As my trail of ‘looking down’ posts over the years suggests, I’m a fan of aerial views; they reveal familiar sights in unfamiliar ways as well as revealing unexpected insights.
In the case of London’s Shard, my visit to the observation deck started with a very unexpected view: the restrooms are equipped with unshaded ‘picture windows.’
Those preferring a more conventional start to their visits can find welcoming, if pricy, sips.
All the expectable and easily-recognized sights are right there: The Tower of London, HMS Belfast, Tower Bridge, Saint Paul’s Cathedral
Also on hand: some of London’t collection of oddly-shaped buildings that have garnered nicknames such as ‘the walkie-talkie,’ ‘gherkin’ and yes, Shard, which has made it official. I’ve wondered about the logic of some of the buildings and believe it may be a case of ‘because I can.’
The Shard itself is an example of that—but one you can’t see from its observation decks. So here it is, from another viewpoint. The image was made from Tower Bridge.
Sometimes a view from high up raises questions about what we’re actually seeing. Here, the mysterious red balconies become vent pipes, and the asymmetric structure at their base is revealed as just a huge corrugated packing from some equipment.
The London Eye wheel is also popular with ‘look-downers,’ but since it is lower and obstructed by neighbors, I’d think it’s a second choice for views.
Bridges and the river itself are a big part of the attraction; it’s where you can really see how much the Thames meanders as it crosses the city. In the picture just above, the bridge in the foreground is a pedestrian crossing leading to the Tate Modern and the Globe Theatre; the next bridge up is the Blackfriars rail station; the main part is on land, but the platforms extend across the river. Half its power is produced by the solar panels over the platforms.
Speaking of railroads—we were, weren’t we? sort of?—the view from above is a good reminder of how densely London, including central areas, is threaded with rail lines, headed off in every direction. And what you see is only those that rise above the surface!
I’ll insert a small apology here; the Shard has no open-air access from its two observation floors, which requires some effort to avoid the worst effects of reflection—and frankly, they do not do the best job of keeping the windows unstreaked and clean, which they should at the prices they charge.
Here you see two London institutions that have grown together as you sometimes see a tree growing around a fence. The complex of buildings, yards and courts occupying most of the center of the picture is Borough Market, in business since the 11th century in one form or another; originally a local market, the arrival next door in 1832 of London’s first railroad turned it into a major wholesale market for much of the city, while crisscrossing it with one viaduct after another. These days, it is mainly a retail market for popular and specialty foods.
Nestled into a small space between the rails, the market and modern buildings is London’s first Gothic church, now Southwark Cathedral. It’s only been a cathedral since 1905, but it was built between 1220 and 1420 on the remains of a church dating to William the Conqueror’s time, bits of which remain. It was part of the realm of William’s brother, Bishop Odo of Bayeux.
The most famous William the Conqueror connection in London is, of course, the Tower, built on his orders and repeatedly expanded. It’s really only from the air that you can see its full shape and arrangements, surrounding the original tower at center.
Nuts and Bolts
- Tickets are timed for entry at 30-minute intervals; once you’re in there’s no limit on staying
- Ticket prices range from £19 to £48, with online specials offered on the Shard’s website; the highest price category includes champagne
- There’s a ‘view guarantee’—if on the day of your visit you can’t see at least three of the following, you’ll get a voucher to book another day: London Eye, Tower Bridge, St Paul’s, the Walkie-Talkie and One Canada Square. Four of the five are so close, I can’t see them ever being out of view.
