Category Archives: Wanderer

i m p r o m p t u

[ 18:15 sunday 26 march 2017 – old ford lock ]

late last night elaine came round. we watched a 1970s documentary about the inhabitants of the (now demolished) tower blocks of hackney wick’s trowbridge estate then chatted about life and love. we both had things to do on sunday so around four in the morning we decided to call it a day. i accompanied elaine downstairs to see her off. as we reached the front door i observed a slight rhythmic vibration in the walls. somewhere nearby an unusually powerful sound system was playing. i suggested we should go and hunt it down. elaine concurred. i donned shoes and a jacket, turned off the lights. we went outside and locked the door.

coming out of the gate onto the dark towpath the sky was clear and, in the absence of street lamps, populated with more stars than the usual meagre london ration. the surface of the canal was inky smooth and black in the windless night. a swan grunted from its nest in the centre of the lock, protesting our disturbance of its sleep. straining our ears we followed the faint rhythmic sound of bass. we crossed the footbridge over the lock and proceeded down dace road. walking past the edwardian red-brick stables on the left and the construction hoardings on the right. there wasn’t anyone around. i was about to turn up bream street but elaine suggested the sound was coming from further down so we continued to smeed road. the bass increased in intensity. half a dozen people were huddled on the street outside one of the warehouses. elaine said “let’s see what the door charge is”. we approached and found the door open. we walked in.

over the years i’ve visited a lot of the warehouses in hackney wick but never this one. the pattern was familiar; a two-storey brick structure with a pitched roof of corrugated asbestos, the interior subdivided with stud and plywood to create a large open living space, kitchen, bathroom and several bedrooms. at first floor level a dozen bicycles were mounted on a rack. decorative gewgaws were displayed on the walls and floor. the kitchen area had been turned into a makeshift DJ booth with decks, a mixer and a tangle of electronics. a video projector played abstract images across the side wall. a laser scanned patterns like an oscilloscope. speakers were stacked two metres high in the corners opposite the DJ booth , explaining the vibrations we’d felt from the house. a hundred or so people were in there, ranging in age from twenty to forty .

elaine and i started to dance, weaving through the crowd until we found a welcoming space. after a few minutes we realised the music wasn’t being played from a recording, it was being generated by a curly-haired man working a suitcase-sized modular synthesiser with a mass of dials and patch cables. we kept trying to leave but it was too intoxicating. we stayed and danced until our limbs could dance no more.

experiences like this are what make me feel alive in london. the event itself was beautiful. there might only be half a dozen places in the world where one could encounter a live performance with a modular synthesiser like this. but the fact we walked out of the house and discovered it through pure serendipity is what makes it truly transcendent.

ten years ago it might have been commonplace to encounter something like this in hackney wick. but every month that passes brings the demolition of another warehouse to make way for a bland apartment block. nowadays each time i stumble across an event of this kind it requires an effort of will to appreciate its beauty straightforwardly without allowing myself to feel a sense of impending loss.

: c :

a r c h i v i n g

[ 13:12 saturday 31 december – perranwell station, cornwall ]

for this final day of the year i’m back in cornwall, where i grew up. i’m sitting in mum and dad’s conservatory with a vase of daffodils blazing yellow beside me. outside the sky is dove grey and the air hangs motionless. three chaffinches and a pair of robins hop and chatter in the lichen-covered tree beyond the window. cornwall has been especially beautiful in these days. every morning i wake to a different world. there have been spring-like days with clear blue skies, golden sunlight and waves lapping at the sand. there have been stormy days with atlantic gales, surf crashing on the granite rocks and squalls driving in from the writhing ocean. finally there have been damp mysterious days like today when moss and gorse blossom glow in the diffuse light.

2016 has been an unsettling year for the world. old certainties are fracturing and dark fears start to creep in through the cracks. for my part, i end the year with a greater sense of clarity, purpose and optimism than i’ve felt in a long while. across several strands of my life this has been a year of addressing unresolved legacies from the past and preparing for new stages of my journey.

the most personal part of this has been the process of sorting through my archived papers. when i was six years old i asked my parents for an album to store postcards received from grandparents, aunts and uncles. they got me a beautiful big book with a forest green cover. whenever i received a postcard that was too large i’d snip off the edges to make it fit. thus began a habit of preserving ephemera which expanded through my childhood to include scribbled notes, ticket stubs, concert programmes, pieces of art and design, recordings on cassette and minidisc, newspaper articles mentioning me; anything really that carried some personal significance or memory. it was completely disorganised. i’d put things in a pile. when the pile got too big i’d sweep its contents into a plastic bag. when the plastic bag was full it would be thrown into a cardboard box and i’d start a new bag. when a cardboard box was full i’d close it and find another.

this process of accumulation continued steadily through my childhood in cornwall, sixth form in cheltenham, studies at cambridge, establishing my first businesses in london, the year-long project in the isles of scilly, back in london with michael young and the school for social entrepreneurs, my two years living on stromboli and my return to london to set up trampoline systems. then finally a decade ago it began to abate. throughout this period the cardboard boxes kept on filling up. until the end of my time at cambridge the boxes all gravitated back to mum and dad’s attic. after that, each time i changed location i’d find somewhere new to stash them.

five years ago when my parents were preparing to move back to cornwall i was given an ultimatum that i could either pick up everything deposited at their house or it would be thrown on the tip. i rented a van and drove down with mattia. climbing the ladder to their attic i realised shamefully that it contained more of my stuff than theirs. i brought everything back to london and hid it in my spare room. then a couple of years later i moved from dalston to old ford lock and gathered the boxes in the dining room. it was the first time i’d seen them all together at once. dozens of them, all different shapes and sizes, with nothing to indicate what place or period they represented. it was obvious i needed to go through everything, throw away as much as possible and organise the bits worth keeping. but it was such an appalling prospect that i kept putting it off so month after month the boxes sat there reproachfully.

finally one evening last october i decided the time had come. i pulled out one of the cardboard boxes, took the uppermost plastic bag, emptied its contents onto the dining table and started sifting through its contents. every free evening since then the work has continued. i’m about three quarters of the way through at this point. fifteen foolscap folders have been filled with preserved material ordered by period, whilst sacks and sacks of rubbish have been jettisoned.

i was expecting it just to be a tedious housekeeping job but it’s proven a lot more charged than that. the experience has been like an intimate and merciless biography. everything is in there. hopes, failures, loves, triumphs, anguish. the fact the boxes are in random order has made it more gruelling. one moment i’ll be wading through notes on social structure from stromboli, the next it’s adolescent poetry from cornwall. thus my picture of each period has developed in a fragmentary and jagged way.

all kinds of treasures have revealed themselves. poetry and paintings from my infancy. copies of the magazines i printed with a friend at truro when i was thirteen. letters from my grandparents filled with love and wisdom which i could barely appreciate at the time. proposals for scores of mad projects from my early twenties.

one of my favourite artefacts comes from my first year at cambridge where i always kept a piece of notepaper clipped to the outside of my door on A staircase cripps, along with a pencil on a piece of string. i would leave messages for friends, friends would leave messages for me; and friends would also comment on each other’s messages. every scrap of paper is preserved. it’s a wonderful and self-contained collective document, distilling the shared life of my group of friends at that moment in our lives.

though leavened by the discovery of delights like these, i’ve found the overall process rather harrowing. the teenager who emerges is cripplingly shy, searching for a role and a way to engage with people. the person i see in my twenties is self-centred and burdened with an overmighty will, unable to acknowledge failures or properly learn the lessons they provide. going through the papers has brought me face to face with who i’ve been at each stage of my life and it hasn’t been an entirely comfortable experience.

this discomfort however is greatly outweighed by the therapeutic value of the process. in a very tangible way it’s forcing me to acknowledge all the shades of my personal history. after this there will be no ghosts left lurking from the past, nothing half-forgotten or swept under the rug. it’s helping me to foster a deeper acceptance of who i am which is perhaps something i needed.

the question remains what drove me to archive all this stuff in the first place. was it born out of narcissism? or a manifestation of my broader tendency to hoard things? or was i subconsciously laying the ground for the process i’m now undertaking? i don’t have a clear answer.

having thrown away so much of what i’d stored and organised the remainder, there remains a lingering thought in my mind that the day will come when i also need to throw away what i’ve kept if i wish to release myself fully from the weight of the past. this may come to pass, but it’s likely to be some years away.

for now i send my love and wishes to family and friends for the year ahead. sometimes it is the moments that seem darkest that give birth to the brightest light.

: c :

l e v r n a k a

[ 04:29 thursday 29 september – island of levrnaka, croatia ]

i’m sitting on the limestone ridge which runs like a spine across the island. the air hangs motionless and warm. on every side below me the sea is an indigo mirror, its surface punctuated by the silhouettes of islands comprising the kornati archipelago.  the sky above me is a flood of stars, overwhelmingly dense and brilliant. the sea is so perfectly still that the reflected patterns of constellations can be seen laid out across it. a white anchor lamp atop the mast of a yacht in the bay below is the only artificial light in my whole field of view. i doubt there are more than fifty people within ten miles of this rock where i’m sitting.

on saturday i met my parents in split and we travelled up the coast to zaton to pick up a yacht. since then we’ve been sailing each day and stopping each night in a different harbour. this evening we moored at levrnaka in the early evening then took the dinghy out into the channel to watch the sunset. i went to sleep around midnight but half an hour ago i woke and felt an urge to see the sky. trying not to make any sound that might wake mum or dad i pulled on some shorts, crept off the boat and picked my way up the path to where i’m sitting now. the night is so profoundly still that as i was getting off the boat i could hear the crackle of fish nibbling weed below.

as a child i used to sail with my parents in the solent and later in cornwall. more recently dad and i have done little voyages together in cornwall each summer. but this is the first time the three of us have sailed together for a whole week. it’s a testament to my parents’ patience that they can survive being cooped up with me in thirty-three feet of fibreglass for such a long time. it’s wonderful that we’re able to share experiences like this together.

in general this has been a magnificent summer for me. in june i travelled to the island of linosa, far to the south of sicily, with clarence. in july i spent a week sailing around the coast of brittany with arthur and gregoire. then in august i spent a week in cornwall with my family. between these trips i’ve made lots of small forays by foot, bike and kayak from my base in london.

these days in the croatian islands will be my final burst of sunlight and broad horizons before returning to london and the autumn. now it’s time to put my phone back in my pocket and sit perfectly still, allowing myself to dissolve into the magical stillness of the night and the stars.

: c :

p r i m r o s e c e n t u r y

[ 23:01 tuesday 19 april 2016 – old ford lock cottage, london ]

primrose harris, my grandmother, was born on a farm in worcestershire on the nineteenth of april 1916. today would have been her hundredth birthday. her parents named her primrose as a result of queen victoria designating the nineteenth of april as “primrose day”. this was a tribute to victoria’s favourite prime minister benjamin disraeli, who loved primroses, and who died on that day in 1881.

i adored granny. she had magical abilities to make flowers flourish. everywhere she went she’d take clippings of plants that caught her eye and sure enough they’d spring to life in her garden. she had great creativity that was allowed expression in her garden, in flower arranging and in knitting. my childhood and early adulthood was clad in a torrent of wonderful jumpers, many of which i still treasure today.

granny was the only person in the family whose enjoyment of my piano playing remained undimmed as i continued to hammer away hour after hour. she was the only person whose conviction of my saintliness was undaunted on occasions when everyone else had concluded i was behaving like an arrogant brat.

on her ninetieth birthday i placed an order for flowers to be delivered to her each month for the rest of her life. for her ninety-second birthday i recorded six movements of bach’s goldberg variations along with a dedication. i wasn’t there in person as i was speaking at a conference in san francisco. the next day she fell and her leg didn’t heal. she died a few weeks later in hospital in ludlow. the days i spent with her before her death remain the most powerful experiences of my life.

i wanted to find a way to mark today. last night i went through all the 35mm slides i took between 1998 and her death in 2008 (more than 12,000 slides) to pick out some of my photographs of her. here are seventeen of them along with photographs from her garden that i took on the day of her funeral.

bless you granny.

: c :

c a n a r i a s

[ 10:21 thursday 7 january 2016 – la graciosa, islas canarias ]

after a glorious and windswept christmas in cornwall with my family i felt an urge for a period of complete solitude to clear my mind for the year ahead. by the end of 2015 there were so many alluring opportunities to expand the trampery that i realised i no longer had a clear sense of direction or purpose. i needed to get away from the complexity and noise in order to choose the right path.

thus on the thirtieth of december i booked a last-minute flight to the canary islands and twenty-four hours later i found myself stepping out of the airport terminal at lanzarote, blinking in the soft afternoon sunlight. looking at a map the most remote village i could find was el golfo on the west coast of the island, surrounded by a vast expanse of bare lava. so i booked a room, rented a car and set off.

speeding along the empty roads through the arid black landscape in the golden afternoon light i felt a sense of exhilaration rising in me. coming down the hill towards el golfo the village revealed itself as a small cluster of low white cuboid buildings huddled against the jagged black shore. a huge swell was rolling in from the atlantic. the wind tore the crests horizontally from from the waves sending feathery plumes through the air. everything was filled with the roar and spray of the surf as it crashed against the black rocks. i breathed it all in.

for as long as i can remember i’ve been superstitious about new year, looking to it for a sign of what the coming year will bring. i’ve always spent it with close friends. sometimes in a big city, sometimes in a beautiful wilderness. last year i saw in the new year with martin and jens on lyngen fjord at the arctic northern fringe of norway. previous locations have included stromboli, merida, berlin, london, the isles of scilly (for the millennium), melbourne and salvador da bahia. this is the first time in my life i’ve ever chosen to spend new year alone. i can’t deny i felt a little anxious about it, but i had a strong instinct it was the right thing to do.

after dropping my bags in el golfo i walked out to the rocks and immersed myself in the sound of the breaking surf. i walked to a small black sand beach at the end of the village where i sat and watched the final sunset of 2015. in the evening i drove into the island’s capital arrecife where i found the streets deserted. it felt as if the town had been abandoned. walking along a backstreet i was hailed from a small columbian restaurant, one of very few that were open, so i went in and dined on plantain and cheese.

afterwards i found my way to the old harbour and a neapolitan-run bar from which music and laughter were emanating. no sooner had i arrived than the staff began to race around distributing sealed plastic bags. one was shoved in my hands. i tore it open and found a party hat, a garland, a party hooter and a strange device comprising two plastic hands on a stick. suddenly everyone was cheering and honking. i thought there was another hour to go before midnight but i’d set the time zone wrong on my phone. 2016 had caught me by surprise. it seemed like a poetically apt way to begin the year. i joined the cheering, hooted my hooter, clapped the plastic hands and exchanged greetings with everyone on the tables around me.

the three days i spent in el golfo were passed in almost complete solitude; walking around the coast, swimming in the clear water and hiking across the barren lava fields. each evening i sat with my notebook scribbling down thoughts about projects, goals and possibilities; waiting for structure to emerge from the tangled mass. each day the shape become a little clearer. meanwhile i had two conversations where a tiny and exquisite island called la graciosa was mentioned. i knew that’s where i needed to go.

so on sunday day i packed my bag, bid farewell to el golfo and set off north along the central spine of the island. i drove through spectacular volcanic landscapes and small agricultural villages where vines were painstakingly grown in pits with low semicircular walls to shelter them from the incessant north-easterly wind. overnight i stayed with a couple in a fishing village called punta mujeres. after supper i went for a walk to explore. i heard music and found a group playing in a side street. gradually more musicians arrived until i counted three lutes, five guitars, two timples (tiny guitars specific to lanzarote), a castanet and a percussion instrument made from a ladder of goat knuckles worn round the neck.

several of the musicians took turns singing. the group would stand in front of a house and perform until the owner of the house opened the doors and windows to pass out small glasses of homebrewed sweet wine or pastis to all the musicians. after a few songs the music would stop and everyone would chatter for a while. then the group would start playing and proceed down the street until they picked the next house at which to pause. speaking to the musicians i learned this was a tradition specific to the north of lanzarote. for several days following new year musicians assembled and played in a different village each evening. this was their final night. i walked with them for an hour or more, delighted in my good fortune at crossing their paths.

the next morning i drove up the coast to the port of orzola on the northern tip of lanzarote. i locked the car and walked down to the little harbour to wait for a ferry. three hours later i was on a sturdy vessel pitching through the swell on the crossing to la graciosa. from the sea the island appears as three low volcanic craters sitting on a flat sandy base. two clusters of white dwellings were visible, the main village in the centre and a smaller settlement at the north with no more than a score of houses. pulling alongside the quay at caleta del sebo i was met by a young fellow called javi with whom i’d arranged to stay.

these last three days on graciosa have been sublime. my friends are all too familiar with my penchant for small islands. at eight kilometres long and four wide with a permanent population of seven hundred and no metalled roads (just sand), la graciosa feels very far from civilisation. i’ve spent the days walking for hours without seeing another soul and pausing to swim when i found a sheltered cove. the north-easterly wind and my rolleiflex have been my constant companions. the evenings have been spent talking with javi, continuing my writing and reading the pile of books i brought with me. javi has been perfect company, full of wisdom and curiosity.

last night, sitting in the kitchen, the final pieces came together and i knew i’d achieved what i came here for. now i write these words on my phone, seated by the starboard rail of the ferry carrying me back to orzola. by this evening i’ll be in london.

wherever you are, i send you my gladdest wishes for the year ahead. the darker the world grows, the brighter we must shine.

: c :

s k o p j e

[ 12:07 sunday 29 november 2015 – gradski trgovski centar, skopje, macedonia ]

this is simultaneously my first visit to the balkans and my first despatch written from a shopping centre.

here i am in skopje, capital city of the republic of macedonia, nestled in the southern balkans with serbia and kosovo to the north, greece to the south, bulgaria to the east and albania to the west. the british council flew me over to give a speech at a summit about supporting entrepreneurs across the region. they were kind enough to let me stay for a couple of days extra so i could explore the city.

over the last few days i’ve met a lot of people involved in technology and the creative industries. but in parallel with this the trip has become an impromptu pilgrimage for brutalist architecture and urban planning.

it was in my early teens, living in cornwall, that i first started taking an interest in contemporary architecture. during my time at truro school a new crown court was constructed the city. it was unlike anything else in truro, designed in a modernist style with geometric massing, undecorated white surfaces and a circular tower at its centre. it’s the first building i ever remember catching my interest architecturally. around this time i started sketching imaginary structures, exploring the relationship between different spaces and functions.

by the age of fifteen i was thinking seriously about a career in architecture. with my parents’ encouragement i arranged a visit to the father of one of my classmates who ran a small architecture practice in cornwall. i spent an evening with him looking through plans he was working on, listening to him explain the logic behind each element and hearing how he designed buildings to reduce energy use by harnessing heat from the sun. i was transfixed. it felt like i’d found my calling.

all too soon mum arrived to collect me and it was time to go. as i was saying goodbye my friend’s father hesitated for a moment then took me to one side. he looked me in the eye and said “listen, you go into architecture thinking you’re going to change the world but you end up designing petrol stations and supermarkets. don’t do it charles, find something different.”

i’ve never forgotten those words. i was devastated. i don’t think i said a single word on the journey home in the car. mum must have thought something awful had happened. in that moment my friend’s father changed the path of my life.  all thought of becoming a professional architect was abandoned and my life developed in a different direction. my passion for architecture, however, remained undimmed.

arriving at cambridge in the 1990s architectural discussion was polarised into two camps: proponents of modern architecture and those who advocated a return to traditional forms and styles. this seemed like a totally bizarre dichotomy to me. it had never occurred to me there might be a serious body of architectural opinion that set itself against new ideas. i found myself cast as an arch-modernist and forced for the first time to justify my beliefs.  it was a valuable experience and helped to clarify my thinking. it was during these years i realised that many of the buildings which excited me the most were lumped together under the term “brutalist”. generally these were large-scale projects with experimental geometric forms and undecorated concrete surfaces.

this is where the story returns to skopje. in july 1963 a huge earthquake levelled eighty percent of the city and killed more than a thousand people. the yugoslav government called in the united nations to run an international architectural competition to rebuild the city. the winning entry came from kenzo tange, a young japanese architect with a penchant for avant garde brutalist design. tange proposed a bold masterplan for skopje structured around a semi-circular “city wall” of tall housing units with a “city gate” axis running from a new railway station through a business district to the city centre. the genius of tange’s plan was taking familiar mediaeval models and translating them into a futuristic vocabulary.

only about half of tange’s plan was actually implemented, but the city government continued to commission extremely abstract brutalist designs for new construction projects until the mid 1980s. as a result  skpoje has a higher concentration of full-blooded brutalist experiments than anywhere else on earth that i’ve seen. for someone like me it’s like arriving in the promised land. a lot of the buildings are now run-down but they’re still being used as they were intended. indeed the biggest threat they face is the current regime’s desire to turn skopje into a surreal theme park of las vegas baroque.

i spent yesterday exploring by foot with my trusty rolleiflex, visiting a dozen sites. the highlight was the university of saints cyril and methodius, a jaw-droppingly complex ensemble built around a central courtyard with beams and towers sticking out in all directions. today one of the british council officials (a fellow brutalism fan) was kind enough to drive me to some of the more inaccessible sites, including the beautiful but decrepit goce delcev student accommodation complex, and tell me about their history. i’ll put up the photographs once they’re developed and scanned.

for many people buildings like these are hideous and misguided failures.  i’m often asked disbelievingly why i like them. part of the answer is aesthetic. at their best these buildings represent the freest use of architecture as a sculptural medium. they seek to deploy materials in new ways that are expressive as well as functional. but more important to me is the deep sense of social purpose they embody. most brutalist buildings i’ve encountered were created by architects who sincerely believed in their duty to lay foundations for a better society. this sense is absent from most large buildings constructed since the 1980s and i believe that is an important loss.

the shopping mall where i’m currently seated is a fine piece of work in its own right. we’re so used to the american template of the mall as huge sealed bubble with just a few entrances and exits, like a fortress for retail, we assume that’s the only possibility. this place is certainly huge, occupying several city blocks and spread over three levels, but in every other respect it defies the familiar model. most radically this mall is completely porous. a series of side streets connect it to the city grid enabling pedestrians to criss-cross it twenty-four hours a day. sections of it are also open to the sky so rain and light can enter small courtyards. the impression is of a modern reinvention of the labyrinthine mediaeval bazaar just across the river in skopje’s old town.

it’s ironic that having decided against a career in architecture i’ve ended up designing buildings anyway. when i founded the trampery in 2009 it was an experiment in fusing architecture with sociology, entrepreneurship and community development. six years later i find myself working on projects that apply this recipe to startup workspaces, corporate offices, housing and whole city districts. life is full of surprises.

f o l e g a n d r o s

[ yacht “tramontana”, crossing from sifnos to folegandros, greece – 22:05 saturday 5 september 2015 ]

i’m sitting on the foredeck of a yacht gliding through silky black water surrounded by an explosion of stars. the warm air flows over my skin. the massive silhouette of folegandros island blots out the sky to starboard. the lack of even a single light visible on the island thrills me, suggesting a barren wildness remote from civilisation. the sun set a couple of hours ago, a molten red disc dissolving into the azure horizon.

i arrived in mykonos four nights ago with my friend derek. after a day’s entertaining exploration on quad bike we took a ship to pafos and picked up the yacht. at this time of year the meltemi brings a constant northerly blast through the cyclades islands. however we managed to choose a freakish week when the air is completely still. it feels like a karmic trade-off for the superb winds i had sailing with dad last week in cornwall.

so the sails remain resolutely furled and we proceed by motor. but there’s still the same joyous freedom and autonomy of living afloat. from pafos we crossed to sifnos where we coincided with a one day gathering of folk dancers and musicians from all over greece. i was fascinated by the trance-like music of the pontiac culture, originating from the shores of the black sea. after the formal performances the musicians carried on playing in a local nightclub. we staggered back to the yacht as the sun was rising.

tonight we’ll anchor off folegandros. then in the morning derek and i will leave the yacht and try to find somewhere to stay on the island.

[ galifos, folegandros – 19:55 monday 7 september ]

having tried to moor in the main port and been turned away we finally anchored just after midnight in the bay of angali on the south of the island. in the morning we woke to find ourselves surrounded by spectacular cliffs and stony hillsides. derek and i came ashore and took the footpath around the coast to galifos where we’d heard there were some rooms. we found two simple white buildings containing ten bedrooms and a communal kitchen, in complete isolation above a small beach. one was available so we took it. now i’m sitting on our terrace overlooking the bay, shimmering violet in the deepening twilight. a paraffin lamp on the table behind me provides the only illumination. there’s no electricity.

folegandros is everything I dreamed of. the landscape is mercilessly stony and barren, sliced with vertiginous precipices and ravines. the island is seven miles long but has a permanent population of fewer than seven hundred. the air is pervaded by an intense silence, broken only by the rustle of wind in the scrub and the lap of waves.

my days here have been spent walking, taking photographs with the rolleiflex, swimming naked in the turquoise water until my limbs ache and sitting on rocks lost in the stark sunlight. it’s been sublime.

this journey has made me think a lot about how and why i travel. i don’t look for it to be easy or predictable. when i travel i seek to be tested, place myself in uncomfortable situations, learn new things about myself, get inside different cultures, pursue elusive goals. i prefer only to have a minimum of fixed points and not to know much about where i’m going. for the current trip i didn’t make any plans until a week beforehand. at that point i decided to spend a week with my family in cornwall then a week somewhere different. i didn’t book the flights to greece until a few days before departing, by which time derek had decided to come too. he’s one of few people I know who prefers to make travel plans at the last minute.

we reserved a place to stay in mykonos an hour before taking off from gatwick. i’d booked the yacht a few days earlier but without any idea where we’d be meeting it to go aboard. for folegandros all we had was an intriguing three year old photograph of a sign advertising rooms without electricity.

this has been my first trip for more than ten years where i haven’t brought a laptop. in the past i always felt the need to be prepared in case a crisis blew up with one of my businesses. this time i felt a strong urge to leave that responsibility behind and it’s been fantastically liberating. i did have my telephone but even that has been kept switched off most of the time. i’m writing these words on the phone now. i’ve avoided connecting to the internet except for a few occasions when i needed to check a timetable or confirm a booking.

tomorrow i catch the ship for athens. i’ll spend one day there before making my return to london.

: c :

s u m m e r h o u s e

[ 19:27 monday 10 august – hytta wichstrøm, førenes, norway ]

i’m in a sublimely beautiful place. a house made from pine and glass perched on a wind-smoothed outrcop of rock with forest all around and a sheltered bay below. the coast is folded into intricate bays and inlets dotted with a thousand islands. the house was built in the early 1970s for the grandfather of my friends thor and stephanie. architecturally it comprises a series of joined single-pitch structures with wooden terraces at the front and back. the living areas are surrounded by an almost continuous band of floor to ceiling windows framed with a rectangular grid of pine. some of these glazed walls slide open to link the inside spaces with the terraces. meanwhile the house nestles in the irregular structure of the rock outcrop, a section of which pushes up through the rear terrace. the overall effect is a blurring of inside and outside, a sense of the house as an extension of its surrounding landscape. the building’s geometric forms and its harmony with the environment carry echoes of traditional japanese architecture.

the forest here is predominantly oak and pine. almost everywhere i walk there’s a dense undergrowth of blueberry bushes at the apogee of fruiting. it’s almost impossible to resist the temptation to stop every minute or two and gorge oneself. more than once i’ve returned to the house with a guilty look and purple stains all over the lower part of my face. even more exquisite are the wild raspberries, harder to find but equally at the pinnacle of ripeness, super-sweet miniature originals of the cultivated versions found in gardens and supermarkets.

here at the southern tip of norway civilisation feels reassuringly distant. the nearest shop is in lillesand, a couple of miles away as the crow flies but much further by road or sea. getting to and from the outside world is most easily accomplished via a dinghy with an outboard that’s moored at a jetty below the house. to get here i made the four and a half hour train journey from oslo southward through the forests and lakes to kristiansand, followed by a forty-five minute bus trip to lillesand, then finally a twenty-minute skim between islands in the dinghy. as we neared the quay thor stopped the engine, leapt out into the shallow water and returned with a dozen wild oysters. the largest of them was as big as an ostrich egg. we ate them with chopped red onion in vinegar.

yesterday afternoon thor and stephanie took me out fishing. it’s the first time i’ve used a proper rod rather than a primitive line wound around a piece of wood. over a period of three hours i caught two cod and thor caught three more. all were duly baked for supper. today we took the boat to a tiny island with a lighthouse. the whole island was bare rock with broad stripes of grey, pink and black like a 1980s minimalist interior, worn into smooth curves by centuries of wind and sea. the only flora were wild pansies and daisies nestling in sheltered folds in the rock. the inter-tidal rock was coated with mussels and barnacles. we swam in the rolling swell which was bracingly cold. afterwards i sat in the warm breeze watching the horizon and felt myself dissolving into the rock and the rush of waves.

: c :

u n d e r s a i l

[ 20:33 sunday 12 july – river fowey, cornwall ]

i’m sitting in the cabin of dad’s 22 foot yacht “wild rose”. we’re moored in the river fowey about quarter of a mile upstream from the town. the boat sways gently in the ebbing tide. around us the trees press down the sides of the valley stretching their gnarled limbs towards the water. the air is almost motionless. wisps of mist twist and weave among the darkening trees. a grey-feathered heron stands motionless at the edge of the water watching for prey. across the channel a complex mass of girders and ducts juts into the river, part of a structure for loading china clay onto ships.

yesterday afternoon i sailed down the coast with dad and adam. we set out from mylor in a brisk south-westerly, weaving between the traditional working boats racing in falmouth harbour. by the time we rounded dodman point the wind was freshening to force six and a heavy swell had started rolling beneath us. we sped into fowey harbour on an exhilarating run then came upriver seeking a sheltered mooring.

this has been my best ever year for sailing. three weeks ago i travelled down to salcombe to join my friends arthur and gregoir who’d just arrived after crossing the channel from normandy and spent a magical week with them. the plan was to sail west along the cornish coast and cross to the isles of scilly. over the years i’ve arrived in the scillies by freight ship, ferry, helicopter and light aircraft but never under sail. it’s a long-standing dream of mine. however in the face of unremitting westerly winds we only sailed west for a single day, reaching cawsand at the southeastern eastern tip of cornwall. this is where we spent the solstice, starting with a group of villagers at a pub where a band was playing, then sitting on the darkened beach with a bottle of rum. the next day we turned around and headed eastward along the devon and dorset coasts stopping at dartmouth, teignmouth, exmouth, weymouth and poole.

we had some adventures along the way. leaving exmouth a fog bank descended on us and we spent most of the day sailing without any sight of land or other vessels. being isolated in cold, clammy greyness is tremendously unsettling. one’s senses are so amplified by the fear of collision with an unseen boat that one begins to hallucinate shapes and sounds. later that day approaching portland bill we realised with sinking hearts that we’d miscalculated the tidal flows and would be reaching it when its notorious tidal race was in full flow with its whirlpools and 10 knot currents. we could have been stuck for six hours before being able to get around. but following arthur’s instincts we headed close in to the land, as close as we dared go, and sure enough we found a counter-current that swept us around in the direction we wanted to go. the finest sailing was on my last day when we spent several exhilarating hours playing in  the wind before scudding into poole harbour with a force six wind behind us.

my dad worked in yacht-building when i was a child  so i was always around boats. likewise during my year in the isles of scilly and my two years on stromboli i was frequently on the water. a couple of years ago i felt the impulse to start taking it more seriously and did the royal yachting association’s day skipper course. now i’m trying to get out as often as the possibility arises.

one think i appreciate about being on a yacht for even a few days is the way life is stripped back to its essential components. the layers of modern behaviour which occupy so much of our attention simply melt away. if you go for days without seeing yourself in a mirror you stop worrying what your hair looks like. the end of daily showers makes concerns about hygiene irrelevant. there’s no deliberation about what clothes to wear when you wear the same clothes day after day. meanwhile the lack of electricity means mobile phones are turned off and the mass of neurotic habits for checking messages and status updates just fades away.

: c :

n y t t a a r

[ 15:52 saturday 3 january 2015 – lyngen, norway ]

i’m sitting at a great oval table with a computer-fabricated viking longship suspended above me. the building is a spectacular updating of a mediaeval great hall, an immense open space with a steeply pitched roof held up by the huge trunks of eight pine trees . the roof and walls are clad in pine planks. the floor is stone with a fireplace in its centre surmounted by a copper hood and steel flue which runs to the roof.

the hall sits on the west side of lyngenfjord, norway’s largest fjord. the small town of lyngseidet with its three thousand inhabitants lies six miles to the north. on either side of the fjord jagged mountains rise sheer from the water to a height of six thousand feet. beyond the mouth of the fjord are the grey wastes of the arctic ocean. at a latitude of sixty-nine degrees north this is the fringe of the human-inhabited world, deep inside the arctic circle.

this far north the sun doesn’t rise for two months during mid-winter. the landscape is bathed in a mysterious blue twilight for four hours each day from ten in the morning until two in the afternoon. the rest of the time it is darkness. each day during the precious hours of light i go walking beside the fjord with my rolleiflex. the rest of the time i am here in the hall chatting, reading and writing. last night i had my first glimpse of the northern lights, sending bands of electric green swirling and flickering across the velvet sky.

as 2014 neared its end i felt a growing hunger to escape from the world. so much has happened and so many new doors are opening. i needed to get away from everything, clear my head and ready my focus for the year ahead.

typically my first thought was to seek out a small island. i started looking at the cape verde group and preparing plans. but my friend jens dyvik, a designer and fabricator based in oslo, suggested a trip up here and it seemed perfect. my friend martin dittus from london was also able to join us.

the reason for jens’ suggestion was not just the spectacular location. the hall where i’m sitting was the world’s first “fablab”, a workshop with a strong community ethos providing a variety of computer-controlled fabrication devices for contemporary craft workers. there are now more than three hundred fablabs around the world but this is where the movement began in 2003. its founder haakon karlsen is a remarkable man who has pioneered everything from the most efficient technique for artificial insemination to wireless systems that track sheep roaming free in the mountains. it’s been an inspiration learning about his philosophy and experiences.

jens specialises in systems of community design and production. he publishes the files for his designs without restriction so they can be freely reused and adapted by other people around the world. he spent two years visiting fablabs in twenty countries and working on projects with them as he went. he’d made two prior visits to lyngen to meet haakon and was eager to make a third trip. it’s been fascinating to be a bystander as they take a laser scan of an iron-age brooch and fabricate a mould so they can cast replicas; or as they cut text into a raw pine plank with a computer-controlled milling machine to create a sign for the sheep farm where the fablab is based. it’s the first time i’ve seen experts working with these tools at close quarters. the path from an idea to a beautifully-crafted physical object is astonishingly fluid and immediate.

jens, martin and i joined a dozen of haaken’s family and friends to see in the new year with a vast norwegian feast of fish, meat and salads in the hall. at midnight we went outside in the snow with glasses of champagne to watch fireworks going off all around the fjord.

2014 has mostly been a wonderful year for me. the trampery opened two new buildings. the first was fish island labs, a centre for digital arts created with the barbican centre in an edwardian stable block beside the river lea. the second was the trampery old street, where we transformed an abandoned 1960s building in  central shoreditch. old street was the culmination of three and a half years’ struggle and probably the most difficult thing i’ve ever undertaken. i ended up taking responsibility for the entire interior, down to the selection of every light switch and tap, so it was also the biggest design project i’ve done. sulaiman sibai made a beautiful film about the creation of the building. with poetic timing the trampery old street opened five years to the day after the doors opened at the trampery’s very first site at dereham place.

it was also an exciting year for trampoline systems. craig and i rebooted the company in 2011 with a new focus to develop innovative techniques for analysing business data. 2014 was really the year this approach came of age. in the spring we were appointed by the european commission to undertake a two year initiative analysing the startup economy across the whole continent. then in the autumn we won a project from the mayor of london’s office to undertake the most detailed ever analysis of the science and technology sector in greater london. in between we completed projects analysing the employment and revenue created by the uk’s venture capital industry and tracking all the country’s high-growth firms.

having been such a woeful correspondent over the past three years the backlog of untold stories is too intimidating for me to even think about trying to chip away at it. the most i can attempt is to fill in a couple of the larger pieces.

after six years living upstairs from a glass foundry in dalston, in september 2013 the glassmaker sold the whole building for redevelopment and i was obliged to move out. i’d loved being there despite the constant filth percolating up from below, the leaky roof and the impossibility of heating the place in winter. in particular i loved the immense roof terrace where i cultivated a wild garden complete with summer house. the prospect of moving was horrifying. first because of the sheer quantity of stuff i’d accumulated through inheritance, ebay purchases and picking stuff up on the street. second because it seemed highly unlikely i’d ever find another place that suited me so well.

the search was every bit as depressing as i feared. but at the last minute i came across something so peculiar  it made my jaw drop. it was a 1940s lock-keeper’s cottage in hackney wick, converted into a television studio in the 90s, sandwiched between the river and the canal, without any road leading to it, surrounded by lawn and mature trees. in an extra bizarre twist the house was the closest dwelling to the olympic stadium. i raced over to see it and fell in love right away. the owners lived next door and were understandably picky about who moved in so i had an anxious few days while they considered my suitability. thankfully they concluded they could put up with me as a neighbour.

moving my belongings from dalston to hackney wick required three days, three vans and a team of four burly lithuanians. the lack of road access meant every item, including my piano and spinet, had to be carried across the canal on a footbridge then wheeled up the towpath to the house. it was one of the most appalling experiences of my life but at last it was done.

after fifteen months living at old ford lock cottage i’m still intoxicated by the miraculous improbability of it. the house is like a sanctuary, a pocket of rural tranquility cheek by jowl with london’s most creatively energetic district. often the loudest sound i can hear is the wind rustling in the trees, birdsong or the rush of water from the lock sluices. yet i can walk out of the house and within ten minutes be watching experimental theatre or bouncing around at a rave.

the house is spread over three floors with dining room and kitchen at ground level, the main living space on the first floor and a spiral staircase leading up to a bedroom and dressing room on the second floor. the building was beautifully refurbished by my landlord with a variety of reclaimed materials. in contrast to dalston the windows are double glazed, the walls are insulated, the roof is waterproof and  everything in the house works.

as summer approached i constructed a south-facing deck in front of the house where i have breakfast as often as conditions permit. i also acquired a five-man inflatable dinghy (with electric outboard) and a one-man kayak to escape up the canal alone or with friends whenever the mood takes me. they have been well used.

2014 was a year of hectic travels with trips to warsaw, paris, brussels, cannes, toronto, san francisco, copenhagen, austin, salzburg, oslo, geneva, chamonix, stromboli, pizzo callabro, jeddah and finally lyngen. it’s been a bit exhausting fitting all this in alongside my labours in london but the succession of encounters with different people and places has been magnificently energising.

i’ve left the biggest development of these years until last. specifically it consisted of meeting a beautiful young architect called mattia at a club in dalston in september 2011. he was dancing in a world of his own, as if the rest of the crowded club didn’t exist. i was immediately smitten. we spent the next three years together.

i never expected to find a partner who shared my guilty adoration of brutalist architecture and 1970s urban planning. we worked together on a series of trampery interiors, bickering like a pair of old women. these were supremely happy years for me. it was hard when our relationship came to an end in september but i remain grateful for every moment of it.

here’s to 2015. for everyone reading these words i send my wishes for courage, truth and joy in the year ahead.

: c :