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The luxury riverside apartment owners trapped in a costly red tape nightmare

Grenfell-affected residents face extortionate insurance

Two-thirds of London boroughs home to tower block with combustible cladding blamed for fuelling Grenfell fire

Two-thirds of London boroughs home to tower block with combustible cladding blamed for fuelling Grenfell fire
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Blow-Up – A London walk of August 2020 and its consequences

In the film Blow-Up (1966)[i] photographer (David Hemmings) becomes consumed by some enigmatic photographs he has taken in a park – do they show a murder in the background or not? Repeatedly, he enlarges the photographs looking for meanings or clues, in the process deconstructing both the images, and, inadvertently, the context in which he exists.   All the long sections in italics below this introduction, are taken from two central chapters[ii] of a literary/ecological thriller, A Bruise on the Snow. Though deprived of its characters and plot, in a manner less abstract but perhaps not dissimilar to that of

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