SITE CLOSED (TO BE TRANSFERRED/UNDER CONSTRUCTION) DUE TO WEB-HOST CREATOR CHANGES FROM 28 FEBRUARY 2015 - when transferred shortly, my new portfolio website will be hyperlinked from @kevintoner2 or LinkedIn (see 'links' tab below), please check there as I will not be able to alter this page after 28 February 2015. [ps: however it should be the case that my new site will have the exact same URLs as before to replace these pages when published - watch this space!]







Quotes/recollections; and

Article comment-links below (scroll down to see)



“A man who cannot see the wood for the trees and vice versa” Kevin Toner 2015


“As the wildwood runs wild - spelled out twice - in the 4/4 (easily misconstrued as 3/4) time song Marta, in which Kevin, as I write this quote, is half way through realising (on concertina courtesy of reading the sheet music) and where for this particular song (a veritable ‘woods’ indeed) there is in fact a practically 50% rise on the notes-per-bar count to be expected compared with contemporary inter-war classics (i.e. from the concluding decade to which he’s focussed and contemplated well so far, using ‘Star Dust’ as a counting benchmark of 676 notes in 56 bars - 12 notes per bar average) spelling out a 995 in 58 bars - 17 notes per bar buttons galore average, and in this being a tall order to fathom for even the greatest master it could be comfortably presumed, more must thereby be said on why such a song, being fathomed by Kevin, is so special, not in its beauty per se, but in the significance of other things from the advanced musicologist’s perspective, whereby remarkably in stark contrast to most other songs of its era Marta has not 1 in all total of its 58 written bars (in any one of its beats) composed in the same way, i.e. with absolutely no repetition anywhere, except arguably at merely 2No [1/3 of a minim] chorded beats that initiate both of the refrain finales, perhaps cleverly at the 2nd syllable of “a-dios”, which are at the instance where 2 of the bars of the repeatable 32-34 bar refrain are differentiated whilst the 2nd time around - little more rapidly and louder - finale bears 2 further bars to once again increase the fantastically unusual degree of zero repetition or non-duplication already present, i.e. where doable and with gusto, vigour, get-up-&-go, or even to use a decades’ earlier term, with ‘vigour & go’ [sic., source from an historian], and golly: songwriters’ hall of fame material I’d almost label it, which more importantly for Kevin at the moment means that 'every single written bar in this song is a learning bar in its own right’, none duplicated at any point within, but nonetheless making for a beautifully written lengthy piece, and geez, ...lest he (not I) should run wild... (from the lyrics of another song he’s recently added to his belt) he will find no relief during the groundwork for Marta other than when the song’s refrain is repeated (oh, for a moment, I accidentally/mistakenly thought that 29 bars proper were belonging to the repeatable part of the refrain, which really would have opened my musicology floodgate with a much lengthier quote, but no it’s rather 30 proper that’ll relieve comprehending this 88 bar piece) and furthermore, once learned through, the song is aired twice care of a D.C. with the no less potent lyrics of a 2nd verse awaiting (notwithstanding the rarity of 2nd verse renditions/recordings), but had the repeatable section been 1 bar less - as I’d almost tricked myself into believing, a long story - there really would’ve been a tremendous case of bringing across an exacting 50:50 ratio between: x) 58 bars to be replayed from previously un-repeated bars; & y) a total of 58 bars to be replayed from repeated bars, but again, one would ask, what recording in history has ever fully respected the D.C. symbol, very few popular ones if any, if it’s not been the proverbial post-war version over-doing the refrain and cancelling out the verses, not to mention the lyrics; and besides, like the autistic child that can count a pack of fallen cocktail sticks at a glance, would anyone actually be able to detect let alone recognise Marta’s near inherently equal symbiosis between (x) & (y) when heard upon the passing of (t) 7.3333∞ minutes (i.e. 7mins 20secs at the very quickest) or up to 30secs longer (at the most), hardly the analogy of a glance as that's the duration that an accomplished and delicately varied andante moderato tempo would take, but with merely 1 bar away from making this equation work, the song will be closer than most in offering what such a 50:50 x/y symbiosis would actually sound like if noticeably different at all, if not the happiest of marriages one might wonder, but not to forget that upon his potential revelations after a for surely certain and anticipated gruelling learning period - his promised February groundwork - for this song (where remember the metaphorical “wildwood” is aptly written twice, sang 8 times in total as the song’s 2nd most sung noun behind Marta for undoubtedly more than merely the one reason) and I reiterate again with such a ratio of sheer musical difference at play across the whole song (no matter how repeated a section is) will be sickening him at the moment knowing that even a distinguished pianist - at such groundwork stages as yet - would be pushed to command the notation quickly let alone the concertinist who must multiply each note transition by an additional factor of at least 6 basic things or more (and then sometimes a conundrum of others) in order to smoothly achieve each note to note, chord to chord, beat to beat, progression at the stipulated tempos set; and therefore finally I’d be very surprised if Kevin manages to get this one done before March as promised in line with his ‘tune-a-month’ learning regime, tehee” Kevin Toner, Head of musicology at the Concertina School of Music 2015


“Ha ha back to you, mister, in response to a certain Head of Musicology’s quote about me, and I have all the respect in the world for this professor, including his semantic emphasis on the initiation of the syllable “-dios” and including his actual name, but sorry to advise him that - despite all of the nice things he's quoted me on throughout the last few years before deciding to become an aloof academic in something he knows rather nothing about - his bubble is now owed its bursting by me upon two fronts: 1) there are in fact other outright note repetition proper, (a singular note at the lyrics “in my”, or as at repeated after an eventual D.C with “know how”; and possibly a couple of chords within the first verse bar, which are typically ‘3 as 2’ notes straddling the 4/4 timing); and 2) if he had the concertinist acumen that he thinks he has, I might hasten to add that these very few ‘theoretically’ straying notes/chord repetitions might very well not be of that elusive and helpful variety to the concertinist at all (who must always test the adjacent notes forwards and backwards to verify whether a repetition will be helpful or not) because to use his own words: the said multiplication factor of 6 or more other layers of thinking upon concertina transpositions may indeed necessitate that a replicated note/chord as written in a phrase is occasionally likely to be executed differently and thereby ceasing it to be of the desirous variety of replications that so often indeed help to take the sting out of concertinist groundwork; passage of thought and technique; etc., (hint: particularly where duplication is not so isolated, but more spread out across the adjacent beats or, better still, spread over bars with minimally phrased differences, ps albeit good to know several chord structures fingered in a variety of ways/manners) and he may be pleased to know also that even if that singular drop-in-the-ocean-3-as-2-duration-theoretical-note’ was replicable, it’s hardly going to be the comforter that’ll stop anyone feeling sorry for themselves on the remaining jumbled up 994 notes to fathom; and not to mention that I’m not even there yet regarding my own clever decision to learn the refrain first before the verse, as per some following tips from interrogating my trusted 1970s reprint that, although studied for this song, I’ve by and large needed to practically near ignore - in favour of the more original print on this particular occasion - due to an underwhelming simplification on a lot of the rehashed bass-line/s (particularly within the refrain) that have, in the main, been set to low for my instrument, but notwithstanding the one bar’s worth that I did borrow in a flash (in respect of one of the few intensive 2-bar phrase endings in the refrain) that lasts for merely three and a third notes of octave raising on each clef (not on the bass clef alone that I might’ve been timid enough to do had I relied solely upon the more dated sheet music, which through having plenty of octave distance between each clefs' notes), I would’ve, in retrospect without seeing/hearing the 70s reprint, habitually tried to use up rather than keep the treble/bass clef voices well spaced, but in the end my guess work proving useful, as I say again, upon hearing the result of my decision to momentarily switch the books and thereby capitalise on the chosen edit within the 70's reprint that's what's really mattered, and undoubtedly from the musically schooled brain needed that's had the foresight/gumption to raise even widely spaced tonal ranges of notation by that one full octave on each clef, which I'd merely did hitherto on some enforced examples that I’ve had to enact myself - on many other songs as follows - ergo needing me to (as I often call it now) ‘brighten’ each clef when necessary; and, as I'll know from now on, not merely to wait when enforced, but when best to as well (i.e. personally first using the term ‘brighten’ particularly since stumbling upon my first ever experienced repertoire enforcements of having to double-clef brighten at: 1) uncannily the “...bright-ened at last...” bars; and literally again ‘at last’ uncannily at 2) the actual very last D.C. bar, both of which belong to the song ‘On the Sunny Side of the Street’) and so I'm gradually becoming more open and less averse to brightening as I become more aware of how much more commonplace it can be, e.g. hearing the occasional orchestration do the exact same thing and/or to even greater extents; and also because a peer who understands my playing ambition has advised me not to be over shy about occasional octave raising, especially to command the more responsive mid range of the 112 reeds, which are operated between rather than at the immediately lowest and highest rows of buttons away from the centre, rather than always falling prey to what the pianist is stipulated, whilst my other school of thought is to go wisely with as much of the sheet music that doesn't have to be tweaked except where necessarily deliberated upon, especially due to inter alia some very excellent revelations being discovered along the way, i.e. in the semiotics/learning/training/etc. on inter alia numerous musical issues (e.g. overlapping notes; voicing trails; etc.), observations including things like the occasional L.H. on piano sheet music, which I’m imaging is like where the pianist brings a desired voicing from the bass clef over to above the treble clef hand, if not merely to nestle slightly below as found in plenty other songs, e.g. like at the “...spark-ling...” bar in Marta itself or where it’s arguably even sometimes best as raised midway straight into intermingling fingers, which is ironically easier on concertina I’d imagine, and where beautifully phased-like or dreamy like quality sounds are to be had, no better demonstrable or discoverable at the song ‘Star Dust’, where a concertinist needn’t raise the treble octave along with all of the more regularly raised bass clef notes (i.e. a method that keeps the treble clef voicing unaffected and arguably better supplemented with risen bass notes, which - if it were a piano - would mean pianists hands being brought closer together more than normal), not forgetting that the song 'Star Dust' does uncannily enforce the treble upward along with the bass notes for two bars in its verse (played once over) immediately after the bar “...high up in the sky the lit-tle stars climb...”; and uncannily most surely again within the unspecified-tempo song ‘Exactly Like You’ (where firstly note, the argument is conversely switched in that it’s the contrivance of 'brightening' that is in the main (raising octaves), except of course for at the following repeatable isolated occasions at the exact points underlined at the lyrics ex-“act-ly like you ----...“, during the refrain; and it must be stressed again (the uncanniness) it's hardly to be lying to play these isolated points, unadulterated, as written; and time and time again, each and every song learned indeed seems to anticipate semiotics connected with the unfolding of an amazing story behind each transposition from the sheet music to the concertina, i.e. on an array of discoveries, maybe even miracles as I've once coined, which will take as many words to explain per song as there are notes in a song, and it's unsurprising that in respect of the starting off upon my journey - on a repertoire that I’ve accidentally arrived at - it is again an uncanny coincidence that the two foremost songs embracing my favourite way of playing, which is to avoid raising any note &/or phrase octave/s unless absolutely necessary (since I don’t like the prospect of veering from button positions that I associate relative to their truer written position on the staves, especially as a sight-reader come memoriser player, as myself) are: firstly ‘Memories of You’; & secondly ‘Sophisticated Lady’ in that order (although it looks like Marta is going to overtake them after I learn its other half) despite recalling an extremely necessary double-clef ‘brightening’ on practically the whole refrain bridge to the former song ‘MoY’ in February of 2014, which was unsurprisingly at the very same month that I was enforced ‘On the Sunny Side...’ to raise each clef by an octave for the very first time as mentioned earlier, indeed helping to bring the increased confidence into revisiting ‘MoY’ with a finalised solution and approach, which my profile discography dates will testify; MoY’s main delight being that the main refrain phrasing is driven off two separate bass lines that needn’t necessarily both rise by an octave – an absolute success story that I’ve turned around from being months in a clumsily played andante tempo into, when I like, the fastest of allegros in line with the Billy Cotton version or even faster, achieving all of the complexities written on the sheet, and daren't otherwise, albeit playing it at the slow end of the moderato tempo also has a desirable effect and an undeniable allure, and some might say the slower, the better, especially when the acoustics can allow for the beauty of the instrument’s sound to shine thru in its true colours, especially where kept well maintained and properly serviced; but also in conclusion, it’s been rather essential to have, at one’s disposal, a choice of main reprints to each of the 30s songs in my repertoire - not being schooled in music - to deliberate between them for help, clues in compositional construction, longevity, editing, rewriting, etc.; and not forgetting that perhaps most of all - as anyone might gather from reading this quote so far - there might possibly be no better guidance or substitute out there other than in the semiotics that aspire, lead, and proliferate for one and one's works”  2015


"A master of both simplicity and complexity” Kevin Toner 2015


“A Bursary Winning attendee at this Summer's IHBC Day School at Carlisle: comprising an annual conference, exhibition, AGM, and awards dinner, all providing the essential networks and updates for anyone working in conservation, place-making and specialist development roles relevant to historic places and structures." Kevin Toner 2013


"He, Kevin, must do solely around 5 more years of 'extra-curricular development' (e-cd) to match his 11 years of practical experience... his total e-cd is exactly 1/3 of his combined 19 years of studies and practice to date!" Kevin Toner 2013


"...undeniably eloquent; a genius; suave; interesting; etc., antonymously speaking”, “He’d be a master, of the Portakabin; and seminal, in the Card House school”, “Extremely knowledgeable, on just about nothing”, “...a true expert in the field of nothing“, "a nobody" Anonomous 2013


"An undisputed champion of Learning" Kevin Toner 2012


"Now officially an alumnus of the prestigious (& 13th) 'Designing with Natural Stone' course, as run by Marmomacc Stone Academy 2011 and Veronafiere in Verona, an internaional scholarship initiative for architects and designers.  Certified as CPD in the UK by the RIBA and likewise across the world" Kevin Toner 2011


"A tremendous degree of post studies professional practice experience gathered, which - because of the current recession - has been supported with substantial extracurricular work and activities" Kevin Toner 2011


"Kevin still looks forward to pursuing the RIBA Part-3 EPPM with a practice where he can produce appropriate casework and an updated log record, especially now that minor changes to the structure of the EPPM allows for a case study to be an account of collective work experience (in the event that a 'full-stages' account cannot be appraised on the one project), but is equally keen to remain Part-2 qualified depending on what the prospective employer's requirements are." Kevin Toner 2010


"...undeniably a human scale-rule, with versatility and potential in his developing architectural experience, and therefore a likely contender for BIM if and when it should transpire in the future" Kevin Toner 2008


"A talented and experienced assistant architect and architectural technician, who naturally demonstrates a command of scale form and proportion through his freehand ability, which translates into a reliable and confident CAD productivity." Kevin Toner 2007


"...more communication with clients this quarter... intensive education workshops on dementia care... I am developing a broad range of architect skills in the [multi-discipline] design team context. I have chaired my first Stage J Pre-site Start meeting - for a 'special needs' house extension. ...also getting exposed to progress meetings at base for the monitoring of design on the larger project [i.e. as a project leader on a dementia care facility, care home extension]" Trainee Self Appraisal (Quarterly Appraisal No.14 of 14 [logbooks 2000-03 & '04]) 2004


"As well as progressing minor disabled adaptation works, Kevin's main task this quarter was the provision of architectural support to a ...'fast track' contract to refurbish [3 blocks of] a surplus secondary school building as Council training accommodation. Kevin worked excellently under pressure to survey the buildings and provide detailed and accurate CAD floor plans and also provided space planning to the client's needs. Kevin consulted with Building Control and the Firemaster to ensure that the proposals met all technical standards and obtained all the consents required." Office Supervisor (Quarterly Appraisal No.13 of 14 [logbooks 2000-03 & '04]) 2004


     [In this my 3rd job after the completion of full-time architectural studies, I decided to start up my EPPM logbook once again half way through my contract as an "architectural technician" within a local authority and therefore recorded 2 additional quarterlies - extracts as above - albeit a genuine EPPM opportunity was not to prevail.  If an opportunity to gain contract administration experience on a standard form of building contract was ever to arise in the future (complimenting my breadth of experience), then I could sit the EPPM with a view to registering as an architect.


      Furthermore, if an opportunity arose to build up one's practical experience on the historic building conservation front, then I would also hope to add IHBC to my list of credentials as well as perhaps an accreditation. 


      Basically I will not be able to become a full member of either the RIAS, RIBA and/or IHBC until such times!]


"This, my last quarter with current employer, has seen work carried over across all four teams A - D for the first time in a quarter... [ps meaning much more varied experience, having been devoted to Team A work over 2 years]." Trainee Self Appraisal (Quarterly Appraisal No.9 of 14 [logbooks 2000-03 & '04]) 2003


     [Eight months of professional practice experience was not recorded for QAs 10-12 in the course of going from a short job to another long job (the latter starting off as a 1 month contract, then becoming a 2, then 3, then roll-on contract)]


"I have also developed management abilities from team working through to working on my own initiative..." Trainee Self Appraisal (Quarterly Appraisal No.8 of 14 [logbooks 2000-03 & '04]) 2002


"Kevin told that his Diploma drawing portfolio - as requested - had been selected and was successful in helping the school to gain its RIBA 4-year Validation at a critical time."  from Director of Graduate Studies 2002


     [the 5th year master added that the new professor would be holding onto the portfolio for a long period, however believed to be lost in 2003.  I have therefore since carried a downsized photocopy version in a well presented A3 carrier case, which has of course evolved into a practical experience rather than an academic studies portfolio.]


"...Kevin has been working on presentation information for a contentious planning application, 1st stage building control information and tender information over the same period... [ps as to be expected on a huge design build factory, but still not adequate case study material as there is no 'standard form of contract' involved]" Office Supervisor (Quarterly Appraisal No.7 of 14 [logbooks 2000-03 & '04]) 2002


     [NB: Withdrawal from EPPM candidacy, but Record of Experience (logbook) continued without PSA Comments thereafter.]


"Good well maintained record..."  Professional Studies Advisor (aka Practical Training Advisor).  "...a period of intense production information for construction on one project and for tender on the other [ps on a huge design build factory for a potentially indigent case study] with anticipated involvement in the site stage being delayed albeit only temporarily" Office Supervisor (Quarterly Appraisal No.6 of 14 [logbooks 2000-03 & '04]) 2002


"...VG report including that from Office Supervisor. [albeit a ? sign put over the missing contract/site experience hours that were promised by the OS in Q.A.4, which remained blank for the rest of the record]."  Professional Studies Advisor (Quarterly Appraisal No.5 of 14 [logbooks 2000-03 & '04]) 2002


"VG record, the ensuing 'contract' or 'on-site' experience should prove to be very useful..." Professional Studies Advisor (Quarterly Appraisal No.4 of 14 [logbooks 2000-03 & '04]) 2001


"Good well kept record.  Good Experience generally..." Professional Studies Advisor (Quarterly Appraisal No.3 of 14 [logbooks 2000-03 & '04]) 2001


"...a good but not great record..." Professional Studies Advisor (Quarterly Appraisal No.2 of 14 [logbooks 2000-03 & '04]) 2001


"Too much of 'what' you're doing and still too little of 'why' and 'how'..." Professional Studies Advisor (Quarterly Appraisal No.1 of 14 [logbooks 2000-03 & '04]) 2001


"Kevin has settled in quickly..., coming to terms with the office system and procedures employed and adapting to the CAD system with which he was originally unfamiliar...preparation of drawings on computer has been a significant part of his output and the results are always of a high standard.  He communicates well verbally and through his drawings..." Office Supervisor (Quarterly Appraisal No.1 of 14 [logbooks 2000-03 & '04]) 2001


"...a thorough piece of research and it is clear that the author understands his subject." RIBA External Examiner - Diploma Special Subject Dissertation 2000


"excellent research!" Dr. Gavin Stamp - Mackintosh School of Architecture Dissertation Tutor 2000


"...bought his first computer after the Millennium bug in 2000 to start his dissertation with a daunting 2 months to go before the hand in date in April albeit his research had been largely completed beforehand.  His concurrent thesis however remained manually drawn in line with the tutors' preferences..." Kevin Toner 2000


"Despite being selected for the 4th Year Honours Degree stream, having met the grade in his BArch degree submission in the 3rd Year 1996 and therefore being invited to continue his studies at the school in session 1997/98 after the Part-1 year out in 1996/97, Kevin had to withdraw from this and decided to continue his studies as a Diploma student (i.e. enrolling for D1 rather than to reenrol for Y4 as an Honours Degree student) for the next session in 1998/99 at the same school.  This now means that he's finally got the degree that he'd actually earned in 1996, and won't have to wait for until 1999, albeit an Ordinary Degree.  The main advantage of this is that his dissertation can be submitted in the following [5th] year (D2) as a Diploma Special Subject rather than as an Honours Degree Dissertation in the 4th Year.  Honours students conversely don't need to submit a dissertation in D2, the final year, having endeavoured to get it out of the way first.  Hons students also skip the Diploma year D1 as the syllabuses are identical for both of the streams (Y4 & D1) in the 4th Year, excepting the aforementioned dissertation dates.  The double catch for Kevin – in transferring from one stream to the other - is that 1) his Honours standard of degree work would have to be accepted as of an Ordinary grade; and that 2) the extra Diploma work by Ord rather than Hons peers in the final [5th] year goes unrecognised.  Should he overcome the tougher final year (next year in 1999/2000) that's involved from planning a more thorough penultimate [4th] year (D1) in this session, his discretion of valuing his education output over that of gaining showier letters, will have materialised for the better!" Kevin Toner 1998 (edit. Oct 2012) on choosing to do the Diploma Stage-1 rather than upgrade his degree to Honours level, for session 1998/99


"largely A-passes for his RIBA Part-1/Part-2 professional studies essays" Kevin Toner 1997/98


"...was told that his CV showing the 3rd year measured drawing study had helped him to secure the short term architectural assistant contract to help in the refurbishment of the 1960s BBC Canteen interior during his Part 1 year out stage" Kevin Toner 1996/97


"...excellent portfolio, despite a temporary withdrawal from the course following session 1992/93 [out of personal circumstances]" 3rd Year Master 1995/96


"...proven drawing skill" 2nd Year Master on portfolio assessment 1991/92


     [I decided to transfer to Full-Time studies for the 2nd year.  The Part-time route is still normally an eight year endeavour as opposed to five years full-time.  The first sign of this being a good decision was when my prototype house project that year was shortlisted for an architectural-science student competition.]


"...a gem" 1st Year Master on looking back at the previous year's Poetic Pausing Space project as done during part time studies 1990/91


"Ingenious" 1st year structures tutor on the design and fabrication of an electric light stand/fitting 1989/90


     [near the end of the working day prior to hand-in later that night after work, for the above Part Time course exercise, a colleague asked "what's tonight's subject then?" to which I replied an un-submitted hand-in of course.  I was then told to look around the office for various materials lying around and told anything can be done in an hour and to put my isograph down and get sketching.  The bulb and cable was supplied - I decided no glue, and instead used pins; elastic bands; kappa board; and a kind of malleable rod to design and fabricate a very dynamic and fairly pleasing solution.  There was of course complete uproar when I reported back at work the next day on the accolades received - those were the days!]


A Passion for draughtsmanship with design and technical ability” Kevin Toner 1989




links to published material or media interaction (written as individual).


Comments: Millenium Hotel expansion faces headwinds as... - UrbanRealm 27 Feb 2015


Additional comment: Debate over GSA rebuild strategy... - UrbanRealm 16 Feb 2015


Comments: Gareth Hoskins details Royal High School vision - UrbanRealm 10 Feb 2015


NB: above comment is missing 3 censored comments as pasted below in italics.



Blocked/un-replied request


UR: can you please publish my original comment?



Censored 2nd comment posted 15 mins after 1st blocked comment


Dear fellow readers, my long version of this comment was posted 5 minutes earlier and therefore possibly censored (?)



Censored 1st comment posted 5 mins prior to the allowed shorter version


The worst kind of architectural theft imaginable is that promoted by an architectural fraternity.


This article shows, or is, the evidence of that society at work: i.e. upon an extraordinarily significant or showcase part of Scotland’s most robust, permanent, and identifiable architectural set pieces, which the world has come to expect from Scotland’s beautiful and intriguing capital.


This site is special in its architecture and urban morphology in a way that e.g Park Guell recalls, everything from its Jacob’s ladder right up to the National Monument on top, which are all as yet too choked/disjointed due to this long hijacked school masterpiece and a highly unsympathetic traffic system to boot.  Also consider the mound at Princes Gardens as a case in point, which is not quite so cursed in comparison, but part of that very same formula that the world has come to expect.


There’s now even the albeit unsurprising accolade of a very special (i.e. city-wide) World Heritage Site status to prove it, city-wide as the phenomena of this morphology is so widespread as is Edinburgh’s other main ingredients: the New Town and Old town [sic] in-between.


The binder between the old and new towns, i.e. the phenomena of the picturesque is what really brings the world flocking to the capital.  The last thing this needs is yet another level of hijacking by none other than the architectural fraternity that arguably helped to build it in the first place, centuries ago.


Park Guell is a very successful piece of evidence showing Barcelona creating a little bit of the Edinburgh formula.  It too has had snow this month, so the weather (blue skies) can’t be an excuse to change the tact (if we don’t like this latitude by now, we should move back to warmer climes and give the natives, Picts, back their land, you won’t find them shunning most of it as a wilderness, but a haven for life and as a natural habitat, such as the natives do in the same latitude across the ocean).


There is a public event on this building/project on 23 February (that UR ought to have on its events calendar if not already) from the AHSS (Architectural Heritage Society Scotland), who’ve recently moved in with the RIAS (Royal Incorporation of Architects in Scotland).


At least half of the academic speakers lined up are associated with the highly regarded local Architectural Conservation DipAC course & MSc at Edinburgh College of Art, so it will be very interesting to see how laurels will lie on the night (across all of the intellectual friendships/bodies).


I myself won’t be attending this as it reeks of the very same fraternity that’s hijacked my career of late, ergo I can’t yet use the title architect that I‘ve in fact over-qualified in (both in studies terms and practical wise).  I instead require using ‘architectural consultant’ to practise independently.  Diabolical of them that I should be at this stage, I know...! The recession has been no excuse as most of my peers have been behind a desk.  Don’t bum them up too much UR: if they were really the special part of society that you so trust and promote, then I’d be behind a desk among them...


Having additionally observed and catalogued 100s of 1000s of architectural drawings since starting my volunteering days (over 1/2 Million drgs) in 2006, I am more qualified than most on the course of the built environment having covered from the inter-war period in Glasgow onward, to 1977 so far, and then on my own direct experience from ’88 onward, which I hope to overlap with the cataloguing of peers’ work too.


I can therefore easily see through such schemes as the one brewing above.


Very poor indeed!


If my comment is not censored, as had occurred in my latest, then a change of heart may well ensue amongst the fraternity, who’d perhaps rather bite the bullet than show themselves up.  However, I can’t help but think that advocacy of the scene comes first.  What’s new?


In a way I’m glad I’m not currently employed by any of this fraternity, lurking so low in its quest to take sense away from Scotland’s best architectural achievements.  I could so easily be with my current credentials.  Phew!


Professor Toner


(Apologies as unedited)



Comments: Aberdeen heads 2015 Carbuncles with... - UrbanRealm 3/4/5 Feb 2015


NB: above comment is missing 2 censored comments as pasted below in italics (a gripe about a gripe about a..., no not allowed unless it's on one's own website).  As an experiment, I was initially hoping not to claim authorship of even my original comment in a conceit that has backfired.  That is, I was going to tweet about a supposed other 'like-minded kevin toner' that would nonetheless be obviously and innocently from me.   However, my plan was foiled as it was too hard to light-heartedly clown with such a tight-fisted mag outlet as this one.  I found myself having to tweet about the incessant censoring instead as it became apparent that it wasn't being posted by the moderator.  Furthermore my 2nd comment of 4/2/15 has actually been blocked due to being "off topic" according to UR at 9.09am 5/2 (as possibly my 4th and final one of 5/2/15), i.e. quite the understatement, I'd admit.  I have thence taken the opportunity to upload the offending off-topic elaboration of my initial comment as follows.  The mag got a lot of controversial media coverage over its article, on a very precious though bitter topic of its own.  It understandably couldn't tolerate the [or my] stealing of its thunder (or for me or anyone to express what the topic might actually mean beyond the confines set by the mag).  The mag has even tried to block my more seriously authored comments, e.g. in my last posted comments on the GSA rebuild thread as below, which have been a nightmare to negotiate in their belated publishing.  I fear or suspect that its readership may also possibly have too much influence upon it as well, since all of my [numerous] comments so far have met with either adversity, little or no reaction, or acknowledgement amongst those regularly permitted to be 'off topic'.  That's all fairly common, no one thanks their educators or anyone cleverer than they.  This mag is one closed-in part of society that ought to close itself down; OR accept that others outside its circle may be more educated.  I see societal power getting the better of ethics, day in day out, in the big wide world.  It's not acceptable to see it occurring in a mag too - it should be the last place you'd look for it.  Sickening.  Now I have to upload what I tried to avoid drawing attention to, alas my worst ever form of writing.  I'll be back.  End of gripe!



Currently censored 4th additional comment after comment #20


UR you're scrambling your times as usual since pre-moderating: was 9mins for a while, now apparently 16mins out - why are you toying with realtime (you're already playing with it enough via pre-moderation rather than post-moderation)!


Posted 11:10am (GMT)



Officially censored 2nd reply (and elaboration) to initial comment #11


Mr Vandelay, I can’t edit when writing with a scrambled brain.  Scrambling is what this antisocial noise does.  So, I’m afraid, no apologies for any incoherency.


[Hey, how come JD got to post a web link? I tried minutes earlier to do 3 then 2 then 1 that were bounced back to me with a spam warning, hence quoted articles instead of links on my last post.]


Back to the sounds aspect of ‘the dismal’, I’ve 100s of theories as to what might be behind the rise of the things or phenomena that I’ve mentioned earlier, let alone what all the technical causes are, but for that I’m afraid you’ll have to wait on the book or the stand-up comedy shows/soirées.


I must however try to write more often on the sound aspect, as scrambled as I become, because last night I heard a severe drop in the un-muffled or modified exhaust category of vehicles to normal high levels, a break from the abnormal continuum (which can reduce to maybe 10 to 20 second breaks every 5 minutes at best), i.e. falling to almost 1 every 10 minutes.  It then gradually rose to around 1 per 3 minutes in tandem with my music studies, which was nonetheless fantastic and another kind of music to ones ears.  This was the first time it reverted to normal levels after 2 of 3 months staying at my new address.  How long that change of heart will be maintained is anyone’s guess.


At my previous address, there was an equal amount of traffic, that bore similar characteristics, but it’d always been masked/exacerbated/etc. by inter alia a continuum of surrounding construction work that’s curiously never ended since the recession started, concurrent with my redundancy period sods law tells me, never before it during the boom.


The noisy bus liveries to which I wrote earlier, and when they are - at their worst - as perpetual as the modified vehicles, was once zapped into non-existence at my older address during one particular afternoon.  To my astonishment, after a certain minute of the day, not 1 of the 100s of buses that regularly pass nearby had sounded out with a howl, hiss, or hurricane noise (counting all culprit bus companies including the biggie). 

The mathematics didn’t add up: before this minute it was at around 50% of buses sounding off, i.e. the liveries at their worst!


At my newer address, I’ve now heard worse than 50% for the first time, but more normal levels are here as I write, which brings it right down to around probably 1 in 10 buses or less, and the sounding off is there, but not going through me with the hertz ratings that hit me from the modified exhaust people.  That said, neither have I heard a modified exhaust in all of my typing of this reply.


So, once again, when you want to pay for that stand up show that I’ll be doing at some point, don’t expect sense to prevail.


Posted 11:40am (GMT)



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NB: UrbanRealm Comments from 24 Aug 2012 onward await a moderation period, ranging from minutes to days - I temporarily post them here on my own URL until after moderation!


Blogging - Save the Egyptian Halls:  iPetitions


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