I recently came across this 2013 article by Adee Braun in The Atlantic, which takes a historical perspective on the perceived medical benefits of time spent at the seaside. From a British perspective, there wasn’t much here that was particularly new: I’m sure we all learned in school history lessons about the Victorian obsession with the seaside.

The seaside resort was where the serious healing took place. The sea air along with the ocean views and warm weather were considered critical to a patient’s recovery, especially when treating tuberculosis.

Something about the presentation of the article, though, made me reflect on how restoring a walk at the seaside is for me—and how, in its own way, that’s a modern perspective on the health-giving benefits of the seaside.

Wendy and I love a walk along the coast or the beach, and we are therefore particularly lucky to live in the North East, where many miles of spectacular coastline are close by. If we’re feeling down or not quite ourselves, a bracing walk by the sea always helps. This is undoubtedly partly due to the physical exertion, but I think it’s also to do with the perspective that the coastline brings: the vast scope and the view out to an impossibly distant horizon serve as a reminder about how small we and our problems are in reality.

We have many friends and colleagues who dip into the North Sea year-round, as Braun describes people doing for hundreds of years. Braun says that a dunk in the freezing sea can resemble ‘waterboarding far more than a spa treatment,’ with ‘the twin effects of cold and suffocation causing terror and panic.’

That’s not for me, but I continue to enjoy a long stroll along the coast.

The image at the top of this post was generated by DALL·E 3. I not sure what’s going on with the doctor’s teeth, and can confirm that I’ve never worn a stethoscope at the beach.

In the North East, we seem to like saving odd bits of old buildings: consider the Doxford Arch, for example, or the sign from the Crown Works site. In that spirit, allow me to present to you the last remaining wall of the Cleveland Salt Works:

But how did we end up with a salt works in Middlesbrough—hardly the most typical location?

In 1859, the Bolckow, Vaughan & Co Ironworks got fed up of dirty water from the Tees blocking up their boilers. They decided that a better solution would be to drill a borehole and extract clean water from underground. After a few years of boring, they unexpectedly discovered a huge bed of rock salt some 1200ft underground.

Rock salt, as it happens, is useful in all sorts of chemical processes being undertaken on nearby sites, so by 1887, the Cleveland Salt Company was founded to extract it, pumping water into wells and then using the heat of the ironworks to evaporate out the salt. Over the following six decades, hundreds of thousands of tons of salt were extracted through four different wells.

In fact, the salt mine ended up outlasting the ironworks: the ironworks collapsed in 1929, but the salt kept flowing until after the Second World War, with the works having been converted to run off their own coal supply rather than the waste heat of the ironworks.

Sometimes, I suppose one’s side-hustle outlasts one’s primary employment.

Published in 1967, McPhee’s book on oranges was recently recommended in The Economist as a particularly good bit of non-fiction writing. In its first form, it was a much shorter article in The New Yorker, but the author felt that he had too much fascinating material to keep to a single article, and so the book grew out of it.

Oranges is an esoteric and lightly humorous history of the relationship between humans and oranges. It focuses in particular on the development of orange juice made from pasteurised concentrate, which was a huge shift the industry was undergoing at the time the book was published.

I didn’t know how much I didn’t know about oranges before I read this book. They are berries. They are not ‘true from seed’, so if you plant the seeds from an orange, you might get a tree that bears lemons or limes or grapefruit or any other citrus: most Florida oranges are grown via grafts onto lemon trees. There’s a whole weird history about women and oranges, with a remarkably persistent belief that if a woman touched an orange tree, it would die.

This is a book that is strange and charming, clearly crafted with love by someone who just wanted to share information that he found fascinating. The enthusiasm shines through on every page. And, more than that, it’s easy to see how the modern work of non-fiction authors like Jon Ronson and Will Storr flows directly from the innovative style McPhee adopted in his early work.

If I could summarise in only one word, then I’d describe this book as ‘delightful’.

Yesterday, I wrote about a quirky construction in Middlehaven: the only one of an intended set of five which was actually constructed. I visited it back in 2012, and had returned twelve years on to see how it was doing.

All of the above also apply to today’s post, which is about Anish Kapoor’s Temenos.

Twelve years ago, I called this massive artwork ‘soulless and bland’—which is very much how it felt on this visit, too. The demolition of the crane which previously stood behind it at least gives Temenos room to breathe, but it doesn’t really say much to me.

It was intended to be the first of five ‘Tees Valley Giants’, humongous sculptures spread between Middlesbrough, Stockton-on-Tees, Hartlepool, Redcar and Darlington. None of the others have been built, and it doesn’t feel like Temenos has become a local landmark in the way that was perhaps anticipated.

I wrote yesterday about the benefit of whimsy in life, and I think I actually prefer this much cheaper artwork nearby: a giant stick of rock.

In 2012, I went for a look at Middlesbrough’s newly constructed Community in a Cube (CIAC), a bizarre residential building with startling architecture, including some houses perched on the roof. Seven years later, I went back to see how it had settled in. After 21 years of blogging, there are no new ideas left. So, five years after my last visit, I’ve been back again.

CIAC is in Middlehaven, the bit of Middlesbrough which surrounds the dock. The area had an ambitious masterplan by Will Alsop. In the initial phase, CIAC was intended to be one of five cuboidal residential blocks, each to be designed by a different architectural firm and employing ‘statement’ architecture. They were commonly referred to as the ‘sugar cubes’. Eventually, more cubes would be built, expanding the quirky residential provision. Here’s an idea of what it was supposed to look like, eventually:

When CIAC was constructed, as part of Middlehaven’s commitment to sustainability, it was built with a sustainable biomass boiler system to provide heating and hot water to the initial five residential blocks. But you can guess where this is going.

Only CIAC was built, and for a long while—including when I first visited—it felt a bit isolated and alien. Partly through familiarity, and partly through the limited development of Middlehaven, it feels more like it belongs these days.

When I visited five years ago, I commented on the issues that had arisen due to the flammable cladding that had been used in the building. This has led to the most visible change to the building’s appearance: the aspect shown at the top, with the geometric inset windows, has lost its cladding. I’m not sure whether there’s an intention to replace it, but I actually prefer the current appearance: the geometric shapes being formed through industrial steel feel a bit more in keeping with the area than the previous wooden effect.

Originally, the block was surrounded by naked streets: these have long since closed, replaced with traditional roads and footpaths. Some sections, like the one above, are now so overgrown that it’s quite difficult to pick out where the grass verge ends and the former street begins.

The traditional roads are perhaps not quite as well-connected with public transport as they might be. The juxtaposition of ‘no public services’ and ‘let’s journey together’ made me chuckle.

Back in 2012, I noted the unique appearance of the development’s marketing suite. One might have thought that this would be a temporary structure, but it is still going strong twelve years on, now occupied by a firm of commercial property consultants.

No-one has quite got around to updating the signage promoting the marketing suite, but the greenery is doing a good job of absorbing it.

In 2012, I said that CIAC wasn’t quite to my taste, but I’ve rather warmed to it over time. A bit of quirkiness goes a long way.

In fact, I would go as far as to say that there’s simply not enough out-and-out whimsy in life. The Middlehaven masterplan was stuffed full of whimsy, and it’s a shame that more of it didn’t come off.

There was much talk at the time of its initial unveiling—and even a bit of ribbing in The Guardian about the ‘Kerplunk hotel’—a proposed hotel which bore more than a passing resemblance to the children’s game.

I recently discovered that the scale model of the masterplan is on display in MIMA, and let me tell you, sugar-cube residential blocks and a Kerplunk hotel have nothing on my favourite proposed but unrealised project in Middlehaven.

Friends: the toaster on the right of this photograph of the masterplan, just across from Middlesbrough’s Riverside Stadium, was to be a theatre. Yes, we live in a world where a toaster-shaped theatre was proposed but never built. As Liz Truss might say: That. Is. A. Disgrace.

In the final seconds of BBC One’s Weekend News bulletin yesterday, Reeta Chakrabarti squeezed in an extra story in just 25 words:

Just before we go, President Biden has just tweeted that he intends to address the nation later this week, saying that it has been a great privilege to serve. We’ll bring you more at ten.

We know now, of course, that in the judgement of mere seconds, the team had perhaps overlooked the more significant message of Biden’s message: his decision to withdraw from his re-election campaign.

It’s not hard to see why: Biden’s statement refers only to standing down, without complete clarity on what from. It’s a letter that’s hard to parse on a scan-read, with the eyes of a nation watching.

Wendy and I switched over to the news channels, and after minutes of slightly desperate filling, the airwaves were thick with discussion of the political consequences of the decision, with hot takes and commentary on who might replace him and what it may mean for an election that’s still months away.

Nobody seemed keen to take a step back. It’s not hard to imagine the sense of profound grief Biden must feel at this moment. This is surely a moment that marks a painful shift in the way Biden sees himself: judged irreversibly incapable by dint of age of doing something he’s done before.

As Peter Wehner wrote in The Atlantic last night:

Coming to terms with mortality is never easy. We rage against the dying of the light. Many elderly people face the painful moment of letting go, of losing independence and human agency, when they are told by family they have to give up the keys to the car; Biden was told by his party to give up the keys to the presidency.

It must cut deep; I hope he’s okay.

It’s funny, really, how little attention the news pays to the universal aspects of stories like this. How the immediate reaction focuses on predicting what might happen next, rather than on sitting with what’s just happened. How it refuses to dwell on the humanity, those moments of insufficiency most of us have faced and will continue to face in life.

The news runs away from the lessons of others’ experience, the things we might take and apply in our own lives. And that seems like a shame.

When The Times started publishing its ‘compact’ edition in 2003, initially alongside the broadsheet format, there was a lot of debate about the potential impact on its journalism. One concern its journalists wrote about publicly was that in a compact size, it becomes more tempting to ‘hang’ stories around photographs, which can pervert the way that stories are covered.

Two decades on, this feels a bit quaint: large numbers of journalists for most media outlets work in multiple formats, writing stories, taking photographs, and filming videos, for example. But it feels undeniable that this has changed the weight that is given to different aspects of stories.

For example, over the last few days, we’ve been subjected to a huge amount of news coverage about a widespread computer fault. A huge proportion of the coverage—the lede in most cases—has been the impact on air travel. Yet, there is no reasonable interpretation of this story in which air travel is the most significant angle. The effect on GP services, for example, will have affected far more people and almost certainly caused more harm—and the underlying technical issue, and the way it has affected so many system across many countries, is a much more interesting analytical story.

I posit that the reason for the heavy weighting towards air travel is the multimodal way in which journalists now operate. It’s very difficult to create images of the problems with GP systems, and even more so to illustrate IT problems, yet airports provide an immediately available endless supply of emotive imagery of huge queues. That imagery can be easily supported by information on flight cancellations that’s freely available on websites journalists can access from their desks.

The lede becomes what’s easy rather than what’s important. Images become more important than analysis. We’re all less well-informed as a result.

There’s a form I have to fill in at work every quarter, in which I’m invited to answer the question ‘How are you?’ with an integer. The instructions say that I ought to ‘rate how things are feeling 1-10’.

Anyone who knows me well enough will be unsurprised that I have a cut-and-paste paragraph that I shove in the box intended for an integer. It explains that I am declining to answer in the requested format because I cannot summarise how I feel in that form, and that I find the question inappropriate and mildly offensive.

Nobody has ever questioned my response.

I was reminded of that when I read this article by Elisabeth Rosenthal in The Atlantic. As a doctor, Rosenthal admits that she has asked many patients to rate their pain on a scale of zero to ten, but reflects on how useless this question is when asked to rate her own pain:

Pain is a squirrelly thing. It’s sometimes burning, sometimes drilling, sometimes a deep-in-the-muscles clenching ache. Mine can depend on my mood or how much attention I afford it, and can recede, nearly entirely, if I’m engrossed in a film or a task. Pain can also be disabling enough to cancel vacations, or so overwhelming that it leads people to opioid addiction. Even 10+ pain can be bearable when it’s endured for good reason, like giving birth to a child. But what’s the purpose of the pains I have now, the lingering effects of a head injury?

The article dives into the history and future of this kind of pain scale and was a great read: it’s well worth a few minutes of your time.

The image at the top of this post was generated by DALL·E 3.

Middlesbrough’s Old Town Hall was built in 1846 on a prominent site in the town’s marketplace. It was—and is—a surprisingly small building for a Town Hall, and by the 1880s, a decision was taken to replace it with something more substantial, located closer to the developing passenger railway.

The part of town where the Old Town Hall became steadily less prominent over time, and by the 1950s it was filled with mainly slum housing, which was summarily demolished. A new housing estate, St Hilda’s, was put up in the 1970s, with the Old Town Hall repurposed as a community centre. The centre closed in 1996, and the Old Town Hall has stood empty ever since.

But worse was to come: the 2000s brought the demolition of the St Hilda’s estate, leaving the Old Town Hall not only empty, but also abandoned in the middle of nowhere. These days, it’s on a sorry sight: I had to fight through the weeds to get to it. It feels as though it is being reclaimed by nature. There was something surprisingly soothing, natural and cathartic about the scene.

But it may yet have a future, as the surrounding area is redeveloped once again. The Council intends to reopen the Old Town Hall as a digital and creative hub, linking in with the nearby businesses in those sectors. The Council has already received £1m of funding to safeguard the building, and has applied to the National Lottery Heritage Fund for a further £3m. Here’s hoping.