiner park is a great idea and given that no matter what the greeners might hope, we're stuck with a car culture for the time being and still need to live with it as best we can. That doesn't mean we need to be subservient though. More scramble intersections that let the pedestrians take the road and more projects like this where pedestrians are allowed to move under, over and around a main thoroughfare.

Eventually it has to enter a person's mind I am as important as these cars, and in time, I am more important than these cars.

The world isn't going to change overnight, but through these acts and architectures - realized demonstrations in urban space that people are the prime unit - we will start to see change. People, allowed to feel and live their importance, subsequently have an easier time of moving past autocentric paradigms. The change happens, but it does so organically.

Theory is given life and people believe, but only if we can build those spaces so the imagination can take hold.

(This is a little west end of the Gardiner Expressway centric due to personal geographic experience...methinks I just found my first springtime bike trip/urban hike)

Toronto's green leadership video currently being shown at the climate summit in Copenhagen.

Trampoline Hall

Went to Trampoline Hall for the first time last night and enjoyed myself thoroughly. All the speakers were great and I walked away feeling depressed! What more could you want in an evening out? Depressed, but only because there are so many amazing people out there doing cool things and I continue being me. I think it's a good sadness to have, one that will inspire. OR crush my very soul and encourage me in more lawerly pursuits.

The speakers were:

Mary Albino - The Mean Problem

Instead of a diatribe about the film Mean Girls we received a lesson on the dangers of averages, what can be lost in the morass of numbers and summation.

Christine Pountney - Lot's Wife and the Art of Looking Back

Starting with an action many people do when leaving a building, looking over their shoulder in the direction they aren't going, launched us on a discussion of paths not taken, nostalgia and dementia, memory and the joys of living if not in, at least with the past.

For her a life gains stability and relevance only so far as all the experiences leading to you-now are remembered and cherished. Even/especially the bad ones.

Kristy Willow - Transitioning

Coming from the personal experience of discovering her dual-sexed nature following a heart attack and 28 minute death at the age of 50 plus, the talk focused on finding doors and going through. Choices can be good or bad, but if it turns out being the latter there's always the next door to try.

After the show Daydream and I walked down Ossington, contemplating all that had passed our ears and falling into our traditional staccato banter about where we are going, what we are doing and how we should get there.

As I say above, I don't know if what I saw at the event scares or inspires. Maybe both. But it's certainly better than the stare at the computer screen, indecisive, nothingness that seems to fill too much of my downtime. I still have no idea about anything except now I know I need to keep pushing myself. Out there. I need to see people do what I want to do, but more amazingly.

Maybe I'll just get a pleasant evening out of the deal, but the hope is it will push me toward something significant of my own.

Daydream reminded me I need to get away from the endless end result speculation that haunts my being. Instead of creating to create, doing things because I love them, there's a hint of doing things because it will bring me success. Money-whore and attention seeker. A man without confidence who needs the constant reassurance and praise of those around him, and if only the whole world could see his majesty, then they too would throw up their arms and lose their minds in rhapsodic praise.

Too often I miss the now, focusing instead on the awaiting future or perhaps fester upon the past I've let slip me by.

Oh you. Coming at things all wrong. If I'm going to write, I need to write without goals for a little while, create without direction and see what comes. Answer some big questions; If I'm not doing this stuff, is it because I see it as a chore? Do I even have the passion I claim? Do my passions lie elsewhere?

Questions I've asked and answers I've known, leading nowhere for years. Let's see what I can do with them this time round. Remember, getting nowhere can take forever and I'd do well not to waste eternity.

The mental anguish and joy of an evening well spent, summed up in a wee Twitter poem, re-posted here because not everyone reads the sidebar and what's the internet if not an echo chamber to reconfirm existence on a regular basis?

I need to find a crack to pull myself through WORDS need actions or die BUT the streetcar thrums and the city speaks of nothing but choice

(I even maintained the silly caps on instead of punctuation format!)

As Daydream said, Heh, it's a very nice bit of self expression via high tech communications.

For the time being that will have to do.

bike ride (of a few weeks ago)

It's a lovely day out there. I don't have time to go riding today but I did a few weeks ago. There's a path that parallels the railway from Landsdowne to Cariboo Ave. Apparently it's going to be extended south, and maybe north when they're done driving all those pilings (see below).

There are lots of old factories along the route. Some have been turned into storage or offices.

I hope they leave some smoke stacks standing. They're great. There is quite a bit of graffiti. I didn't take too many pictures of it, but this one had some great colour. Look at that sky too! It was a funny day. Rain was expected but before the main force arrived periodic vanguards launched sharp, quick and cold drizzle attacks.
But then the sun would come out.

On the other side of the tracks some people were already ensconced in some nice looking apartments.
Some of the buildings had already been torn down and replaced by attempts at mimicry. It's a nice try but the bricks just aren't weathered enough. The GO Trains that run through the area are diesel powered but I don't think their exhaust is going to mark the new bricks like the smokier trains of the past.

Save old bricks!

There's actually a hullabaloo from the local residents concerned about air quality with an increase of diesel locomotives.
Vroom! Vroom!
I assume this land will become condos. Maybe office space I suppose given proximity to the rail line, but if you don't know what a construction site today in Toronto is destined for residential is usually the safer bet.

It was a good day for the sky and verticality in general.

The bike trail ends at Cariboo. Along the trail each road was marked with some nice sculpture, giant sheets of rusty metal with the stenciled names cut out.

Just north of Cariboo is a rail junction, I think the junction for which The Junction neighbourhood is named. Looking at a map there aren't many other rail junctions around and about, and according to this article The Junction centres on Keele and Dundas, just to the west, so I must be right.

On the left is a drill, on the right a pile driver. They are pounding pilings here to support the increased train traffic. Hurray for sleeper communities as long as they DO NOT add more cars to the streets.

Vertical!
Do you see that puff? That pops out on every clang. It didn't take me very long to catch it because the thing must clang every 7 seconds or so. Clang! Clang! I can understand why the neighbours are complaining and not enjoying their aural lives right now.

I've driven some t-bars in my time, and that's nothing compared to this ruckus. Maybe if I had steam driven, piston arms. Hmm. Maybe. Something to think about...

This is one of the GO stations, Bloor, further south on the path. I like the overgrown look of the rail bridge and my orange bridge is pretty sharp too.
Just another rail line. This one splits off from the one I was following at Landsdowne and travels more directly north. It ends up at Downsview airport, and probably beyond. Well meshed infrastructure gives me a warm feeling inside.

It would have been a different place when the trains were running through the guts of the city on a regular basis. The Big Smoke indeed. This smaller line has road crossings, as opposed to bridges, so there would have been lots of waiting. Given that the advent of rail travel in the 19th century signaled the new faster modern life it's interesting that I now think of it in terms of slowing people down. It says something about how people are increasingly individualized nuclei, enabled, largely through technology, to live removed from the greater society that surrounds them.

Come on LRT! Be finished already. Force people to live face-to-face.