Architecture critic Peter Murray draws a comparison between a bridge that ties London together and a street that splits it apart
My wonder is the connection between St Paul's Cathedral and Tate Modern, made possible by the Millennium Bridge. I love the bridge, but that is not the point; the important thing is its impact on the way that London works. The bridge draws the banks of the Thames together, it funnels commuters, tourists and locals from the rich City of London to regenerating Southwark and it connects a temple of God to a temple of art. Until 1750, London Bridge was the only way to cross the river, and it was used by drovers taking their livestock into the City. To launch this year's London Biennale, Norman Foster will be leading a flock of 60 Herdwick sheep across his Millennium Bridge in celebration of the new found ease with which people can move safely around the city.
My blunder runs beneath the access route to the Millennium Bridge and eastwards to the Tower of London. It is Upper Thames Street, a busy dual carriageway that splits the city in two, cutting off the river and creating a barren strip to the south of the business district. While it is spanned by a number of buildings, these can do little to heal this hideous scar.
Peter Murray is the director of the London Architecture Biennale which runs from 16 to 25 June. Tickets for events including exhibitions, parties, film screenings, debates and tours are available from the site linked below