IMAGES TAKEN NEAR TO
Church Road, LONDON, SE19 2TA

The centre of the Upper Norwood triangle used to be given over to light industry: joinery, engineering and so forth. Some works survive, but much of it now is made up of small housing estates, various cul-de-sac lanes into the triangle giving onto a network of pedestrian paths. Stoney Lane leads in from the south. A dark afternoon, hence the flash was used and picked out something close to the camera on the right side of the shot: I'm not sure what it is.

This firm specialised in agricultural machinery for developing countries and as a result Upper Norwood would sometimes have the unusual experience, for a London suburb, of having a classic 1970s Massey Ferguson tractor rumbling around it. At time of writing (early 2011) the premises are being emptied.

At the junction of Church Road and Stoney Lane, the latter one of the little lanes that lead into the middle of the Crystal Palace Triangle.

A street of several uses characteristically choked and deafening with traffic.

Alma Place is one of the shy paths and passages into the quiet domestic heart of the Crystal Palace 'triangle' – three bustling streets of local shops and businesses and unrelenting traffic. The steel 'flowers' on the right enclose someone's wheelie bins and great pots of bamboo. They are one of several pieces of ornamental steelwork in the Triangle. Alma was one of the battles of the Crimean War, 1853-55.

Late C19th, by no means the first pub on this site, and standing at one of the corners of the 'Crystal Palace Triangle', Westow Street to the left and Church Road to the right. Apparently designed by Sextus Dyball. Note the variety of roofs. Information from The Norwood Society. Dyball was a speculative builder-architect who designed a number of buildings in the area. Jonathan Meades wrote of him that he was "a local builder to whom all devotees of inspired ugliness and sinister gracelessness will be forever indebted. Did Dyball know what he was doing? Did he have any idea of the sensations that his creations would provoke? It is improbable that he was out to shock. Rather, it seems that he ... subscribed to an aesthetic system that, although not far from us, feels chronologically, seems unfathomably distant – a vestige of an alien civilisation."