Landscape – Page 8

Covert Cartographics

The U.S. Central Intelligence Agency has uploaded a massive set of images from their historic mapping unit to Flickr.

[Image: Triangular 24-Inch Engineering Scale, CIA].

The collections include state-of-the-art graphic tools for producing maps and other measured cartographic products, as well as the maps themselves. Organized by the decade of its production—including batches from the 1940s, 1950s, and 1960s—“each map is a time capsule of that era’s international issues,” as Allison Meier points out.

[Image: Terrain map of the Sinai Peninsula (1950s), CIA, CIA].

“The 1940s include a 1942 map of German dialects,” Meier writes, “and a 1944 map of concentration camps in the country. The 1950s, with innovative photomechanical reproduction and precast lead letters, saw maps on the Korean War and railroad construction in Communist China. The 1960s are punctuated by the Cuban Missile Crisis and Vietnam War, while the 1970s, with increasing map automation, contain charts of the Soviet invasion of Afghanistan, and the Arab oil embargo.”

[Images: The Austin Photo Interpretometer, CIA].

But it’s the mapping tools themselves that really interest me here.

On one level, these graphic devices are utterly mundane—triangular rulers, ten-point dividers, and interchangeable pen nibs, for example, any of which, on its own, would convey about as much magic as a ballpoint pen.

[Image: 10-Point Divider, CIA].

Nonetheless, there is something hugely compelling for me in glimpsing the actual devices through which a country’s global geopolitical influence was simultaneously mapped and strategized.

[Images: Rolling Disc Planimeter, CIA].

As the CIA points out, their earliest mapping division “produced some 8,000 hand-drawn maps and 64 plaster topographic 3-D models in support of the war effort. Many of their products played crucial roles in the planning and execution of major military operations in the European, North African, and Asian Theaters. On display here are just some of the many tools that OSS cartographers employed in their production process.”

[Image: Dietzgen Champion Drawing Instruments, CIA].

In a sense, it’s not unlike seeing the actual typewriter with which a particular author wrote her novels, or the battered, handheld sketchbooks a painter once carried with him to a distant mountaintop—only here, in art historical terms, we are looking at the graphic tools and visual documents through which a country’s overseas influence was realized and maintained.

It is a narrative of covert state power as relayed through cartographic objects, the outlines of an imperial nation-state arising from them like a ghost.

[Image: Stanley Improved Pantograph, CIA].

I’m reminded of one of my favorite books on the subject of geopolitics, literally understood: Rachel Hewitt’s Map of a Nation: A Biography of the Ordnance Survey.

Among other things, Hewitt’s book reveals the often deeply strange tools—including surreal glass rods—through which British mapmakers and other agents of terrestrial exploration measured their nascent empire, helping to transform landscape into a mathematized system of coordinates and, in the process, conveying to British authorities the exact volumetric extent of their political domain.

There was the empire, in other words—but there were also these exotic objects of measurement through which that same empire was conjured, as if through cartographic magic.

[Image: Keufel & Esser 20.5-inch Slide Rule, CIA].

In any case, check out more at the CIA’s “Cartography Tools” Flickr set.

(Originally spotted via Alessandro Musetta).

Rootkit

[Image: Work by Diana Scherer, used to promote an event coming up on December 14th, in Wageningen, Holland, where the artist will be speaking].

The work of German-born artist Diana Scherer explores what she calls “the dynamics of belowground plant parts.” She uses plant roots themselves as a medium for creating patterns and networks, the purpose of which is to suggest overlaps between human technological activity and the embodied “intelligence” of living botanical matter. “This buried matter is still a wondrous land,” she writes.

The results are incredible. They feature roots woven like carpets or textiles, imitating Gothic ornament with floral patterns and computational arabesques underground.

[Image: “Ornament with Thistle” by Daniel Hopfer; via Wikimedia].

Compare Scherer’s work, for example, to traditional Gothic plant ornament—that is, geometric shapes meant to imitate the movements and behaviors of plants—but here actually achieved with plants themselves.

Scherer calls this “root system domestication,” where, on the flipside of an otherwise perfectly “natural” landscape, such as an expanse of lawn grass, wonderfully artificial, technical patterns can be achieved.

[Images: All images by Diana Scherer, from “Harvest: Exercises in Rootsystem Domestication”].

The idea that we could grow biological circuits and living rootkits is incredible, as if, someday, electronic design and gardening will—wonderfully and surreally—converge.

You simply step into your backyard, exhume some root matter as if harvesting potatoes, and whole new circuits and electrical networks are yours to install elsewhere.

[Image: From “Harvest: Exercises in Rootsystem Domestication” by Diana Scherer].

After all, the soil is already alive with electricity, and plants are, in effect, computer networks in waiting.

Scherer’s work simply takes those observations to their next logical step, you might argue, using plants themselves as an intelligent form-finding technology with implications for the organic hardware of tomorrow.

For more images, click through to Diana Scherer’s website, and, for those of you near Wageningen, consider stopping by the artist’s live Q&A on December 14th. Someone please commission a landscape-scale work from Scherer soon!

The Totality That Remains Invisible

[Image: Alice Aycock, “Project for Elevation with Obstructed Sight Lines” (1972)].

A few years ago, my wife and I went out to hike Breakneck Ridge when there was still a bunch of snow on the ground. It’s not, in and of itself, a hugely challenging hike, but between being ill-prepared for the slippery terrain, including a short opening scramble up snow-covered rocks, we found ourselves looking forward to the final vertical stretch before we could loop back down again to the road.

What was interesting, however, was that, from our point of view, each hill appeared to be the final one—until we got to the top of it and saw another one waiting there. Then it happened all over again: what appeared to be the final hill was actually just obstructing our view of the next one, and the next one, and the next one, and, next thing we knew, there were something like seven or eight different individual upward hikes, each hidden from view by the one leading up to it.

In 1972, earthworks artist Alice Aycock proposed a new, never-built work called “Project for Elevation with Obstructed Sight Lines.” It was part of a larger group, Aycock’s Six Semi-Architectural Projects, exhibited in 1973.

“Elevation with Obstructed Sight Lines” was meant to be a sculpted mound of earth, shaped for its optical effects.

[Image: Alice Aycock, “Project for Elevation with Obstructed Sight Lines” (1972), courtesy White Columns].

“Only one side of the resulting structure can be climbed,” Aycock wrote in her brief instructions for realizing the conceptual project. “All other side slopes are steep enough to deter climbing. The elevation of each successive climbing slope is determined by the sight lines of a 6 ft. observer so that only as the observer completes the ascent of a given slope does the next slope become visible.”

The piece obviously lends itself quite well to Kafka-esque metaphors—this structure that deliberately hides itself from view, never once perceptible in its totality but, instead, always revealing more of itself the further you go.

However, it also interestingly weds conceptual land art with hiking—that is, with embodied outdoor athleticism, rather than detached aesthetic contemplation—implying that, perhaps, trail design is an under-appreciated venue for potential conceptual art projects, where a terrain’s symbolic power only becomes clear to those engaged with hiking it.

(Aycock’s project spotted via Ends of the Earth: Land Art to 1974).

Atlas of the Underworld

[Image: Via Science].

A “complete x-ray of Earth’s interior is coming into focus,” Science reported last week. Using computerized tomography, or CT scanning—the same technology used to visualize the interior of the human body for various medical diagnoses—Dutch Earth scientists are piecing together what they call an “Atlas of the Underworld.” They are documenting invisible landscape features—the ghostly remains of entire continents—hidden inside the planet, locked beneath the surface we dwell upon everyday.

Awesomely, these features include “oceans and mountains lost to Earth’s history,” we read, an Earth’s surface within the Earth’s surface:

The reconstructions are also resurrecting mountains that had been lost to time. For example, in a study published several months ago, [tectonicists Jonny Wu and John Suppe] reconstructed the travels of 28 slabs to recreate the Philippine Sea as it was more than 50 million years ago. Beyond identifying what appears to be a previously unknown piece of ocean crust, they predicted that as one of their paleoplates plunged into the mantle, it threw up a large chain of volcanoes that eventually collided with Asia. That convulsive process could explain mysterious folded rocks in Japan and beneath the East China Sea.

For now, however, these “lost mountains” remain digital projections based on available data, not real, physical discoveries. They are, we might say, tectonic fictions, unverified models of past Earths inside our own.

A researcher at the University of Oslo named Grace Shephard points out, for example, that she will soon “publish a comparison of 14 different models that will assess which slabs seem most likely to be real” (emphasis added).

[Image: The long-buried Farallon Plate, visible nowhere on the Earth’s surface—or, rather, only visible through its indirect, mountain-building effects; courtesy Karin Sigloch].

Twenty years ago, poet Gary Snyder published a book called Mountains and Rivers Without End. As the Freer and Sackler Galleries describe it, the book is an “epic celebration of nature and humanity that encompasses Asian artistic traditions, Native American storytelling, and Zen Buddhist philosophy,” all in the guise of a book of landscape poetry.

I mention this not because Snyder’s book is the only example of such a thing, but because it’s interesting to imagine a tomographic expansion of Snyder’s “mountains and rivers without end”—adding revelatory geophysics and otherworldly Earth-scanning technology to the book’s already eclectic mix of myths and texts.

In other words, where is the poetry of lost ghost continents, buried mountain ranges, drowned ocean basins, landlocked archipelagoes, melting thousands of miles beneath our feet, swirling slowly below us in the Earth’s deep interior?

(Thanks to Wayne Chambliss for the tip!)

“500 Years of Utopia” Opens

[Image: Thomas More’s Utopia].

There are two quick thing coming up this week that I wanted to post about:

1) At 7pm on Wednesday, November 9, I’ll be moderating a public conversation with an amazing group of Los Angeles-based designers, architects, and critics at USC’s Doheny Memorial Library. This is part of a larger evening, organized around the theme of “500 Years of Utopia.”

2016, after all, is the 500th anniversary of the publication of Thomas More’s book, and we’ll be launching a small exhibition looking back at More’s influence on political, urban, and even architectural thought—but more on that, below.

[Image: “500 Years of Utopia” title card; design by David Mellen].

Kicking things off at 7pm on Wednesday evening, Los Angeles Times architecture critic Christopher Hawthorne will be interviewing Alex Ross, music critic for the New Yorker and author of The Rest Is Noise: Listening to the 20th Century; they’ll be discussing the relationship between émigré composers in Southern California, the music of exile, and “utopian thought.”

This will be followed by a panel discussion featuring urbanist and landscape architect Mia Lehrer; games designer and critic Jeff Watson; architect and writer Victor Jones; and critic Christopher Hawthorne.

We’ll be looking at the role of utopia in contemporary design, with a specific focus on questions of access. We can talk about utopia all we like, in other words—but utopia for whom? In other words, if utopia is already here, who has access to it? Who has the right to design utopia? Who has the right to critique it?

[Image: Early type experiment for “500 Years of Utopia”; design by David Mellen].

Last but not least, we’ll hear from journalist and critic Claire Hoffman, who will introduce us to her newly published memoir Greetings from Utopia Park: Surviving a Transcendent Childhood.

The event is free and open to the public; however, please RSVP if you hope to attend. More information is available at that link, including parking, street address, and more.

[Image: Thomas More’s Utopia].

The second thing I wanted to mention, then, is in the same place and on the same evening, but at 5:30pm. We will be kicking off our brand new exhibition, in USC’s Doheny Memorial Library, called “500 Years of Utopia.”

For 500 years, utopia—a word coined by Sir Thomas More to describe the ideal city—has been used as popular shorthand for a perfect world and lies at the heart of the Western political imagination. But what does it really mean today in the context of 21st-century urbanism, especially in a megacity like Los Angeles that has been the setting for utopian and dystopian thinking almost since its founding? A new exhibition of materials from the USC Libraries’ collections explores these questions, the history of utopian thinking, and the fine line between utopia and dystopia.

In addition to a wealth of utopian/dystopian material taken directly from the USC Libraries, we’ve used an interesting graphic approach of overlaid, differently colored exhibition text, one (in red) offering a utopian interpretation of the media and objects on display, the other (in blue) offering a dystopian spin. Decoder glasses will be on hand to assist…

Please stop by for our opening reception at 5:30pm on Wednesday, November 9. It, too, is free and open to the public, and it segues directly into the event that kicks off at 7pm.

More information is available over at USC.

Local Code

[Image: Local Code by Nicholas de Monchaux].

Architect Nicholas de Monchaux—whom you might remember from, among other things, a long interview on BLDGBLOG a few years back—has a new book out this week.

[Image: Local Code by Nicholas de Monchaux].

Local Code is an exploration of design variants and latent possibilities in overlooked parcels of urban space. It is “as much design speculation as narrative (and as much obsession as exposition),” he explains.

[Images: Local Code by Nicholas de Monchaux].

The book includes no fewer than “3,659 drawings of designs (by me!) for vacant lots and spaces in New York City, Los Angeles, San Francisco, and the Venice Lagoon, highlighting how such spaces can play an essential and unique role in providing ecological, social, and cultural resilience. Inspired originally by Gordon Matta-Clark’s Fake Estates project, the book has become a graphic and intellectual meditation on cities, networks, data and resilience.”

[Image: Local Code by Nicholas de Monchaux].

The book’s thesis is that “vacant public land”—by which de Monchaux means everything from “land under billboards in Los Angeles, dead-end alleys in San Francisco, city-owned vacant lots in New York City, and abandoned islands in the Venetian lagoon”—actually contain “unrecognized potential as a social and ecological resource.” The accompanying explosion of drawings and diagrams is meant to tease out what some of these potentials might be.

Consider picking up a copy, check out the book’s introduction online, and don’t forget to click back to BLDGBLOG’s interview with de Monchaux about the design history of the Apollo spacesuit.

Escaped Pets are Ecosystems in Waiting

[Image: Photo by Stephen Beatty, via the New York Times].

A few years ago, we learned that the original Teenage Mutant Ninja Turtles craze—or, rather, its rapid fizzling-out—led to a spike in illicit turtle releases in England’s Lake District. As a result, the District today is suffering through a minor invasion of orphaned turtles, unwanted pets struggling to return to a state of nature.

Zoom-in on an historic landscape in Britain, in other words, and you will find the living remnants of a 1980s pop cultural fad splashing around somewhat pathetically—somewhat sadly—in the brisk water.

Now, in thematically related news, discarded goldfish have been taking over entire river landscapes in Australia: “Two decades ago, someone dropped a handful of unwanted pet goldfish into a creek in southwestern Australia. Those goldfish grew, swam downstream, mucked up waters wherever they went and spawned like mad. Before long, they took over the whole river.”

Liberated from endless circling inside glass bowls in children’s bedrooms, the fish are able to reach their expected size, “with some fish growing as long as 16 inches and weighing up to four pounds—the size of a two-liter soda bottle.”

Indeed, the New York Times explains, “Freed from the constraints of a tank, goldfish balloon to the size of footballs. Within a few generations, they revert to natural yellow and brown colors, in place of the bright orange that breeders try to achieve.” Their success in the wild should not come as a surprise.

While there’s much more about the invasive ecology of this species over in the original article, it’s hard not to be struck by the anthropocenic absurdity of an ecosystem constituted entirely by escaped pets.

Hypertrophied beyond recognition, re-wilded by their unexpected freedom, feral pets remake the world in the distorted image of what their human owners thought nature should look like. Toy poodles will stalk our future woods.

Instance Gate

[Image: Malta, Instragram by BLDGBLOG].

Down in the lower levels of Valletta’s fortified walls, an old bricked-up doorway resembles something from a computer game: an oddly colored bit of masonry you would knock aside with a hammer, or a subtle wave of a wand, to make a corridor appear leading much further into the geologic depths.

The underside of Valletta, of course, is already mazed with passages, from wartime bomb shelters to church crypts, abandoned rail tunnels to hotel sub-cellars, and the entire island of Malta, made from such easily cut rock, is home to warrens of prehistoric temples and catacombs.

That entryways into the labyrinth can be found is hardly surprising; that they can look so much like a chunky, 8-bit game landscape only adds to the sense of urban mythology.

[The phrase “instance gate,” at least as I use it, comes from World of Warcraft. It implies that through a certain gate is a world that only you or your group will experience; anyone stepping through the same gate after you will, in fact, enter an entirely different space to confront an entirely different world of experiences. It’s a great metaphor.]

Amidst the Ruins of Military Replicas

[Image: The Atlantic Wall at Hankley Common, Surrey, UK; Instagram by BLDGBLOG].

After blogging two years ago about the ruins of a simulated fragment of the WWII Atlantic Wall—the notorious Nazi coastal defensive system—now slowly crumbling in the woods of Surrey, I finally had an opportunity to go hike it in person with my wife and in-laws.

[Image: The Atlantic Wall at Hankley Common, Surrey, UK; Instagram by BLDGBLOG].

The ruins themselves are both larger than you’d expect and quite compact, forming a ridge of lichen-covered concrete, jagged with rebar, nearly hidden in the vegetation.

A Dutch family was also there climbing over the ruins, and as we headed slightly further up the hillside into the trees smaller test-obstacles emerged, including “dragon’s teeth” and monolithic cuboids of stained concrete.

[Image: The Atlantic Wall at Hankley Common, Surrey, UK; Instagram by BLDGBLOG].

We arrived during a live Ministry of Defence training exercise, with soldiers wandering out across the terrain, speaking to one another on radio headsets, their movements interrupted here and there by Sunday hikers out for an afternoon stroll.

[Image: A soldier at Hankley Common, Surrey, UK; Instagram by BLDGBLOG].

This led to the surreal scene of seeing fully outfitted military figures crouched down behind shrubbery, holding machine guns, while kids, their dogs, and their grandparents noisily ambled by. It felt like some sort of stage play gone wrong.

[Image: Hiking at Hankley Common, Surrey, UK; Instagram by BLDGBLOG].

Then the soldiers disappeared again over the next ridge and we were left looking out over an empty landscape of heather and gorse, the ruins now behind us somewhere in the thicket waiting for next weekend’s hikers to come by.

“Today’s world has no equivalent”

[Image: Tromsø, Norway; photo by BLDGBLOG].

Ted Nield’s book Supercontinent: Ten Billion Years in the Life of Our Planet—previously discussed back in 2012—is an exercise in what has long been referred to here as landscape futures.

In Nield’s case, this means literally imagining what the surface of the Earth might look like after hundreds of millions of years’ worth of tectonic transformations have deformed it beyond all recognition. Supercontinent could thus be read alongside Jan Zalasiewiez’s The Earth After Us as a useful guide for thinking about radical landscape change on a truly inhuman timescale.

Nield writes, for example, that, “even if some civilization of 200 million years ago had completely covered [the Earth] in cities and then wiped itself out in some gigantic global nuclear holocaust, nothing—not even the faintest trace of some unnatural radioisotope—would now remain on the surface.” Some of us might think that writing books, for example, is a way to achieve immortality—or winning an Oscar or becoming a national leader—yet covering the entire planet with roads and buildings is still not enough to guarantee a place in any sort of collective future memory. Everything will be erased.

The book goes from a speculative, but apparently realistic, scenario in which subduction zones might open in the Caribbean—thus dragging North America back toward a seemingly inexorable collision with Eurasia—to the future implications of past tectonic activity. Supercontinents have come and gone, Nield reminds us, and the cycle of these mega-islands is “the grandest of all the patterns in nature.” “750 million years before Pangaea formed,” he writes, “yet another [supercontinent] broke up; and before that another, and so on and on, back into the almost indecipherable past.”

At one point, Nield asks, “what of older supercontinents? What of the supercontinent that broke up to give us Pangaea? And the one before that? Compared with Pangaea, those lost worlds seem truly lost. As with all geological evidence, the older it is, the less of it survives, the more mangled it has become and the harder it is to interpret.”

It is all but impossible to picture them—to see oneself standing on them—as you can with Pangaea. They have their magical names, which lend them reality of a sort despite the fact that, for some, even their very existence remains controversial. About Rodinia, Pannotia, Columbia, Atlantica, Nena, Arctica or distant Ur, the mists of time gather ever more thickly.

The amazing thing is that this cycle will continue: long after North America is expected to reunite with Eurasia, which itself will have collided with North Africa, there will be yet another splintering, following more rifts, more bays and inland seas, in ever-more complicated rearrangements of the Earth’s surface, breeding mountain ranges and exotic island chains. And so on and so on, for billions of years. Bizarre new animals will evolve and bacteria will continue to inter-speciate—and humans will long since have disappeared from the world, unable to experience or see any of these future transformations.

While describing some of the potential ecosystems and landscapes that might result from these tectonic shifts, Nield writes that “our knowledge of what is normal behavior for the Earth is extremely limited.”

Indeed, he suggests, the present is not a key to the past: geologists have found “that there were things in the deepest places of Earth history for the unlocking of whose secrets the present no longer provided the key.” These are known as “no-analog” landscapes.

That is, what we’re experiencing right now on Earth potentially bears little or no resemblance to the planet’s deep past or far future. The Earth itself has been, and will be again, unearthly.

[Image: Oulanka National Park, Finland; photo by Peter Essick, courtesy of the University of Missouri].

In any case, I mention all this because of a quick description found roughly two-fifths of the way through Nield’s book where he discusses lost ecosystems—landscapes that once existed here but that no longer have the conditions to survive.

Those included strange forests that, because of the inclination of the Earth’s axis, grew in almost permanent darkness at the south pole. “These forests of the polar night,” Nield explains, describing an ancient landscape in the present tense, “withstand two seasons: one of feeble light and one of unremitting dark. Today’s world has no equivalent of this eerie ecosystem. Their growth rings show that each summer these trees grow frenetically. Those nearer the coast are lashed by megamonsoon rains roaring in from [the lost continent] of Tethys, the thick cloud further weakening the feeble sunshine raking the latitudes at the bottom of the world.”

There is something so incredibly haunting in this image, of thick forests growing at the bottom of the world in a state of “unremitting” darkness, often lit only by the frozen light of stars, swaying now and again with hurricane-force winds that have blown in from an island-continent that, today, no longer exists.

Whatever “novel climates” and unimaginable geographies lie ahead for the Earth, it will be a shame not to see them.

Please Don’t Take My Photochrome

05639v [Image: The Ghent Gate, Bruges, Belgium; via Library of Congress].

It’s easy to lose time clicking through the Library of Congress photochrome—or photochrom—collection.

05638v [Image: St. Croix Gate, Bruges, Belgium; via Library of Congress].

Each image has a strangely volumetric beauty, enhanced by subtle depths of shade, that results from a development and printing process that also produced these otherworldly intensities of color.

04949v [Image: Sevigne Gate, Bordeaux, France; via Library of Congress].

06570v [Image: Narrow Streets, Naples, Italy; via Library of Congress].

Houses, castles, mountains, rivers, ruins.

04978v [Image: The valley of Chamonix from the Aiguille du Floria, Chamonix Valley, France; via Library of Congress].

Utterly mundane subjects seem hallucinatory, like stills from an old animated film—

04936v [Image: Old house in Rue St. Martin, Bayeux, France; via Library of Congress].

—or even hand-colored illustrations from a fairy tale.

05683v [Image: The Rabot Gate, Ghent, Belgium; via Library of Congress].

Many look like paintings.

06011v [Image: The cathedral, Carthage, Tunisia; via Library of Congress].

Purely in the interests of weekend eye-candy, I just thought I’d post a bunch here.

06030v [Image: Sidi-Ben-Ziad, Tunis, Tunisia; via Library of Congress].

I could look at these all day—these old streets and roofscapes, honey-colored rocks and even brilliant white robes glowing with sunlight.

06029v [Image: Tresure Street, Tunis, Tunisia; via Library of Congress].

06026v [Image: Mosque of St. Catherine, Tunis, Tunisia; via Library of Congress].

05528v [Image: Red Sea street, Algiers, Algeria; via Library of Congress].

It’s also interesting to watch as small moments of modernity pop-up in the landscape, like funiculars or—in other images not included here—cable railways, train stations, and steamships.

05105v [Image: Cable railway, Marseille, France; via Library of Congress].

In other cases, it’s just the pure bulk of masonry and its interaction with sunlight that remains so visually compelling, where looking at the city almost meant looking at a geological formation, an artificial mountain chain that you knew was filled with rooms and hallways waiting to be explored.

05138v [Image: Abbey from the ramparts, Mont St. Michel, France; via Library of Congress].

05049v [Image: New Gate, Grasse, France; via Library of Congress].

05088v [Image: Basilica Fourviere, Lyons, France; via Library of Congress].

Finally, these old, looming roof profiles from buildings in Germany are spectacular.

Architects and engineers today should spend more time thinking about roofs, as spaces that can be inhabited, not merely as minimal surfaces used for no other purpose than to cover another space.

Roofs should be labyrinths you can walk through and get lost within. Roofs should have dimension; they should have windows and rooms. They should be spaces in their own right, not just lines where other spaces end.

00465v [Image: Knockenhauer Amtshaus, Hildesheim, Hanover, Germany; via Library of Congress].

00512v [Image: The Sack House, Brunswick (i.e., Braunschweig), Germany; via Library of Congress].

00451v [Image: Leibnitz House, Hanover, Germany; via Library of Congress].

00481v [Image: Das Rattenfangerhaus, Hameln, Hanover, Germany; via Library of Congress].

00522v [Image: Brusttuch, Goslar, Hartz, Germany; via Library of Congress].

00665v [Image: Holstengate, Lübeck, Germany; via Library of Congress].

In any case, last but not least, here are some still-standing “bridge houses” in Bad Kreuznach, Germany.

00762v [Image: Bridge houses, Kreuznach (i.e., Bad Kreuznach), Nahethal, Rhenish Prussia, Germany; via Library of Congress].

See many, many, many more photochrom prints over at the Library of Congress.